Ascesi della scrittura. Dal testo al resto

[Autom. eng. transl.] Writing as a metaphor is writing that can suffer a further transfer, every time supposes another scene, like Freud's magic note, taken from Derrida. What then is a writing that does not refer to anyone beyond? How is it given, that is, a real writing, as a real "erosion" of symbolic, breaking the incessant activity of the hermeneut? This de-metaphorization is a bet. Is it Jacques Derrida's bet? It starts from Freud's question of a subjective writing, subject-writing. Derrida's Freudian reading doubles the question and aims at the subject as the production of the trace itself, with respect to which the subject may come later, the result - though incalculable - of the text and its deletions. The subject then becomes an explicit outcome of the reading and increasingly assumes the function of the witness. For Lacan, the ambition of this subjective writing is instead constantly subjected to the discipline, rigor - overbearing ethical demand - of the terms of discourse already established by the Freudian practice. Thus the "function of writing" comes into opposition to the "writing scene", which paradoxically reverses its terms: there is no scene that is a primitive scene of writing or of the subject. Enjoyment is unleashed starting from the signifier: when it furrows the subject without defining it in its entirety, it divides it and removes it from its mastery of words, suspends it from its emptiness of lost cause and hangs it from its illusions. Until he reaches - in the assumed function of the cause - the letter that suits him, without cancellation and without metaphysics, "coastal condition" proper to the letter, proper to the subject.