The affective dynamics in the work and thought of Alexandr Pushkin

Dynamische-Psychiatrie-die-Zeitschrift-der-Deutschen-Akademie-für-Psychoanalyse-DAP-e.-V.The affective dynamics in the work and thought of Alexandr Pushkin, Conference Proceedings, 17th World Congress of the World Association for Dynamic Psychiatry. Multidisciplinary Approach to and Treatment of Mental Disorders: Myth or Reality?, St. Petersburg, May 14-17, 2014, In Dynamische Psychiatrie. Internationale Zeitschrift für Psychotherapie, Psychoanalyse und Psychiatrie – International  Journal for Psychoanalysis, Psychotherapy, and Psychiatry, Berlin: Pinel Verlag GmbH, 1-3, Nr. 266-268, 2015, pp.176-191.

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Author

Andrea Galgano (1981), poet, writer and literary critic, was born and grew in Potenza  (Italy). He collaborates with the magazine on-line Città del Monte, for which he is the columnist and editorialist of poetry and literature. He is a professor of literature at Polo Psicodinamiche – School of Psychotherapy Erich Fromm in Prato (Italy) and founder and editor in chief of ” Frontiera_di_pagine_ magazine_on_line ,” coordinates the research project on the religious sense in Giacomo Leopardi  for International Foundation Erich Fromm and the development of the processes of literary education intellectual professions for the School of Psychotherapy Erich Fromm. He published the books of poems Argini (Lepisma editions, foreword by Davide Rondoni), Downtown (Aracne, 2015, paintings by Irene Battaglini, preface by Giuseppe Panella) and is a member of the Scientific Committee of the editorial series “L’immaginale”, for publishing Aracne, Rome, for which he published the essay Mosaic (2013) and Di là delle siepi. Leopardi e Pascoli tra memoria e nido (2014, foreword by Davide Rondoni, introduction by Irene Battaglini), then together with Irene Battaglini the book Frontiera di Pagine (2013), which collects essays and speeches of art, poetry and literature, and the catalog Radici di fiume (Polo Psicodinamiche, 2013), an intense symbiotic path of art and poetry. He signs 25 poems in Desinenze di luce (Calebasse, 2015) withe the photographer Renato Maffione, in an original bond between word and image.

Abstract

Alexandr Pushkin is the poet of harmony and its forced deprivation, such as correspondence of cosmic forces and order of universal life. In the analysis of his affective plots slides his secret freedom, its integral attachment with the historical events and the destinies of his time.

The art of Pushkin feels the weight of the art’s contradiction and its never-ending dialogue with the vertex of the freedom. It has gone through the literary and lively drama, as evidenced by the lyric, the tragedy, the prose and the history of criticism.

Even his family life shows the signs of a wound and an icy breath. The latent and grumpy relationship with his emotional tension, locates in the image of the snowstorm, his worthy representation.
The inevitability of fate is accompanied by the fatality dramatically lived, that doesn’t gain only the tragic meaning, but tries always to chase the spasm of the harmony and the balance point. Myth and reality that merge and end up to look the same. The talk follows these multidisciplinary lines, investigating the adversity of the contrasts between the characters, the relationship between the social struggle and the human ethical criterion. Here is his territory, as his death in a duel that becomes the tragic emblem of the poetry and the Russian people, in a dense and layered tissue of Romanticism and Realism.

Summary

Alexander Sergeyevich Pushkin (1799-1837) is the poet of harmony and its forced deprivation, such as correspondence of cosmic forces and order of universal life. In the analysis of his affective plots slides his secret freedom, its integral attachment with the historical events and the destinies of his time.

The art of Pushkin feels the weight of the art’s contradiction and its never-ending dialogue with the vertex of the freedom. It has gone through the literary and lively drama, as evidenced by the lyric, the tragedy, the prose and the history of criticism.

Even his family life shows the signs of a wound and an icy breath. The inevitability of fate is accompanied by the fatality dramatically lived, that doesn’t gain only the tragic meaning, but tries always to chase the spasm of the harmony and the balance point. Myth and reality that merge and end up to look the same.

The reflection on his literary component is inseparable from his wrest of biography, in his gash of dream and detachment, lived under the aegis of the poetry, power and everyday life.

The writer that represent Russia and its “russianness” grant his soul with its different components, where the language, the feature and the landscape of his classical literature coexist in a monument of everlasting elusiveness.

A vitality that makes up its concrete images of women, love and its kidnappings, the Eternal Feminine and the Beauty. In an epitaph at sixteen he had written: «Here Puškin is buried with the young Muse / With love, with laziness He spent his merry life, / He didn’t good, but in the soul, / Thank God, he was a good man», like a kind of belonging that called for something Eternal, a passage that grazed his soul of a young eagle. His dynamic affective didn’t rest. All women marked, loved, or even touched have a devout footprint but of stuporous torment.

A kind of forlorn secrecy remains in his work. Puškin has known the loneliness and the exilem, the drama of the freedom and country, relived in the correspondence with the elements (sea, ship, exotic landscape, freedom) that, in some ways, bring close Byron, in order to maintaining a classical dynamics of idea and thought.

In his poems establishes the eager tier of the internal lament, the voluptuous passion, the complete inner room. The desperate vitality of his landscape is the nature that moves itself, irresistible life, a punctuated sign of the existence that appropriates the Seasons that encroach with their sumptuous ambiguity, their tarnish or flourish, as a measured journey of oxymorons and free spirits.

His kaleidoscope is able to return a sequence of snapshots, frame fixed in a shadowy light, in which the representation of the scene gives, on one side, the piece of the lived life and, on the other side, even finds in the chromatic glare the discontinuous and strong bond with the living and its contraries. It’s the art of the Harmony that holds together the extreme freedom of the poetry and the poetic prophecy in a universe of impressions and existential frameworks that unite and bring to the Unity. The Puškin’s ego live the eternal struggle between the dusty glow and the enchantment of the freedom, between the opposing force of the power and subjugation and an attempt to forward his gaze to the perspective view of the world, open to the Infinite, but always ready for a retreat and an acceptance. Puškin crosses the Beauty’s domain, encroaching on the territory of the Muses. In this exaltation and supreme manifestation of the World Soul, vibrates all his personal tension, as a vocation and mythopoeic aspect. The pushkinian restlessness (toska) comes from a greek ideal, develops its spleen (chandra) in a view of loss and regret but without annihilation. The appearance of the wonder gets out the way to a fire within, as if the anxiety, the singing, the shadowy soul must stick out and try a sweet enclave, which remains clouded and lost like a bud, and the same harmony, the same measure which define the existence remain between shade and pictorial delicacy, a language that draws, one foggy crash.

The Onegin’s melancholy expands his chrome sound and feeling («suffering egoist» Belinskij called him), it’s ultimately the collpase of the youth after the Napoleonic exaltation. The character here doesn’t coincide with its authorm but it has similar traits, an objective identity, an incurable fever, the subtle magic of the hope that he would like to live. The boldness of his boredorm takes over the disorder, lives in the hectic confusion of a disordered physiology, we might say, that represents the modernity of the man, his perennial and inexhaustible search for the meaning.

The Pushkin’s poetry ricreates the reality, belongs to the harmony of the mystery of the time, the secret freedom that allowes the geometric emergence of the poetic magma.

Read more ANDREA GALGANO – The affective Dynamics in the work and thought of Alexander Sergeyevich Pushkin

Andrea Galgano on WorldCat.org The affective Dynamics in the work and thought of Alexander Sergeyevich Pushkin

 

Polo Psicodinamiche – Scuola di Psicoterapia Erich Fromm, Prato