A interpretação: uma arte com ética.

Abstract

In this article the author questions the conditions of enunciation of the analyst’s answer classically called interpretation, whose term originates from diverse fields. Oracle at first, it follows the way of the sign and the enigma, running the risk of being taken as prophecy and also as out of the discourse of the psychoses, which takes the paranoid sense as its route par excellence, thus resistant to the ethics of psychoanalysis for referring to a pre-established signification. To get out of the embarrassing situation of labeling the saying of the analyst with such a term, the author recalls that Freud would point to the path followed by the artist, in other words, that of musical or theatrical interpretation, justifying along the text the choice for his path by the musical unconscious of lalingua and the mise-en-acte do analyst.