Fiorangela consideration is Professor of Psychology in the Faculty of Arts, University of Salerno. It has always dealt with theoretical and epistemological issues concerning the relationship between the sciences and the creative arts. In the specific context of the psychoanalytic theories studied in particular the thought of Ignacio Matte Blanco's theoretical bi-logic, on issues that concern the study of the links between rational thought and emotional thought, and related forms of knowledge. As regards the influence of emotions on cognitive processes has explored issues related to the field of art and literature in the light of aesthetic styles and different poetic. Among his most recent works: the two volumes edited by Anna Gorres in 2004 mind and thought. Meetings with the work of WR Bion premium (degrees) and Emotions between cognitivism and psychoanalysis , 'Emotions and survivors: the origin and the consciousness of time "(2007); In the gardens of literature (2009) , "Time, consciousness, the ecstasy" (2010).
pretext of my meeting with the researcher (who lives in Rome), the recent publication (at Anterem editions) of his first poetry collection, entitled
addition (with gestures of signs of Nelio Sonego).
consideration, we start just with the title: What do you suggest "further"? also add that it is an adverb here is intentionally not used in its specific value, but as a pure signifier, removed from ordinary language and used to indicate the independence of poetic language from the context of reality, but also, on the contrary , its connection with a real potential, which is not, is not represented, nor can be described and shared in the customary forms of speech communication. That said,
can also be regarded as a criterion of generative infinite variations on the uninterrupted flow and indistinct language, within which only can be the translation and the original deployment of the homogeneous which is the basis of all creation and the more poetic language.
She mainly studied the relationship of psychoanalysis to the philosophy and the sciences, and, in general, is interested in the connections between art and science. What place in this context its poetic experience? And when he discovered the need to speak poetically? I raised several times in my scientific work the vexed question of the place of psychoanalysis in science or in that of the hermeneutic disciplines that, in my opinion, should be resolved in than that for the position. The misunderstanding that has led to numerous disputes over the science of psychoanalysis began with the finding that the statements of psychoanalysis can not be verified experimentally and are therefore not falsifiable in terms of the logic of science in general. According to this argument, attributed to Georges Politzer, Karl Raimund Popper and Adolf Grünbaum, psychoanalysis would not be classified as science. But the statements of psychoanalysis does not belong to the world the "truth" in the sense of science. They lie, if ever, in the forms of 'truth' complex, presumed, probable, partial arguments and mutable, what are all those from the production of sense whose reference concepts are not convertible into operational definitions. My interest in these two worlds, in different ways but not without fruitful communication between them (as clearly evidenced, among others, Robert Musil in his essay
knowledge of the poet), took me many years to frequent criticism literature and poetry in particular. This allowed me to experience the "make poetry" as a requirement for a way to understand, learn and express themselves (according to the line for a long time pursued by Flavio Ermini and his magazine
Anterem ) which is essentially 'other' than languages or scientific argument, but no less strictly intentional.
is a collection of poems intended for a particular audience? do not think you should think of a particular audience. After all the possible levels of interpretation of literature and the arts are different, as there are different types of readers: the reader is in fact aimed at seeking the immediate meaning to the word or to give me an emotion that , which expresses Kant, a subjective assessment according to their taste, and there is the informed reader, which captures the different levels of a write-layered structure and therefore expresses a critical assessment. In the poem, rather than the meaning (which often, especially starting from the avant-garde, is not immediately apparent, even if there is), it is important to the horizon of meaning, which is always out of reach and always postponed. I believe that what primarily accounts in the level of poetry is poetry. The poem is indeed a "feel" thoughts, a think "otherwise" that the more "poetic", the more it departs from the perception of shared reality and the use of legal language, even when it becomes a reflection on his same language. So poetic thinking must be distinguished from each mode argumentative discourse of thought, while they must communicate with every other form of poetry, past and present, to be aware of where he is, what it intends to do and what he's doing. So the poem, as they thought and what writing is done mainly with consciousness, although his field of exploration is the world dell'inapparenza. In this sense poetry is paradoxical because it requires an awareness and rarefied at the same time an excess of conscience.
For Bion, the great British psychoanalyst, Bach, Milton, Beethoven were great psychoanalysts. What are the poets who believes psychoanalysts? These three great artists are rightly considered by Bion psychoanalysts in a metaphorical sense. In fact, as should happen in the analytic relationship, they capture and activate primitive emotional structures and undifferentiated, and syncretic prepercettive, deployment and translating them into legal language of words and music, and thus making the incomprehensible comprehensible, accessible the inaccessible . From this point of view, any other great artist, may be worth the same speech.
When someone asked what it was Giuseppe Ungaretti's poetry, he replied: "Nothing" ... Do you feel in harmony with this opinion? Compared to the 'truth' of science, that somehow, in relation to the hypothesis formulated and carried out the checks, it ended at least until he can always re-opening of the poem is a "truth" always open and unfinished, that can not be recludere between before and after, and within his trespass can also get lost in 'original form by taking immediate or not decipherable, because it is addressed to what flows apparently irrelevant. His path is a function of an ontology-free speech demonstration or argument, in context, produce communications involving truth or falsity and generate systematization. Ungaretti In this sense he is right when he says that poetry does not serve "to anything." But "nothing" mentioned by Ungaretti is provocative, since it states the opposite: poetry is not "about anything" just because it is released by the utility. The return of the poem is in that unknown that poetry itself can not describe in any way, but only groped to communicate.
What is a classic for you? In answering this question it is natural to me to remember an essay by Thomas Stearns Eliot entitled, precisely, "What is a classic?" In which the notion of classic is defined primarily by reference to its historical perspective. Therefore it is necessary to go beyond the usual sense of classical identified in its value "relative", as the size and the luck of a writer as the author intended for a specific literature. A classic "absolute" is instead only for Eliot Virgil. Why Vergil? Because only Virgil, according to Eliot, he possessed that deep critical sense of the past, that is very aware of this and the complete maturity of mind and language, which characterize the classical ideal of being itself. In the analysis of Eliot, Virgil represents an extraordinary synthesis of a unique awareness and overall, the "conscience of Rome" (which is the basis of conscience of Europe), an awareness of history and consciousness be "the supreme voice of his tongue."
