著者

橋爪 恵子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.13-24, 2011-06-30 (Released:2017-05-22)

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In The Poetics of Space (1957), Gaston Bachelard adopts a phenomenological approach to the literary image for the first time. In the volume, he introduces the notion of "Retentissements" (echoes)-the creative reception of image-which is given a central role in the work. This paper aims to examine the evolution of his theory, particularly in relation to his epistemology and earlier theory of art. When Bachelard refers to Husserl's phenomenology in his epistemological work, he criticizes it as too "formal." To Bachelard, the examples Husserl gives do not provide a sufficient understanding of the relationship between subject and object in science. In his earlier theory of art, Bachelard also establishes his distance from Sartre's phenomenology, which draws a clear distinction between the reality and the image. For Bachelard, they are intimately interwoven and escape from the fact-imagination opposition. Paradoxically, although he seems hostile toward phenomenologists, his critique eventually leads him toward a new phenomenology of the imagination. In the process of his debate with them, Bachelard appropriates some features of their theories in order to forge his own. In this way, he evolves his theory of the imagination and, in this sense, he is influenced by other phenomenological thought and, in turn, echoes (retentir) them.

著者

橋爪 恵子

出版者

日本メルロ=ポンティ・サークル

雑誌

メルロ=ポンティ研究 (ISSN:18845479)

巻号頁・発行日

vol.25, pp.39-54, 2021 (Released:2021-11-06)

参考文献数

9

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In this paper, I consider the significance and limitations of Merleau-Ponty’s literary philosophy. In his philosophical discussions taken as a whole, the subject of literature cannot be ignored. In his early writings, literature, as one of the “expressions,” that is, something that tries to convey something to others, shows the true nature of language. Merleau-Ponty claimed that what is essential for “expression” is to have both the universality to be understood by others and the uniqueness to impress. In that respect, literature, like painting, was regarded as an “expression” and their universality and uniqueness caused him to think about history. This is one significant aspect of literature. Merleau-Ponty also points out a difference between literature and painting: literature needs history, but painting does not require it. Merleau-Ponty believed literature could not be understood without language in the universality of history, or the “Langue.” On the other hand, he emphasized the “Parole” aspect of language, that is, individual use, which creates uniqueness. Therefore, for him, literature does not fully emphasize the aspect of originality compared to painting, and this property of literature led to Merleau- Ponty’s reduced discussion of literature in later thought.

著者

橋爪 恵子

出版者

東京大学大学院人文社会系研究科・文学部美学芸術学研究室

雑誌

美学藝術学研究 (ISSN:13426095)

巻号頁・発行日

no.38, pp.1-20, 2020-03-22

著者

橋爪 恵子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.1, pp.185, 2012-06-30 (Released:2017-05-22)

著者

橋爪 恵子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.58, no.1, pp.1-14, 2007-06-30 (Released:2017-05-22)

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It has been said that Gaston Bachelard's theory of time leads him to a new reflection on poetry. However, the relationship between those two distinct theories has not yet been explained in detail. In this paper, I will aim to elucidate this relationship. In L'instuition de I'instant (1932) Bachelard, influenced by Bergson, mainly argued that poetry makes a chain of instants appear as if it were duree which is opposite to the conception of creativity. But under the influence of Roupnel, he also suggests that poetry gives us to experience what an instant is, and he teaches us that it consists in creativity. Thus in his theory of time, especially in terms of the experience of poetry, there seems to be an ambiguity. In 1939 he wrote his first book on poetics, La psych-analyse dufeu, and then L'eau et les reves (1943), in which he claimed a new concept of "material imagination", which is based on the Elements. He thought that the images of material imagination were constant and this constancy was nothing but duree. Further, he considered this constancy as a positive property, holding that it gave images creativity which was solely assigned to instances in his previous writings. Therefore, we find that poetics of Bachelard is surely based on the ambiguous reflections on poetry in the theory of time.

著者

橋爪 恵子

出版者

東京大学大学院人文社会系研究科・文学部美学芸術学研究室

雑誌

美学芸術学研究 (ISSN:13426095)

巻号頁・発行日

no.35, pp.1-26, 2016

著者

橋爪 恵子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.1, pp.28-41, 2004-06-30 (Released:2017-05-22)

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The poetics and the scientific philosophy of Gaston Bachelard tend to be studied separately and there is a still unknown part about these relations. Therefore, in this paper, I consider the concept of the material imagination, paying attention to the relation between scientific philosophy and poetics. Bachelard made the problem of imagination the theme in "Psychoanalysis of Fire". It was written for consideration of science, and scientific philosophy and imagination are regarded there as being opposites. But afterward, this book became a part of poetics. Because of this conversion, the whole poetics is opposed to scientific philosophy, and one problem is posed. That is, the poetics has to discuss new, original images, which obtain people's consent. And to solve this problem, the new concept of imagination Is needed which is " material imagmation". This concept overcomes the difficulty by two ways. One is to attach importance to materiality, which is the concept discussed already in scientific philosophy. The second is to put to use the theory of psychoanalysis. Because of this solution, material imagination can serve as an important concept in early poetics, and it reflects the important influence of scientific philosophy on the poetics.

著者

橋爪 恵子

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.13-24, 2011-06-30

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In The Poetics of Space (1957), Gaston Bachelard adopts a phenomenological approach to the literary image for the first time. In the volume, he introduces the notion of "Retentissements" (echoes)-the creative reception of image-which is given a central role in the work. This paper aims to examine the evolution of his theory, particularly in relation to his epistemology and earlier theory of art. When Bachelard refers to Husserl's phenomenology in his epistemological work, he criticizes it as too "formal." To Bachelard, the examples Husserl gives do not provide a sufficient understanding of the relationship between subject and object in science. In his earlier theory of art, Bachelard also establishes his distance from Sartre's phenomenology, which draws a clear distinction between the reality and the image. For Bachelard, they are intimately interwoven and escape from the fact-imagination opposition. Paradoxically, although he seems hostile toward phenomenologists, his critique eventually leads him toward a new phenomenology of the imagination. In the process of his debate with them, Bachelard appropriates some features of their theories in order to forge his own. In this way, he evolves his theory of the imagination and, in this sense, he is influenced by other phenomenological thought and, in turn, echoes (retentir) them.