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Autonarracyjne marzenia pamięci — o pismach antropologicznych Gastona Bachelarda

100%
Karwowska M.
Prace Polonistyczne
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2013
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vol. 68
177-188
EN
The paper is devoted to anthropological writings of Frenchman Gaston Bachelard (1884–1962), an initiator of European research on creative imagination. The following publications are discussed: La psychanalyse du feu (1938); L’eau et les rêves (1942); L’air et les songes (1943); La terre et les rêveries de la volonté (1948); La terre et les rêveries du repos (1948); La poétique de l’espace (1957); La poétique de la rêverie (1960); La flamme d’une chandelle (1961), read in the palimpsest manner, as a semantically multi-layered text. The adoption of this perspective has enabled the finding of an extensive personal document under the surface layer of scientific discourse as Bachelard uses two plans of presentation in his anthropological writings. The first one, written in the scientific style, in the form of the discourse of ‘a meditating philosopher’, is a presentation of Bachelard’s conceptual system which paved the way for phenomena known in the humanities as: ‘new anthropology’, ‘post-Bachelardism’ or ‘Durandism’. The second presentation plan is part of the autobiographic trend, known in literary studies as the journal intime, and the researcher’s story becomes autonarration.
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Wyjątki z domu Ludwisi

71%
Rączka-Jeziorska T.
Postscriptum Polonistyczne
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2010
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issue 2(6)
185-195
EN
The author reads Adam Mickiewicz’s [Urywek Pamiętnika Polki] in the context of symbolic space of a house “from the basement to the attic” suggested by Gaston Bachelard. Fe-nomenological doubts of French critic provoke questions concerning “beloved space” and “shelter” in Mickiewicz’s text. Deconstrucion that leads to accepting Ludwisia’s perspective reveals vertical dimension of the house and enables to designate places for figures living there. The most important belongs to a modest servant girl.
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Wszystkie elementy narracji, czyli wypowiedź literacka według Gastona Bachelarda

71%
Morawska K.
|
2018
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vol. 72
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issue 4(323)
32-41
PL
Bachelard jako „filozof poezji” rehabilituje wyobraźnię i jej obrazy zmierzając do ukazania wartości pozytywnej wyobrażenia w domenie poetycko-onirycznej. Przedstawia oryginalną koncepcją twórczości literackiej, jako twórczego odnowienia stałego archetypu/twórczej wariacji na temat niezmiennej matrycy obrazowej. Swoiście wykorzystując odkrycia psychoanalizy i fenomenologii proponuje koncepcję <> oraz <>. Więcej, dzięki zastosowaniu tych metod odkrywa materialną oraz dynamiczną treść wyobrażenia. W wyniku tych analiz da się odnaleźć w bachelardyzmie definicję obrazu, jako złączenia archetypowych form nieświadomości, które przynależą do podmiotu z niezależną już od niego materialną substancjalnością postrzeganego świata zewnętrznego (symbolika czterech żywiołów natury: ognia, wody, powietrza i ziemi). Nie należy jednak zapominać o podmiocie – „marzycielu słów” (rêveur de mots) –, który finalizuje proces werbalno-ikoniczny. Jego „nowe słowo” (nouveauté) ma ogromne znaczenie, jako to, które syntetyzuje funkcje wyobraźni kreacyjnej.
EN
In his capacity as a “philosopher of poetry” Bachelard rehabilitated imagination and its images while intending to demonstrate the positive value of imagery in the poeticoneiric domain. He presented an original conception of literary creativity as a creative revival of the constant archetype/creative variation on the theme of the unchanging matrix for images. By making original use of the discoveries of psychoanalysis and phenomenology he proposed the conception of “archetypical images” and the “ontology of the imaginary”. More, thanks to the application of those methods he discovered the natural and dynamic contents of the image. As a result of those analyses it is possible to discover in Bachelardisme a definition of an image as a combination of the archetypical forms of the unconscious, which belong to the subject together with an already independent material substantiality of the perceived outer world (the symbolic of the four elements of Nature: fire, water, air, and earth). One should, however, not forget the subject – the “dreamer of words” (rêveur de mots) – who finalises the verbal-iconic process. His “novelty” (nouveauté) is of enormous significance as the one that synthesises the function of creative imagination.
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Gérard Chazal: Bachelardowskie wątki w twórczości Françoisa Dagogneta

63%
Ples-Bęben M.
Folia Philosophica
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2020
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vol. 43
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issue 1
EN
Polish translation of an article by Gérard Chazal, devoted to the relationship of François Dagognet’s philosophy to the work of Gaston Bachelard. The author shows the complexity of this relationship, analyzing it in relation to the philosophy of science (here, among others, analyzes the issue of the historicity of the process of formation of the knowledge), the philosophy of technology and the philosophy of art. In many dimensions Chazal shows that Dagognet was inspired not so much by the letter of Bachelard’s texts as by their spirit, using his methods and concepts in areas that Bachelard was not or only marginally interested in (including in the biological and medical sciences, in the visual arts). The article is also an interesting voice in the discussion about the essence of the reception of philosophical concepts and currents. In this aspect author asks about the negation of the source theory in its continuations at the same time asking whether it is not this kind of negative inspiration that best testifies to the vitality of the theory - alive due to constant creative transformations.
PL
Polski przekład artykułu Gérarda Chazala, poświęconego relacji filozofii Françoisa Dagogneta do dzieła Gastona Bachelarda. Autor pokazuje złożoność tej relacji, analizując ją w odniesieniu do filozofii nauki (tu między innymi analizuje kwestię historyczności procesu kształtowania się wiedzy), filozofii techniki i filozofii sztuki. Artykuł stanowi też interesujący głos w dyskusji na temat istoty recepcji nurtów i koncepcji filozoficznych.
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Kształcenie jako problem filozoficzny w ujęciu Gastona Bachelarda

63%
Ples-Bęben M.
IDEA. Studia nad strukturą i rozwojem pojęć filozoficznych
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2016
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vol. 28/1
244-262
EN
The purpose of the article is to discuss the main problems of Gaston Bachelard’s pedagogical philosophy. The French philosopher explored the fundamental issues of teaching – inter alia, the inquiry of the relations between teacher and disciple that he understood as dialectical exchange, the question about the most effective methods of teaching, the idea of the school as community tending to the same values – in the wide perspective of his philosophical system. Consequently, Bachelard’s philosophy of pedagogy can’t be studied apart from the most important concepts of his philosophy – the epistemological obstacle, the psychoanalysis of the scientific mind, the philosophy of “no”, and the new scientific mind.
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Psychoanaliza życia, czyli Gaston Bachelard czyta Pieśni Maldorora

63%
Ples-Bęben M.
Diametros
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2016
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issue 49
84-102
PL
W 1939 roku Gaston Bachelard opublikował książkę zatytułowaną Lautréamont, poświęconą Pieśniom Maldorora – poematowi Isidore’a Ducasse’a. Bachelardowski Lautréamont stanowi inspirowaną psychoanalizą interpretację Ducasse’owskich Pieśni. Celem niniejszego artykułu jest poddanie owej interpretacji analizie, porównanie jego wersji lektury psychoanalitycznej z metodami Freuda i Junga a także pokazanie znaczenia Bachelardowskiego Lautréamonta w kontekście historycznofilozoficznym.
EN
In 1939 Gaston Bachelard published a book Lautréamont on the poem The Songs of Maldoror (Les Chants de Maldoror) by Isidore Ducasse. Bachelard’s Lautréamont was inspired by the method of psychoanalysis. The purpose of this article is to analyze Bachelard’s interpretation of the Chants, to compare his version of psychoanalysis with the versions of Freud and Jung, and to show its meaning in the historical and philosophical context.
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Fire As A First Cause Of Phenomenon In Gaston Bachelard’s The Psychoanalysis Of Fire And Igor Stravinsky’s The Rite Of Spring

62%
Simonović M.
Kwartalnik Młodych Muzykologów UJ
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2021
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issue 3(50) ENG
43-64
EN
In this paper, the ballet of Igor Stravinsky The Rite of Spring is interpreted from the perspective of Gaston Bachelard’s philosophical thought. Bachelard’s systematic psychoanalysis of literary images in The Psychoanalysis of Fire is applied to the interpretation of musical images in The Rite of Spring. Bearing in mind that rhythm is a key characteristic of Stravinsky’s composition, the paper analyses the immediate correspondences between Stravinsky’s and Bachelard’s perception and interpretation of rhythm in the works under consideration.
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Gastona Bachelarda psychoanaliza umysłu naukowego

62%
Ples-Bęben M.
Folia Philosophica
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2014
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vol. 32
PL
The paper concerns the psychoanalysis of objective cognition - a philosophical project by Gaston Bachelard, developed and implemented in epistemology and philosophy of science since 1938. The paper consists of two parts. Firstly, relation between Bachelard’s philosophy and psychoanalysis is addressed with the special attention given to sources of Bachelard’s inspiration - S. Freud, C.G. Jung, M. Bonaparte and R. Allendy. Secondly, Bachelard’s concept of psychoanalysis of objective cognition is discussed. In the course of its development, Bachelard transformed the assumptions and ideas of Freud and Jung and used them in theory of knowledge and philosophy of science. This original project was straightforwardly practical - it was aimed at providing an analysis of the scientific mind, revealing any epistemological obstacles it contains (such as false beliefs and habits of thinking) and its overcoming so that valuable cognition might be obtained.
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L’« infidélité onirique » dans L’Emploi du temps ou comment Michel Butor polémique avec les idées de Gaston Bachelard

54%
Kotowska J.
Romanica Wratislaviensia
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2019
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vol. 66
179-191
EN
20th century philosopher Gaston Bachelard considers the combination of two elements of nature as a metaphorical “marriage,” with all its symbolic and religious meaning, including fidelity and prohibition of adultery. Water and fire, united in a moment of alchemical inspiration, form an archetypal couple of great creators, which participate in cosmogonic myths. Bachelard imagines any elemental union in the aquatic categories, which results from his theory where water is the main component of each association due to its properties of universal solvent, and the other three elements — fire, air and earth — represent only secondary components. However, some contemporary writers like Michel Butor offer a completely opposite conception, according to which the elements of nature do not respect the binary rule of the “marriage” and form triple or even quadruple unions. These monstrous mixtures described in his novel L’Emploi du temps give, indeed, a destructive effect and tend to doom the world. What would become of the notion of “oneiric fidelity,” postulated by Bachelard, in the sacrilegious universe of Butor’s novel, filled with accursed amalgamates of multiple elements?
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L’appel du néant substantiel : Claude Simon et la mort tellurique

54%
Kotowska J.
Romanica Wratislaviensia
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2017
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vol. 64
133-143
EN
The article proposes the analysis of different types of agony suffered by living beings as a re­sult of contact with the element of Earth. The study is based on a corpus composed of seven novels by Claude Simon written after 1957, in a period of his fascination with formal experiments, and pu­blished by the Éditions de Minuit. The paper focuses on the representation of human body exposed to an evil influence of the Earth as element. Earth is considered as an anti-maternal force and a major destructive agent in Simon’s universe. The reflections on the telluric character of death are inspired, among others, by Gaston Bachelard’s thematic criticism and his conception of the four elements.
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Trzy modele nieciągłego procesu historii nauk – Bachelard, Canguilhem, Foucault

51%
Bytniewski P.
Filozofia i nauka. Studia filozoficzne i interdyscyplinarne
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2015
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vol. 3
241-263
PL
Artykuł prezentuje trzy modele historii nauk, w których trzy różne rodzaje nieciągłości wiedzy (epistemologiczna, interdyscyplinarna, temporalna) odgrywają rolę porządkującą sposób rozumienia procesu historycznego nauk. Gaston Bachelard, Georges Canguilhem i Michel Foucault – twórcy tych modeli – rozporządzając materiałem historycznym dyscyplin nauk przyrodniczych (Bachelard, Canguilhem) i humanistycznych (Foucault) próbowali odpowiedzieć na pytanie o związek między specyfiką procesu historycznego, w jakim uczestniczą nauki, a epistemologicznymi kwalifikacjami wiedzy będącej produktem tego procesu. Każdy z nich, podzielając pewne wyjściowe, wspólne założenia, dochodzi jednak do odmiennego akcentowania roli w tym procesie wyróżnionych rodzajów nieciągłości.
EN
The paper presents three models of the history of sciences, in which three different kinds of discontinuity of knowledge (epistemological, interdisciplinary, temporal) play the role of ordering the ways of understanding the historical process of sciences. Gaston Bachelard, Georges Canguilhem and Michel Foucault—the authors of these models—disposing of a historical material concerning natural sciences (Bachelard, Canguilhem) and the humanities (Foucault) attempt to settle the matter of the connection between the specificity of the historical process, in which those sciences are involved, and the epistemological qualifications of the knowledge being a product of this process. Each author, sharing with two others some initial, common assumptions, emphasizes differently, though, the role of the listed kinds of discontinuity in this process.
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Trzy modele nieciągłego procesu historii nauk – Bachelard, Canguilhem, Foucault

51%
Bytniewski P.
Filozofia i Nauka
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2015
|
vol. 3
241-263
EN
The paper presents three models of the history of sciences, in which three different kinds of discontinuity of knowledge (epistemological, interdisciplinary, temporal) play the role of ordering the ways of understanding the historical process of sciences. Gaston Bachelard, Georges Canguilhem and Michel Foucault-the authors of these models-disposing of a historical material concerning natural sciences (Bachelard, Canguilhem) and the humanities (Foucault) attempt to settle the matter of the connection between the specificity of the historical process, in which those sciences are involved, and the epistemological qualifications of the knowledge being a product of this process. Each author, sharing with two others some initial, common assumptions, emphasizes differently, though, the role of the listed kinds of discontinuity in this process.
PL
Artykuł prezentuje trzy modele historii nauk, w których trzy różne rodzaje nieciągłości wiedzy (epistemologiczna, interdyscyplinarna, temporalna) odgrywają rolę porządkującą sposób rozumienia procesu historycznego nauk. Gaston Bachelard, Georges Canguilhem i Michel Foucault – twórcy tych modeli – rozporządzając materiałem historycznym dyscyplin nauk przyrodniczych (Bachelard, Canguilhem) i humanistycznych (Foucault) próbowali odpowiedzieć na pytanie o związek między specyfiką procesu historycznego, w jakim uczestniczą nauki, a epistemologicznymi kwalifikacjami wiedzy będącej produktem tego procesu. Każdy z nich, podzielając pewne wyjściowe, wspólne założenia, dochodzi jednak do odmiennego akcentowania roli w tym procesie wyróżnionych rodzajów nieciągłości.
13
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Gastona Bachelarda teoria przeszkód epistemologicznych

45%
Gurgul P., Jagielloński U.
Internetowy Magazyn Filozoficzny Hybris
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2016
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vol. 35 B (4B)
EN
Gaston Bachelard discuss the problem of the rationality of scientific thinking in terms of epistemological obstacles. In book The Formation of the Scientific Mind philosopher characterizes scientific attitude as an attempt to eliminate the impact of affective images on thinking, which is possible in the process of psychoanalysis of objective knowledge. Bachelard indicates positive model for science: an abstract thought, constructing their own research subjects. Only a constantly renewed cognitive effort can become a source of new ideas.
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La vision dysphorique de Michel Butor: la ville-personnage de L’Emploi du temps en tant que locus terribilis

45%
Kotowska J.
Orbis Linguarum
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2018
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issue 52
339-351
EN
The Dysphoric Vision of Michel Butor: the City of L’Emploi du temps as Locus Terribilis From biblical sinful cities of Sodom and Gomorrah to modern ones like the nightmarish Prague of Kafka, the melancholic Bruges of Rodenbach or the cursed Bleston of Butor, the evil urban areas have fascinated novelists of all ages. In L’Emploi du temps, Michel Butor presents a haunting and disturbing vision of an imaginary English town, personified and considered the second main character in Butor’s novel. In order to torture its inhabitants, Bleston controls the four elements of nature and reduces them to their negative aspect of dreadful, devastating forces, which challenges the positive imagery of the air, water, earth and fire created by 20th-century philosopher Gaston Bachelard. A hostile and malicious city inspired by Manchester, Bleston seems to sum up all the fears and misfortunes of the real world metropolises in their hostile and unlivable aspect.
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Rozum i wyobraźnia w La Psychanalyse du Feu Gastona Bachelarda

36%
Ples-Bęben M., Śląski U.
Internetowy Magazyn Filozoficzny Hybris
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2016
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vol. 35 (4)
EN
The aim of the article is to analyse the relation between the mind and imagination as the main issue of Gaston Bachelard’s book The Psychoanalysis of Fire. The book was published in 1938 and originated Bachelard’s research on the poetic imagination; however, it extended the research into another project of this French philosopher which he refers to as psychoanalysis of objective cognition. That is why The Psychoanalysis of Fire is a unique book among Bachelard’s achievements – two subjects of the research are connected there: scientific cognition and poetic imagination, which in the further years of Bachelard’s activity are separated. In the context of the article’s main aim, there appears also an interesting theme of psychoanalytic inspiration, introduced by Bachelard to his philosophy in two of his works published in 1938, one of which is The Psychoanalysis of Fire itself.
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