Abstract
What are the effects of connect, or reconnect, the psychoanalytic Machine with the baroque Machine? The review of the intersections between the work of Jacques Lacan and Severo Sarduy reveals that while Lacan is a major source of concepts and figures for the development of the Neo-Baroque of Severo Sarduy, the (Neo)Baroque is also a major source not only of concepts and figures, but also of placements in partages of modern history. That is, in this double movement or crossing, when Lacan, in 1973, situates himself “on the side of the Baroque” produces at least three effects: he acknowledges receipt of a connection that Sarduy had proposed; he puts name (Baroque) to an interest that from 60s was present in his work; he makes psychoanalysis absorb a new and unexpected force –one that, since the late nineteenth century, came from the war between the classical and the baroque.
Keywords
Severo Sarduy; Jacques Lacan; Baroque