[pt] Sobre o esquecimento inesquecível da voz do Outro: o objeto voz na psicanálise é uma investigação sobre o objeto voz na psicanálise. Como a voz foi elevada a estatuto de objeto pulsional por Lacan, partimos das indicações deste para esta investigação. Assim, fizemos um retorno a Freud para reconhecermos neste o que haveria de experiência com a voz até chegarmos às vozes do supereu, que é uma das bases pelas quais Lacan formulou o objeto voz; o qual não está referido à sonoridade da voz, mas à experiência subjetiva de ser acometido pelo indeterminado da pulsão invocante. Das características do objeto voz, postulamos que a mais específica seja o fato do sujeito não ter escapatória para o que comparece como voz do Outro arcaico, o que nos conduziu a conjecturar que, em relação a outros objetos, a experiência com o objeto voz é a que mais aproxima o sujeito do gozo da continuidade primordial entre ele e o Outro, renovando o quão inesquecível foi entrar nessa continuidade. Enquanto o sujeito neurótico, através do ponto surdo, pôde se esquecer da voz do Outro, ensurdecendo-se, o sujeito psicótico se mantém acometido por essa voz inesquecível através das alucinações. Contudo, nas contingências da vida, o ponto surdo pode se tornar inoperante para o neurótico, e este passa a ser vociferado pelo excesso de supereu. Diante disso, e para ambos os casos, pudemos apontar que a música - ouvida, cantada, tocada -, envolvida na trabalho de transferência, pode se colocar como um dispositivo para a extração de gozo e esquecimento da voz do Outro, ao mesmo tempo em que, também com a música, se localiza o gozo e se reafirma o quão inesquecível foi entrar no gozo da continuidade com o Outro. / [en] On the unforgettable forgetfulness of the Other s voice: the voice object in psychoanalysis is an investigation on the voice object in psychoanalysis. Because the voice was raised to the status of drive object by Lacan, we start our research from his indications about this concept. Therefore, we turn back to Freud, trying to identify his own formulations on the matter of our experience with the voice, until we discover the voices of the superego, which is one of the foundations upon which Lacan creates the concept of the voice object. Such object does not refer to the sound of the voice, but to the subjective experience of being struck by the undetermined of invocatory drive. Amongst the characteristics of the voice object, we postulate that the most specific one is the fact that the subject cannot escape from what is presented as the voice of the archaic Other. This has led us to suggest that, when it comes to other objects, the experience of the voice object is the one which mostly approximates the subject to the jouissance of primal continuity between the subject and the Other, reassuring how unforgettable it was to enter this continuity. Whereas the neurotic subject, through his own deaf point, could forget the voice of the Other, deafening himself, the psychotic subject keeps being struck by this unforgettable voice through hallucinations. However, due to the contingencies of life, the deaf point can become inoperative to the neurotic, and he can start to be vociferated by the excess of the superego. Thus, in both cases, we can suggest that music - listened, sung or played -, which is involved in transfer work, can be presented as a way to provede jouissance and forgetfulness of the Other s voice, as well as we can locate jouissance and reaffirms how unforgettable it is to enter in the jouissance of the Other.

The present thesis proposes a deconstructive analysis of Czech television oratorio Genesis (director Pavel Hobl, music Zbigniew Wiszniewsky, Czechoslovak Television and Zweites Deutsches Fernsehen, 1969). Using concepts of voice-object and acousmêtre, this study examines music of the oratorio as an important narrative feature of the audio-visual object. The text interprets the narrative of the oratorio as a crituque of logocentrism and rationalism of modern society. Beside the interpretative part, the study duscusses history and preception of the genre of television opera in Czechoslovakia from early 60s to 1989. Two concepts of the production of television opera are introduced: first, a concept of television opera as a mediator of an existing operatic work, or as means of cultural education of "mass audience"; secondly, television opera is called to represent a new art form using specific television means. These concepts are found in texts by Czech music theorists and journalists of 60s, when the disputation about television opera in Czech journals culminated. A list of television operas produced by Czechoslovak television until 1989 is attached.

À partir de notre expérience clinique auprès de personnes incarcérées, notre travail de recherche propose une modélisation théorique du concept de passage à l’acte dans son rapport à l’instance du Surmoi. Il s’agit ainsi de dégager les enjeux métapsychologiques du concept de Surmoi tels qu’ils se présentent dans la clinique des passages à l’acte, et plus spécifiquement dans le versant de l’acte criminel, en retraçant les conditions de son élaboration théorique. Si Freud pose les fondements essentiels à notre réflexion, les concepts kleiniens de Surmoi primitif et de position schizo-paranoïde nous seront bien plus précieux pour tenter de penser le retour de certains fonctionnements placés sous la domination d’un Surmoi particulièrement cruel et destructeur. Cet aspect repris par Lacan sous la forme impérative du Surmoi servira de base à nos propos. Si l’instance surmoïque est initialement repérée dans sa fonction de conscience morale en tant qu’instance légiférante, il est également question d’une double polarité plus paradoxale qui se fait l’envers de la Loi par une injonction féroce et cruelle de jouissance. Dans cette perspective, le passage à l’acte criminel se présente comme la réponse irrépressible à l’injonction d’un Surmoi fort aux actions sévères et virulentes. Ce travail insiste notamment sur l’acte criminel comme ultime recours. Un recours pour se dégager de la position d’objet de jouissance de l’Autre et la tentative de surgir ailleurs, comme sujet. / From our clinical experience with prison inmates, our research work proposes a theoretical paradigm of the concept of acting-out in relation with the superego instance. The purpose is thus to bring out the metapsychological stakes and issues of the superego concept as they appear in the clinical approach of the acting-out, and more specifically in relation with the criminal act, while tracing back the conditions of its theoretical elaboration. Even if the foundations that Freud laid is essential to our reflection, the kleinian concepts of primitive superego and of paranoid-schizoid position will be far more precious to us in this endeavour to reflect on the reappearance of certain modes of functioning which are under the supremacy of a particularly cruel and destructive superego. This aspect, which Lacan has reformulated with his view of an imperative superego, will provide the basis for our discourse. While the superego instance is first identified through its function of moral consciousness, as a legislating instance, there also exists a more paradoxical double polarity whereby the reverse side of the Law is expressed through a ferocious and cruel injunction to have enjoyment (“jouissance”). Within this perspective, the criminal acting-out appears like the irrepressible response to the injunction of a strong Superego pushing to commit harsh and virulent actions. This thesis notably insists on the criminal act seen as a last resort. A resort which aims at releasing oneself from the position where one has become the object of the Other's “jouissance”, while one tries, at the same time, to be a subject.