| dc.description.abstract | The concept of style, repeatedly, is in vogue in psychoanalytic texts, always referencing the theoretical framework proposed by Lacan. Psychoanalysis, from the Lacanian perspective, admits the vision of style as singling instrument of expression of the individuality of each subject (of desire), and as such, subject to unconscious laws. This study aims to elucidate the style in the Lacanian proposals when they name the style as the object a, or rather as a constant attempt to recovered this object a. The basis for the work was given by the study of Lacanian psychoanalytic literature on the theme. Considering the functionality and operability of the style in the psychoanalytic treatment, this work will question your management amid practice. Using the theory of the four discourses Lacan, in the end of work, dare to criticize, not to the concept of style, but rather what we do with what made the style in/of Lacan. Our question on criticism will be challenged to what extent psychoanalysts consider the style in Lacan and not the style of Lacan. This part of the work will try to make a parallel between the style of Lacan and a sense of nostalgia psychoanalysts when they try to recover, often comic
and performative way, mannerisms and ways of doing clinic French psychoanalyst. The style in Lacan points to the discussions on this concept that integrates the formulations of Lacanian psychoanalysis about the discursive position of the subject in relation to uniqueness. On the other hand, the style of Lacan leads us to a question contrary to the concept, as is dealing with the way the French psychoanalyst was clinical and even the way to behave. Psychoanalysis, through the style, offering an unconscious legitimacy that produces an enabling environment for the recognition of the radical contingency of the subject's experience, therefore, puts
forward their lack. Thus, it admits the impossible and the uncertainties of analytic practice and in addition to not retreat, it is always daring in their choices, not separating think you are doing. The host of the unconscious knowledge aims to operate a style marked by a discursive formation that, to be ratified in the absence, is presented as a possibility. | |
