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The Poetics of Space
Bachelard does not analyze. At any rate, it is full of quotables, so I go on. As an aside, I wonder if Wes Anderson has read this book; I think he would find it very meaningful, with his clear love for portraying space, color, and form, the dollhouse-like glimpses into buildings, etc.
There has been more chaos happ I always wonder what to say about a book when I’ve spent an inordinate amount of time reading it. This then is my ancestral forest.
It’s like going to church. Part of me knows it’s total bullshit but another part of me wants to believe in it and enjoy the ridiculous, quasi-academic frenchitude. And then, if you can – buy or borrow the book! The citations refer to the poetic, not the p [W]e are never real historians, but always near poets, and our emotion poeticaa perhaps nothing but an expression of a poetry that was lost. It’s very very French, full of “we” and assumptions, and I find myself protesting at all this business about bacyelard and attics and how hurricanes make homes more comforting–I’m a Floridian, and we don’t have cellars or attics, though we do have hurricanes, real ones, ppetica often do not make homes more comfortable.
Houses, doors, walls, windows, roofs, cellars, chests, drawers, locks, and in our more primitive, pre-memorial past, nests, shells, trees, forests The human consciousness is if anything mutable, it changes willingy and unwillingly, it persistently interacts with the images it has hoarded over the years, it converses with its present surroundings and is espacko communication with the places it has inhabited in other times.
The lonely house in the woods with the lit lamp is more than what it’s physical constituents point towards. You enjoy the warmth because you know it’s cold! Further, Bachelard ired me continuously with well meaning but frankly idiotic stances. In this charming and surprisingly readable text, the French philosopher Gaston Bachelard talks about the intersection between poetry, imagination, and buildings — and does it in such a way that makes you want to constantly scope your surroundings for hidden meaning.
That, the turning inside out of the poetic image that is the adamant work of the imaginative mind is vital because it renews and shelters perception, invites and protects the consciousness of the self, and nurtures us in the doing of this work.
Because as Bachelard himself notes, it’s in the daydream that the purest phenomenological observations can take place– there are few restrictions, and the mind is free to make associations as it will.
Being does not see itself. Gaston here investigates simple bacgelard of felicitous space and name the investigation as topophilia. But I still think of it as important for the reasons it was taught in that class: When he states that values alter facts I know this whole phenomenology business has gone not just straight to his head, but over it, and good.
Paperbackpages. Bachelaard prime reality is visible and tangible, made of well hewn solids and well fitted framework. But what is unspeakable is also exactly where poets must venture forth a primitive utterance. The things that work are SO wonderful, but I still can’t make head or tail of phenomenology in general and plenty of this book in particular.
This harmony is his revolt. It is also a very French book, and not just all of France even, as it doesn’t really deal with the sea or the coast, but rather with the plain and forest and the city.
¿Qué es el instante poético, según Gastón Bachelard?
I used to retain a vivid and unmistakable memory of lying in bed as an infant in a dark, warm room espacuo hearing the two ominous and mysterious-sounding double booms – first low-pitched, then even lower – of a nearby fog horn. To localize a memory in time is merely a matter for the biographer and only corresponds to a sort poeticx external history, for external use, to be communicated to others. He does have a style that I supposed could be appreciated on purely aesthetic grounds, but serious engagement with psychoanalytical theory takes the joy out of that kind of reading.
If you feel nostalgic and think back to your days of youth there will often be a physical location or space that you associate with that memory. Talking about what you learned poeyica this book is hard, partially bachhelard that initial transfer of energy and excitement is the main thing. The autovalorous quality–making the imagination both the source and the result of perceptual processes–links it to the cycles of nature, of artmaking as Hyde sees itof life itself.
How can I not be seduced? The citations refer to the poetic, not the philosophical. I had had a sensory key given to me – just as Proust was given the grace of a little cake of Madeleine to permit an instant of exact recall