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The Poetics of Reverie: Childhood, Language, and the Cosmos
In this, his last significant work, an admired French philosopher provides extraordinary meditations on the relations between the imagining consciousness and the world, positing the notion of reverie as its most dynamic point of reference. In his earlier book, The Poetics of Space, Bachelard considered several kinds of "praiseworthy space" conducive to the flow of poetic imagery. In Poetics of Reverie he considers the absolute origins of that language, sexuality, childhood, the Cartesian ego, and the universe. Approaching the psychology of wonder from the phenomenological viewpoint, Bachelard demonstrates the aurgentative potential of all that awareness. Thus he distinguishes what is merely a phenomenon of relaxation from the kind of reverie which "poetry puts on the right track, the track of expanding consciousness"
228 pages, Paperback
First published January 1, 1960
About the author
Gaston Bachelard
124 books602 followersGaston Bachelard was a French philosopher who rose to some of the most prestigious positions in the French academy. His most important work is on poetics and on the philosophy of science. To the latter he introduced the concepts of epistemological obstacle and epistemological break (obstacle épistémologique et rupture épistémologique). He influenced many subsequent French philosophers, among them Michel Foucault and Louis Althusser.
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Displaying 1 - 30 of 42 reviews
February 3, 2016
Bachelard is one of my favourite writers. I cannot say that his books can be paraphrased or summed up- for they evoke the mood of perfect reading. It is the subliminal, midnight space filled with literate language and poetic phrasing. It is a dream written out so clearly as to be dreamt again. It is the possibility to breathe poetry.
July 10, 2020
Sanjarija nije san.
Sanjarija je, veli Bašlar, realnija od realnosti – ona je povratak onom prvotnom, nepatvorenom, izvornom, istinskom – a san je stanje zarobljenosti u geometriji noći u kojoj subjekat ne može biti osvedočen. Tako je sanjarenje akt pupeće svesti, njeno razbokoravanje, samopotvrđivanje – u njemu se bdi, dok se u snu pripoveda. Noćni san jeste san bez sanjara. Sanjariti znači loviti poetske slike koje predstavljaju „budućnost jezika”, a koje su u svojoj budućnosti starije od svakog pamćenja. Na dnu bunara arhetipova nalazi se otvor za još jedan bunar, ispod kojih su fosili značenja. Kada sanjarimo, otkrivamo te fosile, a kada ih otkrivamo učestvujemo u sveopštoj radosti sveta u kojoj reči snivaju same sebe. Stoga nas snivani svet uči o mogućnosti širenja našeg bića – slivanje ja u ne-ja. Pesništvo je u svom najvrlijem svojstvu, najdublja arheologija. A zauzetost sanjarske svesti ocrtava tražilački put.
Jezik sanjarije jeste jezik bez cenzure koji istovremeno idealizuje svoj predmet i samog sanjara. Sanjarija asimiluje naše noćne košmare, ona je prirodna psihanaliza naših noćnih drama. (88) I sva unutrašnja zbivanja Bašlarovog subjekta, zasnivaju se na saodnosu dve dihotomije: 1) duša i duh; 2) animus (muškosti) i anima (ženskosti). Dok duh živi u vremenu i veruje u prošlost znanja kao kontinuirani proces, duša sabira vreme i traje u bezrezervnom prostoru. Slično je sa drugom podelom – animus organizuje brige i planove, anima obezbeđuje sanjarenje – ona je sadašnjost srećnih slika. Animus proizvodi koncepte, anima proizvodi (pesničke) slike. Svaki pojedinac jeste sanjalački hermafrodit, a Bašlar ženama daje apsolutno prvenstvo u odnosu na imaginativne kapacitete, koji su presudni za život. I tu je očito jasno suprotstavljanje sa određenjem čoveka kod Hajdegera kao bića brige (Sorge). Obradujem se kada pronađem kako poneki filozof tvrdi kako patnja nije osnova sveta i kako u svetu ima dobrote i lepote. Optimisti su civilizacijiski potcenjeni.
Spajajući fenomenologiju i bergsonizam sa psihoanalizom, uz vasionski književni dar, Bašlar samim svojim pisanjem osvedočuje mehanizam sanjarije – zato ova knjiga ne treba da se čita kroz animus, analitički, već u asocijativnom prostiranju, koje čini da zatitra detinje jezgro u nama. U tom poduhvatu valja se nadovezati i na Bašlarova prethodna dela – proučavanje poetike prostora i elemenata u književnoj imaginaciji, jer je „Poetika sanjarije” svojevrsna suma Bašlarovog delovanja.
Prepustivši se, dospevamo dalje nego što bi i jedan projektovani cilj mogao da dobaci. (Polovina popunjenog rokovnika beleškama vezanim za ovo delo, svedoči o tome.) Bašlar je inspirator, osnažitelj volje, vodič za svet nefigurativne poetske geografije, prvosveštenik pankalizma i nezaobilazna lektira za svako stvaralačko i snohvatno biće.
Sanjarija je, veli Bašlar, realnija od realnosti – ona je povratak onom prvotnom, nepatvorenom, izvornom, istinskom – a san je stanje zarobljenosti u geometriji noći u kojoj subjekat ne može biti osvedočen. Tako je sanjarenje akt pupeće svesti, njeno razbokoravanje, samopotvrđivanje – u njemu se bdi, dok se u snu pripoveda. Noćni san jeste san bez sanjara. Sanjariti znači loviti poetske slike koje predstavljaju „budućnost jezika”, a koje su u svojoj budućnosti starije od svakog pamćenja. Na dnu bunara arhetipova nalazi se otvor za još jedan bunar, ispod kojih su fosili značenja. Kada sanjarimo, otkrivamo te fosile, a kada ih otkrivamo učestvujemo u sveopštoj radosti sveta u kojoj reči snivaju same sebe. Stoga nas snivani svet uči o mogućnosti širenja našeg bića – slivanje ja u ne-ja. Pesništvo je u svom najvrlijem svojstvu, najdublja arheologija. A zauzetost sanjarske svesti ocrtava tražilački put.
Jezik sanjarije jeste jezik bez cenzure koji istovremeno idealizuje svoj predmet i samog sanjara. Sanjarija asimiluje naše noćne košmare, ona je prirodna psihanaliza naših noćnih drama. (88) I sva unutrašnja zbivanja Bašlarovog subjekta, zasnivaju se na saodnosu dve dihotomije: 1) duša i duh; 2) animus (muškosti) i anima (ženskosti). Dok duh živi u vremenu i veruje u prošlost znanja kao kontinuirani proces, duša sabira vreme i traje u bezrezervnom prostoru. Slično je sa drugom podelom – animus organizuje brige i planove, anima obezbeđuje sanjarenje – ona je sadašnjost srećnih slika. Animus proizvodi koncepte, anima proizvodi (pesničke) slike. Svaki pojedinac jeste sanjalački hermafrodit, a Bašlar ženama daje apsolutno prvenstvo u odnosu na imaginativne kapacitete, koji su presudni za život. I tu je očito jasno suprotstavljanje sa određenjem čoveka kod Hajdegera kao bića brige (Sorge). Obradujem se kada pronađem kako poneki filozof tvrdi kako patnja nije osnova sveta i kako u svetu ima dobrote i lepote. Optimisti su civilizacijiski potcenjeni.
Spajajući fenomenologiju i bergsonizam sa psihoanalizom, uz vasionski književni dar, Bašlar samim svojim pisanjem osvedočuje mehanizam sanjarije – zato ova knjiga ne treba da se čita kroz animus, analitički, već u asocijativnom prostiranju, koje čini da zatitra detinje jezgro u nama. U tom poduhvatu valja se nadovezati i na Bašlarova prethodna dela – proučavanje poetike prostora i elemenata u književnoj imaginaciji, jer je „Poetika sanjarije” svojevrsna suma Bašlarovog delovanja.
Prepustivši se, dospevamo dalje nego što bi i jedan projektovani cilj mogao da dobaci. (Polovina popunjenog rokovnika beleškama vezanim za ovo delo, svedoči o tome.) Bašlar je inspirator, osnažitelj volje, vodič za svet nefigurativne poetske geografije, prvosveštenik pankalizma i nezaobilazna lektira za svako stvaralačko i snohvatno biće.
February 19, 2015
My first philosophy book. ^^ I was pretty lucky, too, Gaston is a great and kind writer.
July 12, 2011
To give a comment about Bachelard, one must surpass his thinking, and that I can't do. When I first read this book, I felt like a kid who was being taught the wonder of beings. Bachelard is my fantasy guru, because he will take and show you that everything you perceive and thought as it is [traditionally:], is subject to a change.
In one instance he says "a root is always a discovery" [p.84:]. I agree with that, the primary reason of the establishment of religious fundamentalist is a belief that the root is already "finished", all interpretations of holy writ must be built upon it, a slight deviation will be called heresy. A discovery doesn't mean refutation but extension and enrichment of the former.
You can not read Bachelard and don't come up with new words and phrase you coin yourself, tha's the magic of his imaginary reasoning. This book is a collection of his scattered writings. Breath-taking!
In one instance he says "a root is always a discovery" [p.84:]. I agree with that, the primary reason of the establishment of religious fundamentalist is a belief that the root is already "finished", all interpretations of holy writ must be built upon it, a slight deviation will be called heresy. A discovery doesn't mean refutation but extension and enrichment of the former.
You can not read Bachelard and don't come up with new words and phrase you coin yourself, tha's the magic of his imaginary reasoning. This book is a collection of his scattered writings. Breath-taking!
March 25, 2012
One of Bachelard's other classics, The Poetics of Space: The Classic Look at How We Experience Intimate Places, is among the most important books in my personal lexicon. So much so, in fact, that I took it as a kind of guidebook for my thesis work in college, an installation entitled "The Room That Resembled a Reverie," which was in many ways an exploration and evocation of the kind of spaces Bachelard examines. Imagine my delight, then, to see he'd written a book called The Poetics of Reverie! Obviously I had immediate high hopes. But I have to say that it took me a good six months to get more than halfway through. Although I appreciated a lot of what he had to say in a general sense, and in some ways I thought it was actually a more elegantly crafted book (clearer, more accessible, better explained), it simply didn't fill me with the same kind of quiet poetic joy.
This might be because there's just, well, less poetry IN the gosh-darned thing. One of the pleasures for me of The Poetics of Space is all the wonderful little scraps of poetry floating around like misplaced butterflies throughout the text. (Okay, not misplaced. But half the time I think he just put them in because he loves them so much, not because he actually has a point to make. Which is fine with me and one of the reasons I love it.) The major reason, though, that I was disappointed by The Poetics of Reverie is just because I didn't feel like there was that much reverie actually in it - whereas The Poetics of Space is just an series of invitations to go and daydream. There's a lot more of that in the second half of Poetics of Reverie, though, and once I finally got there I did enjoy the book a good deal more.
He also has a few of those oh-god-why-didn't-I-write-that lines in there about the experience of reading, which I absolutely love (for example, "Writing a book is a hard job. One is always tempted to limit oneself to dreaming it." Ouch. That's painfully accurate.) In the end, I think that my disappointment was misplaced; although I will never feel Poetics of Reverie to be quite so delicate and beautiful and full of marvelous images as Poetics of Space, I think I can say simply that Poetics of Reverie is a wonderful book for a writer to have when thinking about images, and Poetics of Space is a wonderful book for an artist to have when thinking about space. Both of them are well worth reading for anyone who loves a good moment of evocative sensory delight -- and if that isn't you, perhaps this book will help teach you how to find the pleasure of one.
This might be because there's just, well, less poetry IN the gosh-darned thing. One of the pleasures for me of The Poetics of Space is all the wonderful little scraps of poetry floating around like misplaced butterflies throughout the text. (Okay, not misplaced. But half the time I think he just put them in because he loves them so much, not because he actually has a point to make. Which is fine with me and one of the reasons I love it.) The major reason, though, that I was disappointed by The Poetics of Reverie is just because I didn't feel like there was that much reverie actually in it - whereas The Poetics of Space is just an series of invitations to go and daydream. There's a lot more of that in the second half of Poetics of Reverie, though, and once I finally got there I did enjoy the book a good deal more.
He also has a few of those oh-god-why-didn't-I-write-that lines in there about the experience of reading, which I absolutely love (for example, "Writing a book is a hard job. One is always tempted to limit oneself to dreaming it." Ouch. That's painfully accurate.) In the end, I think that my disappointment was misplaced; although I will never feel Poetics of Reverie to be quite so delicate and beautiful and full of marvelous images as Poetics of Space, I think I can say simply that Poetics of Reverie is a wonderful book for a writer to have when thinking about images, and Poetics of Space is a wonderful book for an artist to have when thinking about space. Both of them are well worth reading for anyone who loves a good moment of evocative sensory delight -- and if that isn't you, perhaps this book will help teach you how to find the pleasure of one.
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July 29, 2010"From the time a child reaches "the age of reason," from the time he loses his absolute right to imagine the world, his mother, like all educators, makes it her duty to teach him to be objective - objective in the simple way adults believe themselves to be "objective." He is stuffed with sociability....To live in this atmosphere of another time, we must desocialize our memory and, beyond memories told, retold and recounted by ourselves and others, by all those who have taught us how we were in the first childhood, we must find our unknown being, the sum total of all the unknowable elements that make up the soul of a child."
"The soul and the mind do not have the same memory."
"We thus discover within ourselves an immobile childhood, a childhood without becoming, liberated from the gearwheels of the calendar."
"Pure memory has no date. It has a season."
-Gaston Bachelard
"The soul and the mind do not have the same memory."
"We thus discover within ourselves an immobile childhood, a childhood without becoming, liberated from the gearwheels of the calendar."
"Pure memory has no date. It has a season."
-Gaston Bachelard
February 20, 2017
#التفضيلات تحول الذوق الادبي الى عادات
#رأس الريشة عضو مو أعضاء الدماغ
#هناك شواطئ اطمئنان في قلب الكواليس
#إن الذكريات التعيسة تنتزع على الأقل السلام من الكآبة
#أليست الجنة فوق ، في السماء ، عبارة عن مكتبة هائلة ؟
#رأس الريشة عضو مو أعضاء الدماغ
#هناك شواطئ اطمئنان في قلب الكواليس
#إن الذكريات التعيسة تنتزع على الأقل السلام من الكآبة
#أليست الجنة فوق ، في السماء ، عبارة عن مكتبة هائلة ؟
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August 18, 2020This is the book that started me off on a helter skelter poetry writing journey that only ended over a thousand poems later.
Anyone with poetic aspiration should read this and Bachelard's other works. They are quite wonderful.
Anyone with poetic aspiration should read this and Bachelard's other works. They are quite wonderful.
July 28, 2014
Concerns creative imagination, or rather the process there of in regards to literary/poetic imagination, i.e., the process of imagination. Very valuable for those interested in the deeper process' of the psyche: the process of imagination; poetic imagination; the image making function of the psyche... .
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February 24, 2023a Freud le diría unas cuantas cosillas...
May 7, 2023
Un antes y un después
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August 17, 2014أول تجربة لي في الفلسفة الظاهرية!
أطلق باشلار اسم psychisme dore "النفسية المذهبة" اي التي تبقى شارد الذهن لحظة الوعي مستيقظاً اذ إننا "لا نغفو أمام لهيب الشمعة
الإنسان وبوجه خاص "الحالم" بحاجة ماسة إلى صحبة فإنه حينما يحلم في العزلة يشعر بعزلة أقل أمام "الشمعة المشتعلة
لهيب الشمعة كما يعتقد باشلار يستثير لدى الحالم صور متخيلة بلا حدود وكأن اللهب ظاهرة " أليس العالم حياً في لهب، أليس للهب حيا
أنا الذي أحلم حلم اليقظة ، أنا هو السعيد لأنني أحلم حلم يقظتي، أنا هو السعيد بوقتي الرحب حيث لم أعد مضطراً للتفكير.
اسمع، اذا شعرت بالضجر في لحظة الانعزال فإنك تكون قد توقفت عن الحلم.
"الفرق الجذري بين الحلم الليلي وحلم اليقظة ، في الليل يفقد كل إرادة واعية، اما حلم اليقظة بوصفه نشاطاً حلمياً فيه بصيص من الوعي.
أطلق باشلار اسم psychisme dore "النفسية المذهبة" اي التي تبقى شارد الذهن لحظة الوعي مستيقظاً اذ إننا "لا نغفو أمام لهيب الشمعة
الإنسان وبوجه خاص "الحالم" بحاجة ماسة إلى صحبة فإنه حينما يحلم في العزلة يشعر بعزلة أقل أمام "الشمعة المشتعلة
لهيب الشمعة كما يعتقد باشلار يستثير لدى الحالم صور متخيلة بلا حدود وكأن اللهب ظاهرة " أليس العالم حياً في لهب، أليس للهب حيا
أنا الذي أحلم حلم اليقظة ، أنا هو السعيد لأنني أحلم حلم يقظتي، أنا هو السعيد بوقتي الرحب حيث لم أعد مضطراً للتفكير.
اسمع، اذا شعرت بالضجر في لحظة الانعزال فإنك تكون قد توقفت عن الحلم.
"الفرق الجذري بين الحلم الليلي وحلم اليقظة ، في الليل يفقد كل إرادة واعية، اما حلم اليقظة بوصفه نشاطاً حلمياً فيه بصيص من الوعي.
March 28, 2012
من الكتاب : " لقد فقدنااللغة الفاتنة .. كتب دافيد تورو : " يبدو أننا نمضي السنوات الراشدة بالاشتياق ، لقول احلاما طفولتنا ، فتتلاشى من ذاكرتنا قبل أن تتمكن من تعلم لغتها " ... لاسترداد لغة الخرافات يجب ��ن نساهم في وجودية الخرافي ، أن نصبح جسدا و روحا ، كينونة إعجابية ، أن نحل الاعجاب محل الادراك أمام هذا العالم . يجب أن نتعجب امام الأشياء لكي نتلقى قيم ما ندركه . و في الماضي ذاته ، أن نتعجب للذكرى
October 22, 2009
جميل :)
August 20, 2021
متى يعاد طباعته ورقيا؟
December 16, 2022
Interesting observations hampered by outdated views of gender and a tendency to wax super romantic.
March 29, 2021
Indispensable.
July 13, 2013
ينقسم إلى خمسة فصول:
١/ تأملات شاردة في التأمل الشارد حالم الكلمات
٢/ تأملات شاردة في التأمل الشارد نفَس-نفْس
٣/ التأملات الشاردة نحو الطفولة
٤/ " كوجيتو" الحالم
٥/ التأملات الشاردة و الفضاء الخارجي
فنّ الشاعر يُقدم فائضًا من القدرة التفسية لسرد أحداث الحلم، تضاف وحدة شعر إلى وحدة التأملات.
مُلهم مُلهم و أستطيع القول أنه من الكتب التي أيقظت تأملات الذاكرة لديّ.
May 17, 2019
B829.5 .B313 2004. Looking through the lenses of childhood, language, and cosmology, Gaston Bachelard explores the importance of daydreams, wonder, and idle thought. If that sounds like your cup of tea, check it out!
April 11, 2016
Beautiful!
June 5, 2013
This is a touchstone for me.
April 8, 2019
Este é um livro sobre filosofia, mais que um livro sobre filosofia. É um livro sobre filosofar. Porque parece que Gaston Bachelard se encontrava em um tipo de fluxo de consciência quando escreveu este livro. Nada mais apropriado para um livro que se chama "Poética do Devaneio". Primeiro ele começa a explicar o que, para ele, é o devaneio. Depois, ele associa o estado do devaneio com o estado da alma. para então ir explorar, através de análises de muitas poesias que remontam às infâncias dos autores, como a criação, o devaneio e a infância estão ligados. Então, ele parte para a diferença entre devaneio e pensamento e como um permite ao outro que exista. Para finalizar falando sobre o que ele acredita ser o devaneio cósmico que resulta naquilo que os seres humanos chamam hoje em dia de arte, que é revelar a alma através dos devaneios, e não dos pensamentos. Um tipo de filosofar só que usando o sonho e não o pensamento. Trata-se de um livro que fala de coisas intangíveis, de coisas etéreas e flutuantes. Por isso não parece um livro de Filosofia com F maiúsculo e sim, um livro de filosofar. Afinal o texto de Bachelard neste livro se afasta do técnico e se aproxima do criativo, no poético, no literário e principalmente no destaque que ele dá à importância das memórias. Das dos outros e das suas.
January 20, 2018
ولأن الطريقة المثلى تعلمنا ,عند الانتهاء من صياغة كتاب , أن نتذكر ونرجع الى الآمال التي عقدناها عليه عند البدء به , فأنا مقتنع بأنني ابقيت على جميع تألاتي في الأنيما anima أي النَفْس ( عنصر الأنوثة الأساسي ) الأنيما السهلة .
لقد كتبت هذا الكتاب حيب قواعد الأنيما أو الأنوثة وأتمنى أن يقرأ حسب القواعد نفسها. لكن في أي حال , ولكي لا يقال أن الأنوثة ( الأنيما ) هي كينونة كل حياتنا أود صياغة كتاب آخر يكتبه هذه المرة قلم مذكر , اي قلم أنيموس animus.
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فلسفي علمي شعري عميق
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جميل جدا جدا لبداية السنة
لقد كتبت هذا الكتاب حيب قواعد الأنيما أو الأنوثة وأتمنى أن يقرأ حسب القواعد نفسها. لكن في أي حال , ولكي لا يقال أن الأنوثة ( الأنيما ) هي كينونة كل حياتنا أود صياغة كتاب آخر يكتبه هذه المرة قلم مذكر , اي قلم أنيموس animus.
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فلسفي علمي شعري عميق
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جميل جدا جدا لبداية السنة
March 1, 2019
Leído muy por encima y saltando algunas partes que me parecían de un esencialismo misógino un poco rancio. Se me ha hecho un poco pesado: da mil vueltas a cosas ya dichas anteriormente o que se pueden simplificar bastante.
September 5, 2017
I felt like this book was very useful to me as an artist in that it encourages great respect for the imagination. It was also extremely thought-provoking.
July 22, 2018
In italiano: Psicanalisi dell'aria, anche se la psicanalisi non c'entra un tubo!
June 8, 2021
As good a guide to understanding the need to keep the wonder and stay open as any you could hope for. Bachelard's writing and thinking is like a jump into cool water on a hot day.
July 10, 2021
Kısa cümlelere görülmemiş, duyulmamış, koklanmamış çiçekler açtıran simyacı: Gaston Bachelard.
October 10, 2022
Kflfkskskdoj jedva sam nešto razumela --- prelepo
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