I Stole A Friend's Underwear

The deaths of Roger Munier (1923-2010)

Today I learned of the death of Roger Munier , which occurred on 10 August. "The writer Roger Munier, translator of Martin Heidegger and Octavio Paz and specialist Arthur Rimbaud, died on Tuesday at the age of 87 years," said the note in my Google widespread.

is curious, but not strange, that the death note to remind the writer in his role as critic and translator; is curious because his vast figured prominently poetry titles (why there was no reference in the first place Munier "poet"? To me the news of his death made me think a moment , in a phrase of Cocteau : "Death of a poet is very serious, because a poet is something more than a man), but basically it is not unusual because, perhaps as few, Munier could say that as an author was a real author ( Barthes, Foucault, Agamben ), Or writing someone who could do no more to go.

knew better than anyone ( Munier "translator") that every word is word of another, and also (Munier "poet", Munier "man") that the self as a unit it is an illusion (" Besides myself, am I "), the complete, total, is absent because it is always divided, and it is an I in a subject when is not only the effect of otherness. Because I knew (with Nerval, Rimbaud ) that "I is another", that being has to be another ( Paz), and the word-for taking the role of field language, and dwarfs the subject engages loss-while is the only way it has to appear to get lost in the alleys sense and always being late to meet the Another (in a "been there," the former future speaking Lacan), to exhibit, to turn-on be speaker-his lack of being. Roger Munier

knew ( Munier "writer") that all that unfolds against a backdrop of unspeakable, that is not an impossible stops not being written, because what is not written. ("Writing is a fever about things, which basically says no fever but not things.") Perhaps so I thought that writing, when writing real (literalization the subject), leads a fading , to disappearance. ("The actual writing itself is subtracted from itself, continuously. The last word ratifies stolen"). Missing

among the living ("Death ... finally will open myself arms"), how to remember Roger Munier ? "As a" poet of thought, "someone who did something so strange, so difficult to achieve as a happy meeting between poetry and philosophical reflection? ( Munier " poet " Munier "philosopher", "Munier translator and friend of Heidegger " Munier " translator of Octavio Paz" ). It might be worth remembering as a man who wanted to write in the shade, but whose word malgré lui, could not escape the light. In his work, the voice of the subject type appears to arise from a chiaroscuro (as in the ellipsis of the subject of writing Baroque spoken of evoking Sarduy Lacan), and plan on things some light that gets into the shade ( "Life destroys life. pensamiento.La thinking destroys the reality destroys the reality" ) So it seemed to me to re-read your ... "Aphorisms?, Chiseled flashing of thought, flashes of brilliant poetry in the fund may not poetry or philosophy, but fragments, voices spelled a work that, as I said another entry in my Google-" mimics the world as a pullout. As he resists any interpretation, it is called requires and demands a listen. "

The latter made me think that the work of Roger Munier approaches perhaps something more intimate, secret, the experience of psychoanalysis.
fragments
Here again, it took "almost" at random from his book Glimpses :

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The light does not show things as they are. The is of, it seems that the dress, to see them. Without this dress would not be visible. But not this dress.

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All that happens is a sign or wonder happen as before. Admirably above.

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think when I write, and write it in a dead language.

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Write to the way everything is done: as a loss.

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pregnant The possible reality, it hinders. And, mixing, dilute it strangely unrealized.

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I do what I want. But to do so, but I do not want what I do.

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The sense is in Exodus, through all the senses.

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Being not last but by doing, that hides it.

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more than it is, man is what could be. That can be shattered his being, and ultimately prevent it from being forever what could be.

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I have no memory, only memory.

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Everything is hard in a state of loss.

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hear what you say.

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Try know as what is not known, it is not known,

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The oddly real stands between ourselves and reality.

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When I think of myself in the past, it is not me who you think is in the past.

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Do you suffer? No. Something has torn the fabric of things. And that happens in you.

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We are but words, but to us something we are silent.

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Every word he says: I speak, am I not speak, said only: I am.

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When I say the world is real , when you say is no longer true, as the real can not be said.

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What we love in the truth not the truth, but it is true.

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The existence and that the existence: being, every being, is an enclosure.

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Truth is not reality. The truth is not "real." There is no truth in reality. There is only reality.

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Life has an end: death. But perhaps death has no end ... Perhaps it never ends in death.

***

All end is sad, even that of what is sad, as an end.

(From Radiance, Mexico, Award, 1988, trans. De Marco Antonio Campos)

Leopold Gerstel Technion

Bertrand Russell on psychoanalysis

The Contemporary Dictionary of Man of Bertrand Russell (1872-1970), copy the entry for Psychoanalysis:

Psychoanalysis although undoubtedly has its excesses, and even its absurdities, has taught us many things true and valuable. There is the old adage that "if sent into nature with a pitchfork, portrays one anyway." but psychoanalysis has provided commentary on this text. Now we know that life carried over against the natural impulse will likely result in effects of stress, probably as bad as the surrender to the forbidden impulses. People who live an unnatural life is often filled with envy, malice and lack of charity.

is what you will think of psychoanalysis, there is a point which is undoubtedly correct, and the enormous importance given to emotional life. If emotional development is done well, character and intelligence develop spontaneously. Therefore, the science teacher must direct its attention primarily to the emotions.

For our purposes, the essential discovery of psychoanalysis is as follows: an impulse inhibited by objectivist methods, that does not find expression in action, not necessarily die, but it is underground and finds a new output is not inhibited by education. Often, the new output is more harmful than avoided, and in any case the abuse is emotional disturbances and energy costs without profit.

Psychoanalysis, as is known, is primarily a method to understand the hysteria and certain forms of insanity, but has discovered that many things in the lives of ordinary men have a humiliating resemblance to hallucinations of fools. The relationship of dreams, beliefs, irrational and foolish actions with unconscious wishes has been brought to light with some exaggeration, by Freud, Jung and his disciples. As to the nature of these unconscious wishes, I think, "but as profane talk shyly that many psychoanalysts have been narrow criterion, it is clear that there are wishes to stand, but others, for example, honors and power, are also operant and equally susceptible of concealment.

(From: DICTIONARY OF MODERN MAN, Volume Loose, Mexico, 2003)

Beyond moralizing tone passages and teaching (so characteristic, with few exceptions, psychoanalysis developed in the latitudes that inhabited our philosopher), it is curious that one of the leading exponents of modern logic is expressed of the work-Freudian psychoanalysis, in terms of "Natural impulses", "forbidden" or "emotional life" and you fail to notice what Jacques Lacan would highlight to his reading of Freud , namely the unconscious, rather than being a dark reservoir of repressed impulses, has a logic and structure that are peculiar, both inevitably linked to language. Also the words of Russell seem to resonate with those of other fiósofo, Theodor W. Adorno, for whom nothing in psychoanalysis was as true as his exaggerations. And yes, though this is not monopoly-analysis, exaggeration is one of the forms which truth-telling in their midst. But that certainly is not as logical.

Mother Wearing Bra Images

Louise Bourgeois (1911-2010)

"In the artists are guaranteed in advance the fact of being sane, as that will always be able to take their torment."

(LB)

Portrait Fillette LB, 1968, by R. Mapplethorpe

died Monday in New York sculptor Louise Bourgeois .

Born in Paris on Christmas Eve 1911, and daughter of former tapestry restorers who enjoyed a certain position, the artist moved to New York in 1938 and married a professor of American art. Over almost a century old, Louise Bourgeois devised a perpetual continuity between the work of living and artistic creation. His works clearly locked experiential aspects that, to be revisited, devenían creative experience. In his reference to the past work, especially infancy, is central. Not in the sense of an autobiographical allusion which traces the researcher could put in titles and themes of his compositions, but as a sort of cathartic asceticism in which the elements of lived experience are exorcised in the creative act. In 1982 he wrote:

"Some are so obsessed with the past to die buried under it. This is the attitude of the poet who never finds the lost paradise and is also the artist, who works for reasons that nobody can understand . Maybe what we both try to be rebuild a thing of the past in order to exorcise it, why the past has, for many people, an enormous power and beauty. Everything I've done has been inspired by my previous life (...) Every day do to forget your past or accept it. If you can not accept, you become a sculptor. "

Amiga artists like Mark Rothko , Joan Miró and Marcel Duchamp , Bourgeois pioneered the installation and performance art. Without however, gained public recognition until the 1970's, which, in his view, could only benefit their first productions bathing them for privacy, splendid isolation. The tortuous obsession with the love of father and mother, the overlapping of masculine and feminine (phallic breasts, penises split), the irruption of death in sex, but on the whole body (the breakdown and their combined symmetries and the dualities and homologies) are some constant presence in his work.

Janus Fleuri [Janus flower], 1968, bronze, 31.8 x 25.7 x 21.2 cm.

did not like to Louise Bourgeois was imposed to work the adjective "erotic", but in the case of the symbolic and aesthetic power that holds the body, just resigned to bring up the erotic scene:

"My job is not intentionally erotic, and I doubt it is, but before you go on to become the erotic aesthetic, who am I to tell you not? The content is involved with the human body, its appearance, its changes, its transformations, all they need , wants and feels its functions (...) The content is now the erotic message: everything occurs as a result of the presence of two people. Pleasure, pain, survival, in public or private, in a real or imaginary world. "

According account some autobiographical notes, was christened in honor of Louise Michel Louise , a kind of Rosa Luxembourg French her mother, feminist and socialist sympathizer, was a model. Given the deep interest which she awakened in everything related to women, Louise Bourgeois turn declared feminist however, remained outside of any membership and considered before all a big lonely.

Femme Couteau, black marble, 1970, 67 x 3 x 12, 5 cm.

About a work that explores the essence of the woman and the nature of the feminine, Femme Couteau (Women's knife), wrote:

"This marble sculpture, my Femme Couteau, includes the polarity of the women, the destructive and seductive. Why do women become women knife? not born as such. They did so through fear. In Femme Couteau the woman becomes a knife, is a defensive figure. To defend itself, identifies with his penis. A girl can feel terrorized by the world. Feeling vulnerable, as it can be injured by the penis, so try to take the same weapon of the aggressor. This is a problem that part of childhood, and the lack of a reasonable education and understanding. "

everlasting concern for the mother's love is present in works such as Fox She . In this piece, Bourgeois made of stone and the animal violence that permeated the mother-daughter: "I cut his head, slit his throat. And yet I would expect. (And here I think Winnicott , stating that the first object of choice must survive the destruction as proof of love.) According to the sculptor said, the figure represents an animal, a female, but not a female either, has several breasts , beautiful legs and a double mutilation throat and head. "Under his hips are a welcome retreat. And this is where I place myself (...) Fox She is a portrait of a relationship. It is an expression of faith that a child placed in their parents and violence established between the strong and the weak. This is the meaning of the work. "

She Fox, 1985 black marble, 68, 5 x 179 x 81 cm.

In 1973, after the death of her husband, Bourgeois sculpture created to mark a critical milestone in its path: Destruction of the father . The artist remembered his father (d. 1951) as a macho man. Being the third child of a marriage without sons, meant that they should forgive her for being a girl. As recounted in a text called Family Album, recalls that when he was born, his imaginative mother told his father: This girl is just like you, as you call it. That was how his father accepted. But the greatest disappointment would be the father to the daughter, holding for ten years a teacher amasiato with small Louise. Destruction of the father is a play about fear, and the impossibility of hidden love, and survive, to fear.

Destruction of the father , 1974, plaster, latex, wood and fabric, 237, 8 x 362, 2 x 248, 6 cm .

Above it says:

"This piece is basically a table, boring, terrifying family dinner table with the father head, who sits and gloats. And the other, the wife and children, what can you do? They sit there in silence. The mother, of course, trying to satisfy the tyrant, her husband. Children are full of despair ... So, in desperation, grabbed the man, threw him to the table, tore it apart and proceed to devour it. "

But who wants to see in this piece a totemic feast alluding to the influence of psychoanalysis, the artist will clarify the picture: no Freud, Lacan anything, it is not nothing but the real father, with all its symbolic imagery. At most, Freud and Lacan resembled something the father of the artist, like André Breton . At least that's what she said:

"Charcot was a modest person, just a scientist, but never a theoretician. On the contrary, Lacan was a guérisseur. Through his charm and verbal facility. It was not a scientist but a scammer. Freud and Lacan did nothing valid to the artist. barking at the wrong tree. They did not help anything. Simply I can not qualify for any of them (...) Breton, Lacan and Freud disappointed me. promised truth and provided only theories. They were like my father promised much and did too little. "

not think so grabbed Louise Bourgeois dislike for psychoanalysis. In 1990, he wrote a review of the New York exhibition The Sigmund Freud Antiquities, which he titled toys Freud, and portrayed an endearing way the creator of psychoanalysis (a children's collection and a reasonable man of genius full clinical and fear of his father). also came to believe that the analyst, alongside the Treasury and the lawyer, the best ally of the artist: "The psychoanalyst makes more reasonable the artist, the lawyer does smartest and richest Treasury.

Quotes taken from: Destruction of the Father / Reconstruction of the father, Sintesis, Madrid, 2002.