{"id":1457,"date":"2021-08-17T11:46:08","date_gmt":"2021-08-17T14:46:08","guid":{"rendered":"https:\/\/www.jornadaebpmg.com.br\/2021\/?page_id=1457"},"modified":"2021-10-01T09:49:27","modified_gmt":"2021-10-01T12:49:27","slug":"ecos-3","status":"publish","type":"page","link":"https:\/\/www.jornadaebpmg.com.br\/2021\/ecos-3\/","title":{"rendered":"ECOS 3"},"content":{"rendered":"<p>[vc_row row_height_percent=&#8221;0&#8243; override_padding=&#8221;yes&#8221; h_padding=&#8221;2&#8243; top_padding=&#8221;0&#8243; bottom_padding=&#8221;0&#8243; back_color=&#8221;color-jevc&#8221; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; column_width_percent=&#8221;100&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column column_width_percent=&#8221;100&#8243; gutter_size=&#8221;0&#8243; override_padding=&#8221;yes&#8221; column_padding=&#8221;0&#8243; back_color=&#8221;color-xsdn&#8221; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/1&#8243;][vc_column_text]<div id=\"mega-menu-wrap-max_mega_menu_1\" class=\"mega-menu-wrap\"><div class=\"mega-menu-toggle\"><div class=\"mega-toggle-blocks-left\"><\/div><div class=\"mega-toggle-blocks-center\"><\/div><div class=\"mega-toggle-blocks-right\"><div class='mega-toggle-block mega-menu-toggle-animated-block mega-toggle-block-0' id='mega-toggle-block-0'><button aria-label=\"Toggle Menu\" class=\"mega-toggle-animated mega-toggle-animated-slider\" type=\"button\" aria-expanded=\"false\">\n                  <span class=\"mega-toggle-animated-box\">\n                    <span class=\"mega-toggle-animated-inner\"><\/span>\n                  <\/span>\n                <\/button><\/div><\/div><\/div><ul id=\"mega-menu-max_mega_menu_1\" class=\"mega-menu max-mega-menu mega-menu-horizontal mega-no-js\" data-event=\"hover_intent\" data-effect=\"fade_up\" data-effect-speed=\"200\" data-effect-mobile=\"slide\" data-effect-speed-mobile=\"200\" data-mobile-force-width=\"false\" data-second-click=\"go\" data-document-click=\"collapse\" data-vertical-behaviour=\"accordion\" data-breakpoint=\"768\" data-unbind=\"true\" data-mobile-state=\"collapse_all\" data-hover-intent-timeout=\"300\" data-hover-intent-interval=\"100\"><li class='mega-dropdown-toggle mega-dropdown mega-drop-menu mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-has-children mega-align-bottom-left mega-menu-flyout mega-menu-item-532 dropdown-toggle dropdown drop-menu' id='mega-menu-item-532'><a class=\"mega-menu-link\" href=\"https:\/\/www.jornadaebpmg.com.br\/2021\/fazer-se-um-corpo\/\" aria-haspopup=\"true\" aria-expanded=\"false\" tabindex=\"0\">Fazer-se um corpo<span class=\"mega-indicator\"><\/span><\/a>\n<ul class=\"mega-sub-menu\">\n<li class='mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-608' id='mega-menu-item-608'><a class=\"mega-menu-link\" href=\"https:\/\/www.jornadaebpmg.com.br\/2021\/fazer-se-um-corpo\/uom-o-corpo-que-se-tem\/\">UOM, o corpo que se tem<\/a><\/li><li class='mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-607' id='mega-menu-item-607'><a class=\"mega-menu-link\" href=\"https:\/\/www.jornadaebpmg.com.br\/2021\/fazer-se-um-corpo\/acontecimentos-de-corpo\/\">Acontecimentos de corpo<\/a><\/li><\/ul>\n<\/li><li class='mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-has-children mega-align-bottom-left mega-menu-flyout mega-menu-item-1341' id='mega-menu-item-1341'><a class=\"mega-menu-link\" href=\"https:\/\/www.jornadaebpmg.com.br\/2021\/transferencia-e-corpo-do-analista\/\" aria-haspopup=\"true\" aria-expanded=\"false\" tabindex=\"0\">Transfer\u00eancia e corpo do analista<span class=\"mega-indicator\"><\/span><\/a>\n<ul class=\"mega-sub-menu\">\n<li class='mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-611' id='mega-menu-item-611'><a class=\"mega-menu-link\" href=\"https:\/\/www.jornadaebpmg.com.br\/2021\/transferencia-e-corpo-do-analista\/presenca-do-analista\/\">Presen\u00e7a do Analista<\/a><\/li><li class='mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-610' id='mega-menu-item-610'><a class=\"mega-menu-link\" href=\"https:\/\/www.jornadaebpmg.com.br\/2021\/transferencia-e-corpo-do-analista\/amor\/\">Amor<\/a><\/li><\/ul>\n<\/li><li class='mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-has-children mega-align-bottom-left mega-menu-flyout mega-menu-item-560' id='mega-menu-item-560'><a class=\"mega-menu-link\" href=\"https:\/\/www.jornadaebpmg.com.br\/2021\/interpretacao-no-tempo-do-falasser\/\" aria-haspopup=\"true\" aria-expanded=\"false\" tabindex=\"0\">Interpreta\u00e7\u00e3o no tempo do falasser<span 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mega-menu-item-type-custom mega-menu-item-object-custom mega-menu-item-has-children mega-align-bottom-left mega-menu-flyout mega-menu-item-2231' id='mega-menu-item-2231'><a class=\"mega-menu-link\" href=\"https:\/\/www.jornadaebpmg.com.br\/2021\/sexo-como-acontecimento\/\" aria-haspopup=\"true\" aria-expanded=\"false\" tabindex=\"0\">Sexo como acontecimento<span class=\"mega-indicator\"><\/span><\/a>\n<ul class=\"mega-sub-menu\">\n<li class='mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-617' id='mega-menu-item-617'><a class=\"mega-menu-link\" href=\"https:\/\/www.jornadaebpmg.com.br\/2021\/sexo-como-acontecimento\/trauma\/\">Trauma<\/a><\/li><li class='mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-616' id='mega-menu-item-616'><a class=\"mega-menu-link\" href=\"https:\/\/www.jornadaebpmg.com.br\/2021\/sexo-como-acontecimento\/heteros\/\">H\u00e9teros<\/a><\/li><li class='mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-615' id='mega-menu-item-615'><a class=\"mega-menu-link\" href=\"https:\/\/www.jornadaebpmg.com.br\/2021\/sexo-como-acontecimento\/sexuacao\/\">Sexua\u00e7\u00e3o<\/a><\/li><\/ul>\n<\/li><li class='mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-has-children mega-align-bottom-left mega-menu-flyout mega-menu-item-1342' id='mega-menu-item-1342'><a class=\"mega-menu-link\" href=\"https:\/\/www.jornadaebpmg.com.br\/2021\/o-que-faz-sintoma-para-um-corpo-nova-escrita-do-sintoma\/\" aria-haspopup=\"true\" aria-expanded=\"false\" tabindex=\"0\">O que faz sintoma para um corpo<span class=\"mega-indicator\"><\/span><\/a>\n<ul class=\"mega-sub-menu\">\n<li class='mega-menu-item mega-menu-item-type-post_type mega-menu-item-object-page mega-menu-item-619' id='mega-menu-item-619'><a class=\"mega-menu-link\" href=\"https:\/\/www.jornadaebpmg.com.br\/2021\/o-que-faz-sintoma-para-um-corpo-nova-escrita-do-sintoma\/corpo\/\">Corpo<\/a><\/li><\/ul>\n<\/li><\/ul><\/div>[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=&#8221;0&#8243; override_padding=&#8221;yes&#8221; h_padding=&#8221;2&#8243; top_padding=&#8221;0&#8243; bottom_padding=&#8221;0&#8243; back_color=&#8221;color-jevc&#8221; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; column_width_percent=&#8221;100&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column column_width_percent=&#8221;100&#8243; gutter_size=&#8221;0&#8243; back_color=&#8221;color-xsdn&#8221; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/1&#8243;][vc_empty_space empty_h=&#8221;2&#8243;][uncode_index el_id=&#8221;index-799013&#8243; isotope_mode=&#8221;fitRows&#8221; 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text_color=&#8221;color-845588&#8243;]Playlist[\/vc_custom_heading][vc_separator sep_color=&#8221;color-845588&#8243; el_height=&#8221;3px&#8221;][\/vc_column_inner][\/vc_row_inner][vc_column_text]<div\n    id=\"h5ap-player-1\"\n    data-id=\"h5ap-player-1\"\n    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   class=\"wp-block-h5ap-tailwind wp-block-h5ap-audioplayer\">\n    <\/div>[\/vc_column_text][vc_custom_heading heading_semantic=&#8221;h3&#8243; text_font=&#8221;font-185386&#8243; text_size=&#8221;h3&#8243; text_weight=&#8221;500&#8243; text_color=&#8221;color-jevc&#8221;]Rebonds A, by Iannis Xenakis[\/vc_custom_heading][vc_column_text]I\u00e1nnis Xen\u00e1kis, em grego \u0399\u03ac\u03bd\u03bd\u03b7\u03c2 \u039e\u03b5\u03bd\u03ac\u03ba\u03b7\u03c2 foi um engenheiro, arquiteto, te\u00f3rico musical e compositor grego, naturalizado franc\u00eas. \u00c9 considerado como um dos mais influentes compositores do s\u00e9culo XX. Suas composi\u00e7\u00f5es revelam uma profunda reflex\u00e3o sobre o tempo. Foi aluno de Messiaen e comp\u00f4s pe\u00e7as musicais como: Oriente Ocidente, Metastasis, Diamorfoses e in\u00fameras pe\u00e7as para percuss\u00e3o.<\/p>\n<p><em>S\u00e9rgio de Mattos<\/em>[\/vc_column_text][\/vc_column][vc_column column_width_percent=&#8221;100&#8243; gutter_size=&#8221;3&#8243; override_padding=&#8221;yes&#8221; column_padding=&#8221;2&#8243; back_color=&#8221;color-xsdn&#8221; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/2&#8243;][vc_row_inner row_inner_height_percent=&#8221;0&#8243; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;2&#8243; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;4&#8243; mobile_width=&#8221;7&#8243; css_animation=&#8221;alpha-anim&#8221; animation_speed=&#8221;300&#8243; animation_delay=&#8221;100&#8243; width=&#8221;1\/1&#8243;][vc_custom_heading heading_semantic=&#8221;h3&#8243; text_font=&#8221;font-185386&#8243; text_size=&#8221;h3&#8243; text_color=&#8221;color-845588&#8243;]Picha\u00e7\u00e3o[\/vc_custom_heading][vc_separator sep_color=&#8221;color-845588&#8243; el_height=&#8221;3px&#8221;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_inner_height_percent=&#8221;0&#8243; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column_inner column_width_percent=&#8221;100&#8243; align_horizontal=&#8221;align_center&#8221; gutter_size=&#8221;2&#8243; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/1&#8243;][vc_single_image media=&#8221;1536&#8243; media_lightbox=&#8221;yes&#8221; media_width_percent=&#8221;60&#8243; alignment=&#8221;center&#8221;][vc_custom_heading heading_semantic=&#8221;h5&#8243; text_font=&#8221;font-185386&#8243; text_size=&#8221;h5&#8243; text_color=&#8221;color-jevc&#8221;]Obra: Arthur Barreto Garrocho[\/vc_custom_heading][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_height_percent=&#8221;0&#8243; override_padding=&#8221;yes&#8221; h_padding=&#8221;2&#8243; top_padding=&#8221;0&#8243; bottom_padding=&#8221;0&#8243; back_color=&#8221;color-jevc&#8221; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; column_width_percent=&#8221;100&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column column_width_percent=&#8221;100&#8243; gutter_size=&#8221;2&#8243; back_color=&#8221;color-xsdn&#8221; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/1&#8243;][vc_row_inner row_inner_height_percent=&#8221;0&#8243; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;2&#8243; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;4&#8243; mobile_width=&#8221;7&#8243; css_animation=&#8221;alpha-anim&#8221; animation_speed=&#8221;300&#8243; animation_delay=&#8221;100&#8243; width=&#8221;1\/1&#8243;][vc_custom_heading heading_semantic=&#8221;h3&#8243; text_font=&#8221;font-185386&#8243; text_size=&#8221;h3&#8243; text_color=&#8221;accent&#8221;]Recita\u00e7\u00e3o[\/vc_custom_heading][vc_separator sep_color=&#8221;accent&#8221; el_height=&#8221;3px&#8221;][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner column_width_percent=&#8221;100&#8243; align_horizontal=&#8221;align_center&#8221; gutter_size=&#8221;3&#8243; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/1&#8243;][vc_single_image media=&#8221;1558&#8243; media_width_percent=&#8221;65&#8243; alignment=&#8221;center&#8221;][\/vc_column_inner][\/vc_row_inner][vc_empty_space empty_h=&#8221;1&#8243;][vc_row_inner row_inner_height_percent=&#8221;0&#8243; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;2&#8243; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;4&#8243; mobile_width=&#8221;7&#8243; css_animation=&#8221;alpha-anim&#8221; animation_speed=&#8221;300&#8243; animation_delay=&#8221;100&#8243; width=&#8221;1\/1&#8243;][vc_custom_heading heading_semantic=&#8221;h3&#8243; text_font=&#8221;font-185386&#8243; text_size=&#8221;h3&#8243; text_color=&#8221;color-845588&#8243;]V\u00eddeos[\/vc_custom_heading][vc_separator sep_color=&#8221;accent&#8221; el_height=&#8221;3px&#8221;][\/vc_column_inner][\/vc_row_inner][vc_empty_space empty_h=&#8221;1&#8243;][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image media=&#8221;1505&#8243; media_width_percent=&#8221;100&#8243;][vc_column_text]<strong>LEGENDAS EM PORTUGU\u00caS:<\/strong><\/p>\n<p>Em 1985, Marguerite Duras imaginava o que seriam os anos 2000. Vision\u00e1ria.<\/p>\n<p>&#8211; Eu creio que o homem estar\u00e1 literalmente imerso na informa\u00e7\u00e3o. Em uma informa\u00e7\u00e3o<br \/>\nconstante sobre seu corpo, sobre o seu futuro corporal, sobre a sua sa\u00fade, sobre a sua<br \/>\nvida familiar, sobre o seu sal\u00e1rio, sobre o seu lazer.<br \/>\n&#8211; N\u00e3o est\u00e1 longe de um pesadelo.<br \/>\n&#8211; N\u00e3o haver\u00e1 ningu\u00e9m para ler.<br \/>\n&#8211; Eles ver\u00e3o televis\u00e3o.<br \/>\n&#8211; Haver\u00e1 aparelhos em todo lugar, na cozinha, nos banheiros, nos escrit\u00f3rios, nas ruas.<br \/>\n&#8211; N\u00e3o se viajar\u00e1 mais, n\u00e3o valer\u00e1 mais a pena viajar.<br \/>\n&#8211; Quando se pode fazer a volta ao mundo em 8 dias ou 15 dias, por que faz\u00ea-lo?<br \/>\n&#8211; Na viagem, h\u00e1 o tempo da viagem. N\u00e3o \u00e9 para se ver depressa.<br \/>\n&#8211; \u00c9 ver e viver ao mesmo tempo. Viver da viagem n\u00e3o ser\u00e1 mais poss\u00edvel.<br \/>\n&#8211; Restar\u00e1 o mar de todo modo, os oceanos.<br \/>\n&#8211; E tamb\u00e9m a leitura. As pessoas v\u00e3o redescobrir a leitura.<br \/>\n&#8211; Um homem, um dia ler\u00e1, ent\u00e3o, e depois, tudo recome\u00e7ar\u00e1&#8230;<\/p>\n<p>Tradu\u00e7\u00e3o: <em>Helenice de Castro<\/em><br \/>\nRevis\u00e3o : <em>M\u00e1rcia Bandeira<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_custom_heading heading_semantic=&#8221;h3&#8243; text_font=&#8221;font-185386&#8243; text_size=&#8221;h3&#8243; text_weight=&#8221;500&#8243; text_color=&#8221;color-jevc&#8221;]Apresenta\u00e7\u00e3o do v\u00eddeo de Marguerite Duras[\/vc_custom_heading][vc_column_text]Se o artista sempre precede o psicanalista, encontramos nesta entrevista concedida por Marguerite Duras em 1985, uma surpreendente antecipa\u00e7\u00e3o de como seria a vida no s\u00e9culo XXI.<\/p>\n<p>Como n\u00e3o remeter \u201c\u00e0 literalidade da imers\u00e3o do corpo na informa\u00e7\u00e3o\u201d, vislumbrada por Duras h\u00e1 36 anos, \u00e0 constante presen\u00e7a da internet e das redes sociais na produ\u00e7\u00e3o dos fen\u00f4menos de corpo contempor\u00e2neos?<\/p>\n<p>Se a escritora prev\u00ea t\u00e3o bem os modos de gozo futuros, n\u00e3o podemos deixar de lembrar que \u00e9 tamb\u00e9m na homenagem que Lacan lhe faz que o sintagma \u201cpr\u00e1tica da letra\u201d aparecer\u00e1 em seu ensino pela primeira e \u00fanica vez.<\/p>\n<p>A 25a Jornada da EBP-MG, portanto, nos convida a testemunhar como a experi\u00eancia anal\u00edtica lida com os desafios de uma cl\u00ednica cada vez mais pr\u00f3xima do territ\u00f3rio da letra e da escrita, no qual cabe ao analista o lugar de supor saber ler de outro modo o sintoma.<\/p>\n<p>Que a arte arrebatadora de Marguerite Duras e o que Lacan leu dos escritos dessa artista nos sirvam de b\u00fassola nesse percurso.<\/p>\n<p><em>Helenice de Castro<\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_separator sep_color=&#8221;accent&#8221; el_height=&#8221;3px&#8221;][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image media=&#8221;1627&#8243; media_width_percent=&#8221;100&#8243;][vc_column_text]<strong>O CORPO<\/strong><br \/>\n<em>(Arnaldo Antunes)<\/em><\/p>\n<p>O corpo existe e pode ser pego.<br \/>\n\u00c9 suficientemente opaco para que se possa v\u00ea-lo.<br \/>\nSe ficar olhando anos voc\u00ea pode ver crescer o cabelo.<br \/>\nO corpo existe porque foi feito.<br \/>\nPor isso tem um buraco no meio.<br \/>\nO corpo existe, dado que exala cheiro.<br \/>\nE em cada extremidade existe um dedo.<br \/>\nO corpo se cortado espirra um l\u00edquido vermelho.<br \/>\nO corpo tem algu\u00e9m como recheio.<\/p>\n<p>Fonte: <a href=\"https:\/\/www.lyrikline.org\/pt\/poemas\/o-corpo-5640\">https:\/\/www.lyrikline.org\/pt\/poemas\/o-corpo-5640<\/a>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_custom_heading heading_semantic=&#8221;h3&#8243; text_font=&#8221;font-185386&#8243; text_size=&#8221;h3&#8243; text_weight=&#8221;500&#8243; text_color=&#8221;color-jevc&#8221;]Coment\u00e1rio sobre o poema<br \/>\nO Corpo de Arnaldo Antunes[\/vc_custom_heading][vc_column_text]Na contemporaneidade, s\u00e3o muitas as formas de manifesta\u00e7\u00e3o da incid\u00eancia de <em>lal\u00edngua<\/em> no corpo, em um escape dessa inscri\u00e7\u00e3o imagin\u00e1ria que toma como refer\u00eancia a cadeia significante. De alguma maneira, o que testemunham os analistas, s\u00e3o modos singulares de inven\u00e7\u00e3o do corpo pr\u00f3prio que, se existe, \u201cexiste porque foi feito\u201d, em uma inven\u00e7\u00e3o do ser falante, inven\u00e7\u00e3o esta sempre singular. Arnaldo Antunes nos indica um corpo opaco, ao qual algo falta, ao encontro do que nos ensinou Lacan, que nenhum sujeito da linguagem escapa a essa opacidade, e por isso inventamos formas de lidar com esse \u201cburaco no meio\u201d, seja pela fantasia, pelo del\u00edrio ou pelo ato. E \u00e9 nas veredas da manufatura de um corpo para si que o sujeito o inventa. Os autistas, em especial, nos possibilitam, como Bay\u00f3n (2020) nos ajuda a pensar, vislumbrar mais de perto, se assim posso dizer, os efeitos de <em>lal\u00edngua<\/em> sobre o corpo. O sujeito autista, especificamente, n\u00e3o conseguiria afastar-se desse ponto de gozo prim\u00e1rio e, sem o recurso do significante que possibilita uma extra\u00e7\u00e3o de gozo, busca, em um sentido fixado, em um signo, fazer uma borda ao corpo que, embora por vezes n\u00e3o pare\u00e7a, \u201ctem algu\u00e9m como recheio\u201d, um sujeito suposto pelo analista que o escuta e que por ele se deixa guiar.<\/p>\n<p><em>C\u00e9sar Rota Jr.<\/em><\/p>\n<p><strong>Refer\u00eancias<\/strong><\/p>\n<p>BAY\u00d3N, Patr\u00edcio \u00c1lvares. El autismo, entre lalengua y la letra. Ol\u00edvios: Grama Ediciones, 2020.[\/vc_column_text][vc_button button_color=&#8221;accent&#8221; border_width=&#8221;0&#8243; link=&#8221;url:https%3A%2F%2Fwww.jornadaebpmg.com.br%2F2021%2Fwp-content%2Fuploads%2F2021%2F08%2FECOS3%E2%80%93contibuic%CC%A7a%CC%83o-Cesar-ROTA.pdf|target:_blank&#8221;]ABRIR EM PDF[\/vc_button][\/vc_column_inner][\/vc_row_inner][vc_separator sep_color=&#8221;accent&#8221; el_height=&#8221;3px&#8221;][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image media=&#8221;1503&#8243; media_width_percent=&#8221;100&#8243;][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_custom_heading heading_semantic=&#8221;h3&#8243; text_font=&#8221;font-185386&#8243; text_size=&#8221;h3&#8243; text_weight=&#8221;500&#8243; text_color=&#8221;color-jevc&#8221;]Apresenta\u00e7\u00e3o de Kh\u00e2t[\/vc_custom_heading][vc_column_text]Harada Shodo Roshi, monge do ramo Rinzai, mostra o Kh\u00e2t, a \u201c eructa\u00e7\u00e3o\u201d, o ato que Lacan conheceu atrav\u00e9s de Demi\u00e9ville.<\/p>\n<p>Professor de l\u00ednguas orientais e tradutor das \u201c entrevistas de Lin-Tsi\u201d,parece estar na fonte das interven\u00e7\u00f5es impactantes que impressionaram Lacan em seu uso pr\u00f3prio do Zen.<\/p>\n<p><em>S\u00e9rgio de Mattos<\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space empty_h=&#8221;2&#8243;][\/vc_column][\/vc_row][vc_row row_height_percent=&#8221;0&#8243; override_padding=&#8221;yes&#8221; h_padding=&#8221;2&#8243; top_padding=&#8221;0&#8243; bottom_padding=&#8221;0&#8243; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; column_width_percent=&#8221;100&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243; row_name=&#8221;ecolalias&#8221;][vc_column column_width_percent=&#8221;100&#8243; gutter_size=&#8221;0&#8243; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/1&#8243;][vc_row_inner row_inner_height_percent=&#8221;0&#8243; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column_inner column_width_percent=&#8221;100&#8243; position_vertical=&#8221;bottom&#8221; gutter_size=&#8221;3&#8243; back_color=&#8221;color-108401&#8243; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; css_animation=&#8221;bottom-t-top&#8221; animation_speed=&#8221;300&#8243; width=&#8221;1\/1&#8243;][vc_empty_space empty_h=&#8221;2&#8243;][vc_custom_heading heading_semantic=&#8221;h1&#8243; text_font=&#8221;font-185386&#8243; text_size=&#8221;h1&#8243; text_color=&#8221;color-xsdn&#8221;]Bibliografia[\/vc_custom_heading][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_height_percent=&#8221;0&#8243; override_padding=&#8221;yes&#8221; h_padding=&#8221;2&#8243; top_padding=&#8221;0&#8243; bottom_padding=&#8221;0&#8243; back_color=&#8221;color-jevc&#8221; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; column_width_percent=&#8221;100&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column column_width_percent=&#8221;100&#8243; gutter_size=&#8221;2&#8243; back_color=&#8221;color-xsdn&#8221; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/1&#8243;][vc_empty_space empty_h=&#8221;1&#8243;][uncode_index el_id=&#8221;index-799013&#8243; isotope_mode=&#8221;fitRows&#8221; loop=&#8221;size:2|order_by:date|post_type:post|categories:52|taxonomy_count:10&#8243; gutter_size=&#8221;3&#8243; post_items=&#8221;media|featured|onpost|original,date,title,text|excerpt,sep-one|full,link|default|small_size|Leia mais&#8221; screen_lg=&#8221;1000&#8243; screen_md=&#8221;600&#8243; screen_sm=&#8221;480&#8243; single_text=&#8221;lateral&#8221; single_width=&#8221;11&#8243; images_size=&#8221;one-one&#8221; single_image_size=&#8221;3&#8243; single_overlay_color=&#8221;color-108401&#8243; single_overlay_blend=&#8221;multiply&#8221; single_overlay_opacity=&#8221;50&#8243; single_image_anim=&#8221;no&#8221; single_vertical_text=&#8221;middle&#8221; single_padding=&#8221;3&#8243; single_title_family=&#8221;font-185386&#8243; single_title_dimension=&#8221;h3&#8243; single_title_weight=&#8221;500&#8243; custom_order=&#8221;yes&#8221; order_ids=&#8221;697,692,670,696,693,694,695,956,728,727&#8243; el_class=&#8221;botao-salmao&#8221;][vc_empty_space][vc_separator sep_color=&#8221;color-108401&#8243; el_height=&#8221;3px&#8221;][vc_empty_space][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image media=&#8221;1507&#8243; media_width_percent=&#8221;100&#8243; alignment=&#8221;center&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_custom_heading heading_semantic=&#8221;h3&#8243; text_font=&#8221;font-185386&#8243; text_size=&#8221;h3&#8243; text_weight=&#8221;500&#8243; text_color=&#8221;color-jevc&#8221;]Projeto AE N\u00e9 Trem L\u00e1 Vem Bibli Uai[\/vc_custom_heading][vc_column_text]<strong>Comiss\u00e3o de Bibliografia da XXV Jornada \u2013 EBP-MG <\/strong>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_inner_height_percent=&#8221;0&#8243; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;2&#8243; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;4&#8243; mobile_width=&#8221;7&#8243; css_animation=&#8221;alpha-anim&#8221; animation_speed=&#8221;300&#8243; animation_delay=&#8221;100&#8243; width=&#8221;1\/1&#8243;][vc_custom_heading heading_semantic=&#8221;h3&#8243; text_font=&#8221;font-185386&#8243; text_size=&#8221;h3&#8243; text_color=&#8221;color-108401&#8243;]Cita\u00e7\u00f5es[\/vc_custom_heading][vc_separator sep_color=&#8221;color-108401&#8243; el_height=&#8221;3px&#8221;][\/vc_column_inner][\/vc_row_inner][vc_empty_space empty_h=&#8221;1&#8243;][vc_row_inner row_inner_height_percent=&#8221;0&#8243; overlay_alpha=&#8221;50&#8243; equal_height=&#8221;yes&#8221; gutter_size=&#8221;0&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;3&#8243; override_padding=&#8221;yes&#8221; column_padding=&#8221;2&#8243; back_color=&#8221;color-108401&#8243; overlay_color=&#8221;color-xsdn&#8221; overlay_alpha=&#8221;80&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/3&#8243;][vc_single_image media=&#8221;1579&#8243; media_width_percent=&#8221;100&#8243;][vc_empty_space empty_h=&#8221;5&#8243; mobile_visibility=&#8221;yes&#8221;][vc_empty_space empty_h=&#8221;5&#8243; mobile_visibility=&#8221;yes&#8221;][vc_single_image media=&#8221;1580&#8243; media_width_percent=&#8221;100&#8243; el_class=&#8221;imagem-desk&#8221;][vc_empty_space empty_h=&#8221;5&#8243; mobile_visibility=&#8221;yes&#8221;][vc_empty_space empty_h=&#8221;5&#8243; mobile_visibility=&#8221;yes&#8221;][vc_single_image media=&#8221;1578&#8243; media_width_percent=&#8221;100&#8243; el_class=&#8221;imagem-desk&#8221;][\/vc_column_inner][vc_column_inner column_width_percent=&#8221;90&#8243; gutter_size=&#8221;3&#8243; override_padding=&#8221;yes&#8221; column_padding=&#8221;2&#8243; back_color=&#8221;color-108401&#8243; overlay_color=&#8221;color-xsdn&#8221; overlay_alpha=&#8221;80&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;2\/3&#8243;][vc_custom_heading heading_semantic=&#8221;h5&#8243; text_size=&#8221;h5&#8243;]LACAN, J. <strong>O semin\u00e1rio, livro 20<\/strong>: mais ainda, 1972\/1973. Rio de Janeiro: Jorge Zahar, 2008.[\/vc_custom_heading][vc_column_text]<\/p>\n<blockquote><p>\u201cO budismo, este \u00e9 o exemplo trivial por sua ren\u00fancia ao pr\u00f3prio pensamento. O que h\u00e1 de melhor no budismo \u00e9 o Zen, e o Zen consiste nisto: em te responder com um mugido, meu amiguinho. \u00c9 o que h\u00e1 de melhor quando se quer naturalmente sair desse neg\u00f3cio infernal, como dizia Freud.\u201d (LACAN, 2008, p. 123)<\/p><\/blockquote>\n<p>[\/vc_column_text][vc_custom_heading heading_semantic=&#8221;h5&#8243; text_size=&#8221;h5&#8243;]LACAN, J. <strong>O semin\u00e1rio, livro 24<\/strong>:\u00a0 L\u2019insu que sait de l\u2019une b\u00e9vue&#8230; (1976-1977). Li\u00e7\u00e3o de 18 de abril de 1977. (In\u00e9dito)[\/vc_custom_heading][vc_column_text]<\/p>\n<blockquote><p>\u201cO sentido isso tampona, mas com ajuda daquilo que se chama escritura po\u00e9tica, voc\u00eas poderiam ter a dimens\u00e3o do que poderia ser a interpreta\u00e7\u00e3o anal\u00edtica. \u00c9 absolutamente certo que a escritura n\u00e3o \u00e9 aquilo pelo que a poesia, a resson\u00e2ncia do corpo se exprime.\u201d (LACAN, Semin\u00e1rio 24, Li\u00e7\u00e3o de 18 de abril de 1977)<\/p><\/blockquote>\n<p>[\/vc_column_text][vc_custom_heading heading_semantic=&#8221;h5&#8243; text_size=&#8221;h5&#8243;]LAURENT, \u00c9. Vig\u00eancias de tr\u00eas exig\u00eancias deduzidas dos ensinamentos de Lacan sobre as psicoses. <em>In<\/em>: <strong>Vers\u00f5es da cl\u00ednica psicanal\u00edtica<\/strong>. Rio de Janeiro: Jorge Zahar, 1995.[\/vc_custom_heading][vc_column_text]<\/p>\n<blockquote><p>\u201cA psican\u00e1lise tem em comum com o budismo o fato de que n\u00e3o estamos<br \/>\nna psican\u00e1lise para falar; sabemos, por experi\u00eancia, que cada um de n\u00f3s fala<br \/>\npara, no final, encontrar a paz de se calar. Se \u00e9 preciso fazer esfor\u00e7os para falar,<br \/>\n\u00e9 para, no final, podermo-nos situar num ponto onde, o que existe, n\u00e3o s\u00e3o<br \/>\npalavras, mas uma resposta que, para os neur\u00f3ticos, \u00e9 a resposta do gozo. E<br \/>\nnesse lugar est\u00e1, como sublinha Lacan, a paz, a justifica\u00e7\u00e3o para o tormento que<br \/>\n\u00e9 falar. No final, algo que n\u00e3o \u00e9 um outro significante vem responder ao nosso<br \/>\nchamado, porque tudo o que um outro significante produz \u00e9 o rein\u00edcio do ciclo<br \/>\ninfernal.\u201d (LAURENT, 1995, p. 119)<\/p><\/blockquote>\n<p>[\/vc_column_text][vc_custom_heading heading_semantic=&#8221;h5&#8243; text_size=&#8221;h5&#8243;]LAURENT, \u00c9. Pol\u00edtica do passe e identifica\u00e7\u00e3o dessegregativa.<strong> Op\u00e7\u00e3o Lacaniana<\/strong>, Rio de Janeiro, n. 82, p.47-57-, abr. 2020.[\/vc_custom_heading][vc_column_text]<\/p>\n<blockquote><p>\u201c[&#8230;] o analista s\u00f3 interpreta porque faz parte do inconsciente e se faz o produto de sua opera\u00e7\u00e3o.\u201d (LAURENT, 2020, p. 47)<\/p><\/blockquote>\n<p>[\/vc_column_text][vc_custom_heading heading_semantic=&#8221;h5&#8243; text_size=&#8221;h5&#8243;]MILLER, J-A. O inconsciente e o corpo falante. <strong>Portal Associa\u00e7\u00e3o Mundial de Psican\u00e1lise, <\/strong>[<em>s. l.<\/em>], 30 set. 2014. Dispon\u00edvel em: <a href=\"https:\/\/www.wapol.org\/pt\/articulos\/Template.asp?intTipoPagina=4&amp;intPublicacion=13&amp;intEdicion=9&amp;intIdiomaPublicacion=9&amp;intArticulo=2742&amp;intIdiomaArticulo=9\">CLIQUE AQUI<\/a>.\u00a0 Acesso em: 21 jun. 2021.[\/vc_custom_heading][vc_column_text]<\/p>\n<blockquote><p>\u201cEssa met\u00e1fora, a substitui\u00e7\u00e3o do inconsciente freudiano pelo <em>falasser <\/em>lacaniano, fixa um lampejo. Proponho tom\u00e1-la como \u00edndice do que muda na psican\u00e1lise no s\u00e9culo XXI, quando ela deve levar em conta outra ordem simb\u00f3lica e outro real diferentes daqueles sobre os quais ela se estabelecera.\u201d (MILLER, 2014, [<em>s. p.<\/em>])<\/p><\/blockquote>\n<p>[\/vc_column_text][vc_column_text]<\/p>\n<blockquote><p>\u201cEm contrapartida, o<em> sinthoma<\/em> de um <em>falasse<\/em>r \u00e9 um acontecimento de corpo, uma emerg\u00eancia de gozo. O corpo em quest\u00e3o, ali\u00e1s, nada diz [&#8230;].\u201d (MILLER, 2014, [ <em>s .p<\/em>.])<\/p><\/blockquote>\n<p>[\/vc_column_text][vc_column_text]<\/p>\n<blockquote><p>\u201cNa \u00e9poca do <em>falasser<\/em>, digamos a verdade, analisa-se qualquer um. Analisar o <em>falasser <\/em>demanda jogar uma partida entre del\u00edrio, debilidade e tapea\u00e7\u00e3o.\u201d (MILLER, 2014, [ <em>s .p<\/em>.])<\/p><\/blockquote>\n<p>[\/vc_column_text][vc_custom_heading heading_semantic=&#8221;h5&#8243; text_size=&#8221;h5&#8243;]MILLER, J-A. (1995-1996) <strong>La fuga del sentido<\/strong>: Los cursos psicoanal\u00edticos de Jacques-Alain Miller. Buenos Aires: Paid\u00f3s, 2012.[\/vc_custom_heading][vc_column_text]<\/p>\n<blockquote><p>\u201cSi la interpretaci\u00f3n anal\u00edtica es aquello por lo cual se asegura lo real, entonces es del orden de la formalizaci\u00f3n, en la medida en que solo la formalizaci\u00f3n matem\u00e1tica alcanza un real. Es eso lo que Lacan explica. Eso implica que la interpretaci\u00f3n anal\u00edtica se hace, como la formalizaci\u00f3n, al contrario del sentido.\u201d (MILLER, 2012, p. 158)<\/p><\/blockquote>\n<p>[\/vc_column_text][vc_column_text]<\/p>\n<blockquote><p>\u201cEn \u2018R.S.I\u2019 Lacan eligi\u00f3 el significante divorciado del significado, y casado, si puedo decirlo, con el goce. Toda la construcci\u00f3n que da a ese momento consiste en decir que el inconsciente es relativo a lo simb\u00f3lico y que el significante tiene esencialmente efectos de goce.\u00a0 El sentido est\u00e1 en otra dimensi\u00f3n, est\u00e1 en lo imaginario.\u201d (MILLER, 2012, p. 274)<\/p><\/blockquote>\n<p>[\/vc_column_text][vc_custom_heading heading_semantic=&#8221;h5&#8243; text_size=&#8221;h5&#8243;]MILLER, J- A. A er\u00f3tica do tempo. Rio de Janeiro: Escola Brasileira de Psican\u00e1lise, 2000.[\/vc_custom_heading][vc_column_text]<\/p>\n<blockquote><p>\u201cCom a interpreta\u00e7\u00e3o do acontecimento o ponto de infinito cessa de n\u00e3o se escrever. [&#8230;] o acontecimento s\u00f3 se inscreve sobre o fundo de imposs\u00edvel, nunca sobre o fundo de poss\u00edvel. [&#8230;] O que \u00e9 da ordem do acontecimento propriamente dito \u00e9 o que n\u00e3o poderia ocorrer, ou seja, tudo aquilo que sai do c\u00edrculo do poss\u00edvel. Esse \u00e9 o sentido preciso que Lacan d\u00e1 a conting\u00eancia.\u201d (MILLER, 2000, p. 59)<\/p><\/blockquote>\n<p>[\/vc_column_text][vc_custom_heading heading_semantic=&#8221;h5&#8243; text_size=&#8221;h5&#8243;]BARTHES, R. Uma problem\u00e1tica do sentido. <em>In<\/em>:\u00a0 <strong>In\u00e9ditos vol. 1<\/strong>: <strong>Teoria.<\/strong> S\u00e3o Paulo: Martins Fontes, 2004. p. 104-138.[\/vc_custom_heading][vc_column_text]<\/p>\n<blockquote><p>\u201cUma terceira forma de regime do sentido seria um regime de assemia, ou seja, aus\u00eancia do sentido, ou melhor, de isen\u00e7\u00e3o de sentido. [&#8230;] isen\u00e7\u00e3o de sentido \u00e9, portanto, um estado do sentido infinitamente mais dif\u00edcil de realizar, \u00e9 uma esp\u00e9cie de vazio do sentido, ou melhor, o sentido lido como vazio.\u201d (BARTHES, 2004, p. 117)<\/p><\/blockquote>\n<p>[\/vc_column_text][vc_column_text]<em>por Rodrigo Almeida<\/em>[\/vc_column_text][vc_button button_color=&#8221;color-108401&#8243; border_width=&#8221;0&#8243; link=&#8221;url:https%3A%2F%2Fwww.jornadaebpmg.com.br%2F2021%2Fwp-content%2Fuploads%2F2021%2F08%2FECOS3%E2%80%93citac%CC%A7o%CC%83es-Rodrigo-ALMEIDA.pdf|target:_blank&#8221;]ABRIR EM PDF[\/vc_button][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_inner_height_percent=&#8221;0&#8243; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;2&#8243; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;4&#8243; mobile_width=&#8221;7&#8243; css_animation=&#8221;alpha-anim&#8221; animation_speed=&#8221;300&#8243; animation_delay=&#8221;100&#8243; width=&#8221;1\/1&#8243;][vc_custom_heading heading_semantic=&#8221;h3&#8243; text_font=&#8221;font-185386&#8243; text_size=&#8221;h3&#8243; text_color=&#8221;color-108401&#8243;]Cita\u00e7\u00e3o comentada[\/vc_custom_heading][vc_separator sep_color=&#8221;color-108401&#8243; el_height=&#8221;3px&#8221;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_inner_height_percent=&#8221;0&#8243; overlay_alpha=&#8221;50&#8243; equal_height=&#8221;yes&#8221; gutter_size=&#8221;0&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column_inner column_width_percent=&#8221;100&#8243; gutter_size=&#8221;3&#8243; override_padding=&#8221;yes&#8221; column_padding=&#8221;2&#8243; back_color=&#8221;color-108401&#8243; overlay_color=&#8221;color-xsdn&#8221; overlay_alpha=&#8221;80&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/3&#8243;][vc_single_image media=&#8221;1571&#8243; media_width_percent=&#8221;100&#8243;][\/vc_column_inner][vc_column_inner column_width_percent=&#8221;90&#8243; gutter_size=&#8221;3&#8243; override_padding=&#8221;yes&#8221; column_padding=&#8221;2&#8243; back_color=&#8221;color-108401&#8243; overlay_color=&#8221;color-xsdn&#8221; overlay_alpha=&#8221;80&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;2\/3&#8243;][vc_custom_heading heading_semantic=&#8221;h5&#8243; text_size=&#8221;h5&#8243;]LACAN, J. <strong>O semin\u00e1rio, livro 20<\/strong>: mais ainda, 1972\/1973. Rio de Janeiro: Jorge Zahar, 2008.[\/vc_custom_heading][vc_column_text]<\/p>\n<blockquote><p><em>Es la confianza en una utilidad indirecta, una utilidad misteriosa, una causalidad que nos costar\u00eda mucho<\/em> <em>detallar, una causalidad acerca de la cual<\/em> <em>ignoramos por qu\u00e9 canales pasa, pero que en<\/em><em>definitiva se impone. [&#8230;]<\/em><em>En este sentido, una sesi\u00f3n de an\u00e1lisis siempre es<\/em><em>un esfuerzo de poes\u00eda, un espacio de poes\u00eda que el sujeto se reserva en medio de una existencia, la suya [<\/em><em>.<\/em><em>.<\/em><em>.].<\/em><a href=\"#_ftn1\" name=\"_ftnref1\">[1]<\/a><\/p>\n<p>&nbsp;<\/p><\/blockquote>\n<p>A poesia na psican\u00e1lise tem rela\u00e7\u00e3o com a <em>poi\u00e9sis<\/em>, com a cria\u00e7\u00e3o. Como nos diz Graciela Brodsky, o esfor\u00e7o de poesia na psican\u00e1lise n\u00e3o est\u00e1 em converter a fala em verso, ou dizer coisas belas a um analisante. Na orienta\u00e7\u00e3o lacaniana, a poesia est\u00e1 mais pr\u00f3xima de um <em>Witz<\/em> do que dos versos alexandrinos,<a href=\"#_ftn2\" name=\"_ftnref2\">[2]<\/a> com sua m\u00e9trica rigorosa que guarda o mesmo ritmo em sua versifica\u00e7\u00e3o. A interpreta\u00e7\u00e3o como instrumento do psicanalista surge nesse sentido em fazer ressoar outra coisa que est\u00e1 al\u00e9m do sentido comum.<\/p>\n<p>Se \u201ca interpreta\u00e7\u00e3o \u00e9 um dizer que visa o corpo falante para produzir nele um acontecimento\u201d,<a href=\"#_ftn3\" name=\"_ftnref3\">[3]<\/a> cabe ao analista um saber-fazer: fazer um uso da t\u00e9cnica da interpreta\u00e7\u00e3o, como um <em>flash<\/em> que visa ao real sem a ele se aderir, em que, ao acolher o <em>falasser<\/em> em seus modos de gozo, \u00e9 preciso localizar os acontecimentos que determinam seu sintoma. A condu\u00e7\u00e3o de uma an\u00e1lise seria um esfor\u00e7o po\u00e9tico, em que a partida que se joga \u00e9 feita por sil\u00eancios e palavras recolhidas do que ressoa de mais singular em cada ser falante.<\/p>\n<p><em>Rodrigo Almeida<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\">[1]<\/a> MILLER, J- A. <strong>Un esfuerzo de poes\u00eda<\/strong>. Paid\u00f3s: Buenos Aires, 2002-2003. p.160.<\/p>\n<p><a href=\"#_ftnref2\" name=\"_ftn2\">[2]<\/a> BAUDINI, S. Entrevista a Graciela Brodsky. <strong>Virtualia<\/strong>, [<em>s. l.<\/em>], n. 8, ano 2, jul. 2003. Dispon\u00edvel em: <a href=\"http:\/\/www.revistavirtualia.com\/articulos\/673\/virtualia-pregunta\/accion-lacaniana\">CLIQUE AQUI<\/a>. Acesso: 21 jun. 2021.<\/p>\n<p><a href=\"#_ftnref3\" name=\"_ftn3\">[3]<\/a> MILLER, J-A. O inconsciente e o corpo falante. <strong>Portal Associa\u00e7\u00e3o Mundial de Psican\u00e1lise, <\/strong>[<em>s. l.<\/em>], 30 set. 2014. Dispon\u00edvel em: <a href=\"https:\/\/www.wapol.org\/pt\/articulos\/Template.asp?intTipoPagina=4&amp;intPublicacion=13&amp;intEdicion=9&amp;intIdiomaPublicacion=9&amp;intArticulo=2742&amp;intIdiomaArticulo=9\">CLIQUE AQUI<\/a>. Acesso em: 21 jun. 2021.[\/vc_column_text][vc_button button_color=&#8221;color-108401&#8243; border_width=&#8221;0&#8243; link=&#8221;url:https%3A%2F%2Fwww.jornadaebpmg.com.br%2F2021%2Fwp-content%2Fuploads%2F2021%2F08%2FECOS3%E2%80%93citac%CC%A7a%CC%83o-Rodrigo-ALMEIDA.pdf|target:_blank&#8221;]ABRIR EM PDF[\/vc_button][\/vc_column_inner][\/vc_row_inner][vc_empty_space empty_h=&#8221;1&#8243;][\/vc_column][\/vc_row][vc_row row_height_percent=&#8221;0&#8243; override_padding=&#8221;yes&#8221; h_padding=&#8221;2&#8243; top_padding=&#8221;0&#8243; bottom_padding=&#8221;0&#8243; back_color=&#8221;color-jevc&#8221; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; column_width_percent=&#8221;100&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column column_width_percent=&#8221;100&#8243; gutter_size=&#8221;2&#8243; style=&#8221;dark&#8221; back_color=&#8221;color-104936&#8243; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; shift_y_down=&#8221;0&#8243; z_index=&#8221;0&#8243; medium_width=&#8221;0&#8243; mobile_width=&#8221;0&#8243; width=&#8221;1\/1&#8243;][vc_custom_heading heading_semantic=&#8221;h3&#8243; text_font=&#8221;font-185386&#8243; text_size=&#8221;h3&#8243; text_color=&#8221;color-xsdn&#8221;]Agradecimento[\/vc_custom_heading][vc_column_text]<strong>Nossos agradecimentos a Miguel Gontijo pelo uso das imagens que ilustram Ecos #3. Apresenta-lo \u00e9 desperd\u00edcio de palavras. N\u00e3o apenas por ele ser um artista de renome internacional e ganhador de pr\u00eamios. A quest\u00e3o radica em que, a cada obra \u2013 escrita ou pintada &#8211; ele se apresenta de tal forma surpreendente que j\u00e1 n\u00e3o \u00e9 ele.<\/strong><\/p>\n<p><strong>Nem seu avesso, nem seu direito. Outro. Para n\u00e3o ser entendido, sequer diz\u00edvel.\\<\/strong><\/p>\n<p><strong>Melhor repeti-lo:<\/strong><\/p>\n<blockquote><p><strong>\u201cQuando termino meu quadro, desligo a luz, dou as costas e ele fala por mim. Sei que ele me trai.&#8221;<\/strong><\/p><\/blockquote>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<div id=\"read_unread\"><\/div>","protected":false},"excerpt":{"rendered":"<p>[vc_row row_height_percent=&#8221;0&#8243; override_padding=&#8221;yes&#8221; h_padding=&#8221;2&#8243; top_padding=&#8221;0&#8243; bottom_padding=&#8221;0&#8243; back_color=&#8221;color-jevc&#8221; overlay_alpha=&#8221;50&#8243; gutter_size=&#8221;3&#8243; column_width_percent=&#8221;100&#8243; shift_y=&#8221;0&#8243; z_index=&#8221;0&#8243;][vc_column column_width_percent=&#8221;100&#8243; gutter_size=&#8221;0&#8243; override_padding=&#8221;yes&#8221; column_padding=&#8221;0&#8243; back_color=&#8221;color-xsdn&#8221; overlay_alpha=&#8221;50&#8243; shift_x=&#8221;0&#8243; shift_y=&#8221;0&#8243; [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":176,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"h5ap_radio_sources":[],"footnotes":""},"class_list":["post-1457","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v18.5.1 - 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