M-Dolar-Que Hay en Una Voz

8/18/2019 M-Dolar-Que Hay en Una Voz

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1 “Mi único enemigo es tu nombre. Tú eres tú, aunque seas un Montesco. ¿Qué es «Montesco»? Ni mano, ni pie, ni brazo, nicara, ni parte del cuerpo. ¡Ah, ponte otro nombre! ¿Qué tiene un nombre? Lo que llamamos rosa sería tan fragante concualquier otro nombre. Si ROMEO no se llamase ROMEO, conservaría su propia perfección sin ese nombre. ROMEO,quítate el nombre y, a cambio de él, que es parte de ti, ¡tómame entera!”. “¡Ah, ROMEO, ROMEO! ¿Por qué eres ROMEO?

Niega a tu padre y rechaza tu nombre, o, si no, júrame tu amor y ya nunca seré una Capuleto.”

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(*C<+'2; -(% Q%C/$/%; -(% (%./=(; -(% :+%&/./=(; 3'+* .*( $% I*7; -(* 2/'C3+' 2'2 La comparación tiene cierto tono siniestro en nuestros días, puesto que es posible imaginar que la voz sirva fácilmentecomo bio-marcador, igual que la retina chequeada al cruzar ciertas fronteras. Puede fácilmente imaginarse un oficial deinmigración americano diciendo: “Póngase delante del mostrador, señor, y hable en el micrófono” Incluso se puede

proponer la grabación de muestra que habrá que repetir: “Todos los hombres nacen libre e iguales”.

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3 Esta etimología se dio por sentada tradicionalmente, y está basada en fuentes ilustres (Aulu-Gelle, Boetius), pero que eran presa de la homonimia. La palabra es probablemente de origen etrusco.

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4 También estoy al tanto de la problemática tradicional acerca de la jerarquía de los sentidos, que de modo intuitivo yengañoso toma la mirada y la voz como las estrellas principales y relega el olfato, el tacto y el gusto a unas regiones más

bajas, no dignas de consideración filosófica. Sin duda es sintomático que Lacan haya promovido sólo la mirada y la voz alrango de objeto a, mientras que la estructura del objeto pertenece con igual derecho a los demás sentidos, cuya lógica enmuchos aspectos aún debe ser rigurosamente desenredada. Cf. el trabajo de Jean-Luc Nancy acerca del tacto.

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5 Como un extraño eco, lo ultimo que Kafka escribió antes de su muerte, 60 años antes, era también una parábola de la voz,

la historia de Josefina, la rata cantante. ¿Qué es lo que grandes escritores ponderan acerca de la cuestión de la voz en elumbral de la muerte?6 Fueron publicadas póstumamente con el título Sotto il sole jaguaro, 1986, Under the Jaguar Sun, London: Vintage, 2001,de donde son extraídas las citas.7 “En suma, el trono, una vez que has sido coronado, es donde deberás permanecer sentado, sin moverte, día y noche. Todatu vida previa ha sido sólo la espera para convertirte en rey; ahora eres un rey; sólo tienes que reinar. ¿Y qué es reinar sino

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esta larga espera? Espera por el momento en que serás depuesto, cuando tengas que dejar el trono, el cetro, la corona, y tucabeza” (p. 36 en la edición en inglés).

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8 Este es casualmente el lugar donde Lacan ubica el fantasma: estás diciendo esto, pero ¿qué es lo que quieres, en verdad?La respuesta es provista por la intervención del fantasma, que provee el marco para darle sentido al otro, para arreglárselascon el punto oscuro de su no- transparencia. Cf. Lacan, Écrits, New York: Norton, 2002, p. 300

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9 Foucault propuso el Panóptico como el modelo de poder luego de la deposición de los reyes. Calvino, inversamente, propone un modelo de poder que es moderno – teléfonos, micrófonos y tecnología son mencionados– pero que retiene elAmo pre-moderno arcaico como su núcleo oculto.

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10 L’envers de la psychanalyse, Paris: Seuil, 1992, p. 99.

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11 Adriana Cavarero, A più voci. Filosofia dell'espressione vocale, Milano: Feltrinelli, 2003, p. 12. Estoy en deuda con sulectura de esta historia, aunque mi enfoque difiere tajantemente del suyo.12 He intento describir esto más extensamente en mi libro ( op. cit., pp. 42-52), de Platón a la Revolución Francesa.

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