Rhythmanalysis of a ping pong
“How very sweet it is to love anyone or anything, indiscriminately!” (153)
That’s Gaston Bachelard, in 1936, riffing off “Rilke’s orphic lyricism, as Felix Bertaux has called it” (Bachelard, The Dialectic of Duration 153).
Bachelard designates this “the Orpheus complex”: “This complex would correspond to our first and fundamental need to give pleasure and to offer solace … characterised by the attitude in which our being gains pleasure through the giving of pleasure, by the attitude of making some kind of offering…..”
He uses the word “complex” to deliberately unseat the Oedipus complex and to dialectically oppose psychoanalysis to an alternative which he calls, after the Portuguese philosopher Lucio Pinheiro dos Santos, rhythmanalysis. An orphic lyricism is just one rhythmanalytical expression of many.
Um poeta é sempre irmão do vento e da
água: deixa seu ritmo por onde passa.
—Cecilia Meireles
That’s Gaston Bachelard, in 1936, riffing off “Rilke’s orphic lyricism, as Felix Bertaux has called it” (Bachelard, The Dialectic of Duration 153).
Bachelard designates this “the Orpheus complex”: “This complex would correspond to our first and fundamental need to give pleasure and to offer solace … characterised by the attitude in which our being gains pleasure through the giving of pleasure, by the attitude of making some kind of offering…..”
He uses the word “complex” to deliberately unseat the Oedipus complex and to dialectically oppose psychoanalysis to an alternative which he calls, after the Portuguese philosopher Lucio Pinheiro dos Santos, rhythmanalysis. An orphic lyricism is just one rhythmanalytical expression of many.
Um poeta é sempre irmão do vento e da
água: deixa seu ritmo por onde passa.
—Cecilia Meireles
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