Jacques Fontanille

Soma y sema


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distracción, y por el otro, el polo del relajamiento, que pertenecen ambos a los arcos de correlaciones inversas, es decir, como lo hemos indicado más arriba, al “discurso ordinario”. Sus dos límites extremos, a izquierda y a derecha, son fronteras donde el simple accidente de recorrido se convierte en un verdadero modo de producción del discurso perturbado. En el lado de la cohesión, se trata de la frontera con el discurso obsesivo; en el lado de la coherencia, se trata, en cambio, de la frontera con el discurso delirante y con la glosolalia.

      Atenazado entre el discurso obsesivo y el discurso delirante, el lapsus aparece entonces como una manifestación tranquilizante de un discurso que prosigue, a pesar de todo, su buen camino.

      A. J. Greimas tenía razón, sin duda, al restringir la aproximación semiótica al discurso terminado, clausurado y objetivado. Porque adoptar la perspectiva del discurso en acto, de la enunciación viviente y en devenir, es como abrir la caja de Pandora.

      En efecto, como hemos visto en el caso del lapsus, en todo momento y en todo punto de la cadena del discurso, co-habitan varias opciones posibles, varios estratos significantes concurrentes con vistas a la manifestación y a la expresión. Dicha co-habitación es tensiva, conflictiva, y sobre todo eficiente. Es cierto que hemos hablado de conmutación como si se tratase de una elección paradigmática clásica; sin embargo, en el lapsus, la forma evitada o perturbada continúa dejándose oír y comprender, a pesar de haber sido reemplazada por otra.

      Es preciso ampliar esta observación, como ya lo hemos sugerido en otra parte31, a las figuras y a los tropos de la retórica: en la dimensión retórica del discurso, en efecto, la co-habitación de dos soluciones, de dos expresiones, solo es eficiente porque produce una tensión; la ironía no virtualiza la expresión sobrentendida; al contrario, la actualiza sin pronunciarla. El lapsus, las figuras retóricas, como todo otro modo de producción del discurso, implica, pues, una concepción en la que dicha producción tenga que ser considerada como un proceso permanente de negociación entre estratos semióticos concurrentes. La eficiencia del discurso no surge de su construcción lineal, sino de la manera como conduce esa competición permanente entre estratos de profundidad diferente, competición que solo puede entenderse si la instancia de discurso tiene un cuerpo, o mejor, si es un cuerpo en devenir.

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