Thèse soutenue

Tragique et comique dans la psychanalyse : questions de poétique

Auteur / Autrice : Evangelia Tsoni
Direction : Pierre NaveauGérard Miller
Type : Thèse de doctorat
Discipline(s) : Psychanalyse
Date : Soutenance en 2014
Etablissement(s) : Paris 8
Ecole(s) doctorale(s) : École doctorale Pratiques et théories du sens (Saint-Denis, Seine-Saint-Denis ; 1992-....)


FR  |  

“Life is not tragic, it is comic and it is nevertheless rather curious that Freud should have found nothing better than to designate by the Oedipus complex, namely, by a tragedy, what is at stake in the affair”, remarks Lacan in the very last years of his Seminar, pointing out hermetically that “what is important in the sexual, is the comic”. It is this phrase that we place at the heart of our work – an attempt to elucidate the passage that Lacan proposes, from the tragic register, prevalent in Freud, to another register that is close enough to writing and the comic scene. Our intention is thus to question the ties of poetics and psychoanalysis. It is common knowledge that psychoanalysis comes into being through a technique of ancient tragedy, catharsis, and is founded on the complexes incarnated by Oedipus the tragic hero. According to the freudian guidelines, psychoanalysis develops with the contribution of processes enacted in the theater, and in the shade of the dramatic dimension of the human scene: the other scene of fantasy, love and death. For his part Lacan explains that the analyst places at the core of his discourse the symbol par excellence of ancient comedy, namely the phallus. He establishes the ethics of act and desire, distinctive characteristics of a tragic heroine, enriching them in the end with the ethics of ‘speaking-well’, which includes the laughter of the saint and the gay sçavoir. And yet one cannot help remembering that psychoanalysis implies from birth the advent of poetics: it refers to a work of writing and focuses on the literary quality of words and the theatrical appearance of the symptoms of the neurotic – this “private theater of the hysteric”, “the indubitable poet”, according to the Father of psychoanalysis.