Función y campo de la palabra y el lenguaje.

Cuando el sujeto, efectúa estos deslizamientos y estos anclajes, cuando un significante pareciera tener una densidad particular en el discurso, es ese el momento preciso en que el analista puntúa. Puntúa, porque algo de ese significante dice (o busca decir) sobre el sujeto. Puntúa con otro decir o también con un silencio, incluso una tos.

O ¿por qué no? Con un ladrido.


Even growing up in Austria, Christoph Waltz was familiar with the doe-eyed artwork from the American husband-and-wife team Margaret andWalter Keane.

The mass-produced paintings were ubiquitous in the 1950s and ’60s. “I remember the pictures from the 1960s, they were everywhere,” says Waltz. He wasn’t surprised to learn years later the incredible drama behind the scenes with this famous couple. “We train ourselves to look for drama, to go for conflict because those are the stories worth telling. It would be expected that this (situation) too would be something extraordinary.”

This real-life story behind the Keane art-world sensation is the basis of the Tim Burton drama Big Eyes (due Dec. 25), starring Amy Adams as Margaret Keane and Waltz as Walter. The film follows them from the 1950s when the two art enthusiasts meet, marry and get swept up into worldwide stardom — all due to the popularity of the painted waif children with the large, sad eyes.

Walter told the world he did the paintings, but Margaret would later prove that she was the real artist. For years the charade continued, with Walter reveling in the spotlight.

"Margaret really believed that as a woman, people would not buy her art," says Adams, who donned a stylish blond bob wig to play the part. Walter "convinced her the life they were able to lead was because the artist was a man, who could sell more art at a higher price than a woman."

But the lie began to corrode their relationship. After the 10-year marriage ended in 1965, Margaret began to publicly claim the work; Walter continually laughed off the claim.

The long-running battle came to a head when Margaret took the charges to a federal courtroom in 1986. Remarkably, the judge allowed a “paint-off” where each was asked to create a painting on the spot. Margaret finished hers in 53 minutes. Walter begged off, claiming to have an injured shoulder.

The court awarded Margaret $4 million in damages.

"This all seems so theatrical, like something you would design for a film. But that actually happened," says Adams. "Living the lie was something that weighed heavy on Margaret. But she won her name back."

Walter died in 2000 at age 85, and Margaret, 87, still paints in San Francisco. Adams spent time with her to prepare for the role.

"The handling of the brush and paint, the way that Margaret creates the eyes, that is something I studied at great length," says Adams. "But I never mastered it like Margaret has."


I was wholly come of age. I was a married woman when I realized I hated my father beyond all words to tell it. It was winter and my father was a working for weeks on the speech he calls “Poland jewish problem”. Orderly I type those speeches… and I don’t hear the words, ther meaning, but… This time I came upon a word that I have never heard it before. The solution for Poland Jewish Problem, he concludes… Is “vernichtung”.
I have not meant to go to the ghetto that afternoon… But something made me go there. I stood there I don’t know how long… watching these people that my father condemned to die. All these men, these women, these children would be “verichtung”.
I suddenly remembered that my father is waiting for that speech… And I hurry home to finish that… I make so many mistakes in the sentences and… I run with it to the University and my father has no time to check that before speaking. And he get up in front of all those people… and he reads the speech and make those mistakes… and I see him getting so angry. And when it was over, he came up to me… I was with my husband, of course.
And if front of him and all his colleague he said: “Zozia… your intelligence is pulp”…
I didn’t have any courage to say “Yes, but what about the jews?”. The jewish people… After that, he didn’t trust me anyway and neither my husband.

Sophie’s Choice (1982)

Meryl Streep as Sophie