ABSTRACT
“The soul” makes, produces itself in the singing of the tunes. This means that “the soul” exists only as the result of its own self-production, it does not exist, it always has to come into being, has to make itself. “The soul” is autopoietic. A consequence of this is that psychic reality has to be comprehended as having the nature of tunes, of “thin air.” The cosmos of the soul that is productively created through soul-making is airy, vaporous, free-floating—nothing but words, tunes, a flatus vocis. Love poems, sonnets played an important role. But rhetorical codes are not only essential for inciting love feelings in the person loved, i.e., for enabling this person to develop the corresponding feelings in herself or himself. With the conception of the uroboric identity of its own producing what it experiences, the view of “the soul” has lost its alienated form.
