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in Gaston
Metaphysics
Bachelard's
"Reverie"
of Arts
and Humanities,
College
of Liberal
Arts,
Florida
Atlantic
University,
Davie,
FL 33314, USA.
Abstract. This paper aims to trace the evolution of Bachelard's thought as he gropes toward
a concrete formulation of a philosophy of the imagination. Reverie, the creative daydream,
occupies the central position inBachelard's emerging metaphysic, which becomes increasingly
"phenomenological"
does not use Husserlian
in a manner
terms,
reminiscent
he appropriates
of Husserl.
the following
This means
features
that although
of (Husserlian)
Bachelard
phenom?
apprehend
that there
growth of (rather than radical break from) his earlier scientific and epistemological concerns.
ametaphysic
in reverie
is an aesthetic
of the imagination:
intentionality
providing
is an object only
such as fire or water,
insofar as it enables/calls
forth a
object,
a
to
enter
into
and
cosmic
state
of
self-aware
and
subject
receptive,
object
subject-ness
being;
ness are intimately
intertwined.
and archetypally
Bachelard's
results from his
"new poetics"
of the general
of the "new scientific
transplantation/cross-fertilization
epistemology
spirit" on
What
results
the aesthetic
to/across
1.
his
aesthetics.
Introduction
The academic
career of Gaston
most
movement
literary criticism.
60
C.J.S.
PICART
is one of dialectical
tension: a creative polarity between
The new metaphysic
the
"material"
the
"formal"
and
the human
the
the mind and
soul,
imagination,
will to be imagined.
Reverie,
the creative
metaphysic,
reminiscent
emerging
a manner
in Bachelard's
the central position
daydream, occupies
in
which becomes
increasingly
"phenomenological"
of Husserl.2
Bachelard's
"reverie" may be ultimately
as a phenomenology
of the imagination
insofar as he views
the
as
as
in
the
rooted
the
and
world
world,
intrinsically
imaginable
imagination
so inti?
Subject and object become
only via the archetypes of the imagination.
described
in reverie (which
of epoch, phenomenological
the subject that gazes upon
intertwined
mately
notions
bears
similar
features
to the Husserlian
that in
reduction)
as
as the
the
and
is
rich
diverse
reverie,
object
object, and the object is intimately bound up with the subject in the genera?
he
does not use Husserl's
tion of meaning.
Though Bachelard
terminology,
most
the
in
features
of
the
(Husserlian)
general way,
following
appropriates,
reduction
and eidetic
Bachelard's
reveries
on the elements
to his
meditations
It is these impli?
for literary criticism.
half of the paper. Yet, as I shall attempt
is the complementary
aesthetic philosophy
to show, Bachelard's
counterpoint
rather than its antithesis.
to his scientific philosophy
result
cations
2.
Fire, Water
and
the Material
Imagination
concerns.
From
is dangerously
seductive. Requiring
caution, but awaken?
inspired by matter
an
from Bachelard
the
it
forth
draws
ambivalent
reaction
ing sensibilities,
fascinates
and
and
Like fire, poetry allures
distorts,
destroys,
epistemologist.
calms and ravages.
for malign
of "first
vigilance
against the temptations
attractions
and
careless
reveries"
1987,
(Bachelard,
impressions,
sympathetic
must
be
freed
from
such
responses
p. 3). Objective
knowledge
subjective
emphasizes
through "psychoanalysis."
In keeping with its Freudian model,
the implicit hope of Bachelard's
psy?
once
are
that
the
is
subconscious,
processes
choanalysis
image-producing
to rise to consciousness,
the rational mind will be freed from their
allowed
Bachelard
influences. However,
borrows only the main outlines of
repressive
he attributes the persistence
of a "secret idolatry
a
not
to
the
of
1987,
p. 5)
(Bachelard,
depths
repressed subconscious
of
held
but to a less primordial
semiconscious
attitudes or
layer
commonly
the Freudian
schema. Hence,
of fire"
images. Hence,
state of reverie
following
Bachelard
rather
attributes
the image-generating
He distinguishes
center
to be
the two
the
in the
way:
. . . reverie
always more
its own way in a linear fashion, forgetting its original path as it hastens
in a star pattern.
along. The reverie works
out new beams. (Bachelard,
1987, p. 14).
To explore
the nature
of reverie
consciousness
prescientific
scientific mind,
from
It returns
to its center
to shoot
62
CJ.S.
Towards
3. Moving
a Theory
PICART
of the Literary
Imagination
Bachelard
over" from
"crosses
science
to aesthetics.
It is here
that
concerns
Bachelard's
shift from a
complex."4
to an examination
of objective knowledge
of the proposition
is a creator of language" (Bachelard,
1987, p. 87).
He recalls the experience
of watching
lapses into reminiscing.
he discusses
the "Hoffman
psychoanalysis
that "alcohol
Bachelard
him
to enunciate
his now
famous
four-part
to
and concrete bases must not be forgotten,
if we wish
precise
our
the psychological
of
understand
constructions_If
meaning
literary
it should suggest a classification
present work serves any useful purpose,
The
themes which
of objective
We
of
prepare the way for a classification
not yet been able to perfect an overall
and the doctrine of the four tem?
elements
would
have
temperaments.
poetic
doctrine of the four physical
In any case, the four categories
of souls inwhose dreams fire,
peraments.
to be markedly
show themselves
differ?
water, air, or earth predominate^
ent. Fire and water, particularly,
remain enemies even in reverie, and the
listens to the sound of the stream can scarcely comprehend
person who
the person who hears the song of the flames: they do not speak the same
language:
(Bachelard,
It is important
between
dence
imagination.
itate toward
to note
1987, p. 89).
that Bachelard
a theory of correspon?
is proposing
and the aesthetic "elements"
of the
poetic "temperaments"
is that reveries of certain writers grav?
The position he suggests
can
one
and that such tendencies
of
the
four
of
elements,
images
Bachelard,
respecting
ity of poetic
liberating
analysis,
in language
a difficult
act: that of
at this point,
is attempting
balancing
and of enjoying
the spontane?
of scientific rationalism
to accomplish
this not by
He proposes
imagination "legitimately."
the rigours
unconsciously
repressed activity, in the manner of classical psycho?
as
but by consciously
it, so that "the error is recognized
repressing
METAPHYSICSINGASTONBACHELARD'S"REVERIE" 63
1987,
such, but it remains as an object of good-natured
polemic" (Bachelard,
a
He
that
of
will
"dialectical
sublimation"15
p. 100).
process
evidently hopes
allow the image to exist as well as enable him to study it objectively.
to this approach to reverie is Bachelard's
Fundamental
undeniable ambiva?
lence toward the poetic imagination. Like the burnt-brandy or like fire itself,
imagination is something to be enjoyed, but also something that must be con?
trolled. Chastened by his earlier training as an epistemologist,
he views this
new psychological
as
to
known
be
the
constraints
within
something
reality
of rationally organized knowledge. Hence, he refers to the taxonomy of the
material
imagination as a "Physics or Chemistry of reverie" (Bachelard, 1987,
p. 90). Even when, toward the end of the book, he moves from an examina?
tion or reveries, which can be known psychoanalytically,
to the poetic images
states
to
that
would
he
"it
be
match
the psychologi?
themselves,
interesting
cal study of reverie with the objective study of the images that entrance us"
1987, p. 107).
having initially set out to free fire-reveries from their animistic irra
stumbles across the discovery of the poetic expression
tionalism, Bachelard
of these reveries - the particular verbal images produced by the imagination
of fire. This discovery prompts him to formulate a new project: an "objective
(Bachelard,
Hence,
4. Water
Images
and psychoanalysis
is
psychology
and with it, the slowly congealing
64
5.
C.J.S.
The Material
Imagination:
Consciousnesses
PICART
The Link
between
the Pre-scientific
and
Aesthetic
Bachelard distinguishes between two axes of the imagination: the formal and
thematerial (Bachelard, 1983, p. 1).The formal axis draws its impetus from
the varied,
and eternal.
the novel,
primitive
a formal
imagination
Bachelard
Although
From
are
that these two types of imagination
recognizes
in
he
the
the
believes
nevertheless
of
material
intertwined,
primacy
essentially
to him, the formal
over the formal imagination.
This is because
imagination
intimate contact with images one
the immediate,
conceptualizes
imagination
gains
through
the material
imagination.
In the realm of the imagination, it is not somuch the object as the element
calls "the unconsciousness
of
that generates
images. Matter, which Bachelard
form" (Bachelard,
1983, p. 70), is the unseen impulse that imbues a particular
it
its poetic power. The perceived
object is literally superficial
image with
a
as
to
matter. Thus, the taxonomy
surface and is secondary
of
exists only
in his earlier book becomes
outlined
the imagination Bachelard
of the material
classification
imagination.
to note that many of the reveries of the material
It is interesting
a tetravalent
imagination
are the very epistemological
to
in his
obstacles Bachelard
transcend
sought
and the contem?
both the prescientific
consciousness
earlier works. Hence,
porary aesthetic mind build from the primacy of matter over form. That is,
tenet of naive realism: that the qualities
they both draw from a fundamental
sub?
of an underlying
of objects
(e.g., color or shape) are simply reflections
stance. What
then differentiates
the prescientific
mind
from
the contemporary
consciousness?
poetic
For Bachelard,
because
pseudoscience
reverie.
subjective
produce
reveries
authentic
in rational
whereas
However,
a
and other prescientific
thinkers produced
and
their descriptions
sprang from a more primordial
the alchemists
On
their contemporary
heirs, the poets,
access
to these same
have
they
literature, precisely
form.
because
the rationalism
science
necessitates
is that of militant
surrender. It
is that of spontaneous
poetry
vigilance,
links the
that
the
into
creative
of lapsing
is the naturalness
reverie,
daydream,
not labor to give in to daydreams;
poetic mind to the prescientific mind. We do
enables
the rationalism
we
us. Although
today's
substratum
the elemental
them to overcome
allow
and new
prescientific
be about new
forms,
unchanged.
reverie
realism and contemporary
point between prescientific
an
a
to distinguish
and
between
Bachelard
image. "The
metaphor
of images that we take as simple
conceives
mind
concretely
objects
It is this nexus
that prompts
reveries may
remains
65
. . ."
It really thinks the earth drinks water
1983,
(Bachelard,
to
The
is
the
is
creative.
Bachelard,
imitative;
p. 168).
metaphor,
image
is a visual,
The metaphor
conceptualized
figure that may even be used to
In contrast, the image precedes
it is
illustrate scientific
concepts.
concepts;
metaphors.
not exhausted
by rational
knowledge.
comes
to terms with
the notion that the reality of life, which is both objective and subjective,
simply transcends determinable logical patterns. The literary imagination
reverie-that
inventive, unpredictable
aspect of "real" life.
verbally enfleshes
It gives human life the same non-deterministic
that
rationalism
imbues
reality
contemporary
science with.
6.
Towards
a Phenomenology
of the Imagination
returns to an archaeology
of the
of Space (1969b), Bachelard
no
of the imagination.
There is
doubt that this time, he
symbolic
ontology
on its own terms, giving it the philosophy
intends to treat the imagination
it
In the Poetics
deserves.
He
recognizes
of psychoanalysis
and psychol?
to
the
approaches
literary image.
ogy ultimately
prove
Hence, he adopts the phenomenological
approach.
In the manner
of phenomenologists,
Bachelard
attempts to "bracket" pre
?
to
concrete reality as well as
attitudes
references
i.e., objective
experiential
an
to
to the overall composition
in
ascertain
the
role
of
relation
attempts
image
to Bachelard;
of the literary piece. It is not that such tasks are useless
they are
to the immediate apprehension
of the image. For Bachelard,
simply secondary
the
is the literary image itself.
the fundamental
of
reality
literary imagination
to the empirical reduction of an
to him, phenomenology
is opposed
Hence,
external to it. Instead, the phenomenological
he
method,
image to something
66
CJ.S.
consists
posits,
of "designating
PICART
the image
as an excess
of the imagination"
it
an essential
refiige.
After
in
three chapters on the dialectical
spatial relationships
represented
or open
the tension between
the large and the small, inside and outside,
concludes with a chapter on "The Phenomenology
and closed, Bachelard
of
an
as
This chapter may be viewed
Roundness."
attempt to sketch the paradox
?
that dissolves
of entry into an image: an experience
such that
oppositions
the "large" and the "small," the "inside" and the "outside," and the "open"
and the "closed"
serves
to justify
is self-sufficient
6.1.
of an eternal being.
spaces are simply manifestations
-a
now embraces
the method Bachelard
phenomenology
and non-referential.
A Phenomenology
of Poetic
It also
that
Reverie
reverie
Having
established
in this piece.
from the reductive
his distance
methods
Bachelard
in The Poetics
allows
of psycho?
to
himself
of Space,
analysis and psychology
that attempts to respect the reality of
the light of a perspective
reconfront?in
?
on
he
the
of the imagination. Accordingly,
the image
psychology
questions
in favor of a Jungian one. Hence, he adopts
discards the Freudian framework
a method
of active
imagination
than psychoanalysis;
i.e., he draws
being careful not to reduce images to a
rather
of depth psychology,
stresses the need for an "absolute sublimation"
He
(Bachelard,
reality.
an
of imagined reality into the words
transformation
idealized
1969a, p. 58),
leads him to adopt another of Jung's insights:
of the poem. This procedure
from
hidden
the lessons
6.2.
basis
?
principle
Anima
of
the human
psyche,
particularly
in relation
67
to its
the anima.
and Animus
mus),
of the feminine
ma
over
human
for imagination
and daydreaming
like Jung, stresses the primacy
Bachelard,
it is the ani?
element precisely
because
propensity
of Reverie,
the masculine
that is especially
suited to a phenomenological
an
more
to
of reverie.
approach and,
exploration
particularly,
or
the creative daydream, akin to the anima princi?
This is because reverie,
the
of the human psyche
in both men and women.
reflects
feminine
side
ple,
rather
Bachelard
is solitary and
opposes reverie with the nocturnal daydream, which
He enhances this opposition
in gram?
by stressing the difference
between
dream
In
the
and
the
reverie.
the
dream
French,
gendering
unconscious.
matical
(le rev?) or (le singe) ismasculine; the daydream (la reverie) is feminine.
To Bachelard,
distinct element
root
itself
a reverie
is not a derivative
of a well-balanced
in two main
characteristics
human
of a dream; it is a necessary
and
The
seems
to
difference
psyche.
of reverie:
1. it is communicated
and
ultimate
aspects of the human psyche. Bachelard's
a
dreamed communion
of
project is that of studying "a reverie which places
anima and animus,
the two principles
of the integral being, in the soul of a
masculine
values" (Bachelard,
1969a, p. 91). As such, only a reverie
a non-conceptual,
is suitable to the
phenomenological
approach
can
of images. "The image
only be studied through the image,
as
in
reverie.
It is nonsense
to claim to study
by dreaming
images
they gather
one
the
since
receives
imagination objectively
really
image only if he admires
dreamer
of human
on reverie,
examination
it" (Bachelard,
1969a, p. 53).
tension between
The resulting
in Bachelard's
later
image and concept,
offshoot of the opposition
between
reverie and
and animus, and ultimately,
of science and aesthetics. This
if one is to respect the perspectives
direction
is inevitable,
of both activities.
In
the same way the image cannot lead to the concept without distorting
thought,
on poetics,
the dream, anima
is a natural
be examined
works
being
distorted.
68
7.
C.J.S.
The Metaphysics
Bachelard
outlines
PICART
of Reverie
three attributes
The
first
of reverie
that make
is a Proustian
recall
such a phe?
possible
of the "nucleus
of
reading.
nomenological
childhood"
reawakens.
1969a, p. 100) that poetry spontaneously
(Bachelard,
In keeping with
the Romantic
tradition, such a past is admired rather than
adored and loved rather than dissected
and treated with suspicion.
perceived;
sense of won?
The recreation of the past through reverie renews the childhood
to an in-anima
on receptiveness
its stress
Husserlian
Husserls'
or the "epistemological
obstacle."
a
also
Bachelard
outlines
second trait of reverie
sense"
Again,
Bachelard
after
the radical
stressing
borrows
the Cartesian
difference
between
its self-consciousness.
reverie
and dream,6
ergo sum, to
formula, cogito
ontological
of a phenomenological
reverie. His
use of the term cogito (Bachelard,
on a
1969a, p. 150) implies his emphasis
that is aware of his/her thinking activity, which,
consciousness
in turn, springs
draw out the metaphysical
from an awareness
consequences
of his/her
is "phenomenological"
a foundational
"intentionality"
existence
approach
relationship
etration/symbiotic
are meaningless
"objectness"
subject only insofar as there
such an
renders
to. An
is an object that he/she gives meaning
a
an
as
it
insofar
for
whom
exists
is
is
subject
object only
meaningful.
object
between
the traditional "strong" ontology
Bachelard
(1969a,
distinguishes
the former
(1969a, p. 167). Whereas
p. 166) and his "differential"
ontology
the subject and object, the
of opposition
between
begins from a framework
the interp?n?tration
between
latter recognizes
subject and object made pos?
he/she
is the poet or reader,
sible through reverie. The daydreamer, whether
own
conscious
also enhances
tion
of his/her
the relationship
to the hyperbolization
between
subject
and prolongation
in the primordial
exemplified
or cosmic
image of fire,
object,"
in
must
or
the
intensified
be
for
air
instance,
water,
earth,
imagination
by
a
as
mind
to become
order for these objects
large
enabling
truly universal,
as the subjectivity
as manifold
that
as the universe
intends, and a universe
"aesthetic
intends
it.
to reverie, Descartes'
the world,
therefore
Applied
"I dream
1969a, p. 158). In reverie, the traditional chasm separating subject and object
that the subject accommodate
need not exist. Where
demands
objectivity
to a rationally organized physical
reality, producing
of subject and object, self-aware
reverie accommodates
himself/herself
mentation
to a subjective
reality,
thus escaping
from
the subject-object
the frag?
the world
opposition
with?
out dissolving the unique identity of the subject. It is through the "irreality
that such a synthesis
is possible.
at this point, again sounds like a Husserlian
Bachelard,
function"
his castigation
of the "scientific
"scientific attitude" necessitates
phenomenologist
and Bachelard,
in
the
the epistemological
stance of the vivisection
life, borrowing from T.S. Eliot, lies like a patient etherized
the "phenomenon"
of the new scientific
upon a table. In contrast,
spirit is
a
an
nor
neither
intentional object of consciousness.7
thing in itself
simply
In its "first approximation,"
this phenomenon
is produced by physicists
and
ist before whom
for example,
in their scientific
It is produced materially,
activities.
means
and
of
but also mentally
in
through experimentation
by
techniques,
that it is articulated by means of scientific concepts.
Similarly, an account of the "aesthetic phenomena"
(such as images of fire,
earth
and
for
Bachelard
water, air,
space,
example)
speaks of may be set up.
chemists,
Bachelard's
aesthetic
in
ricochet
(i.e., "imaginative
phenomena
substances")
This is because
it appears that to Bachelard,
the objects
of the "material imagination"
in the
(such as alchemical
images) are elements
sense: they are both inner and outer. Hence,
to take a concrete
pre-Socratic
between
three senses.
to scientific) phenomenon
of water
streams and rivers; 2. literary and
visually portrayed bodies of water; 3. archetypal aqueous
images.
In line with this stress of the "archetypal" nature of these imaginative
"ele?
the poetic/aesthetic
(as opposed
example,
across
three levels: 1. actual ponds,
plays
attribute Bachelard
ascribes to reverie is its cosmicity.
a voice to the world, creates a "cosmic image" (Bachelard,
1969a, p. 175). This transcendental
image sculptures the world and the dream?
- a
a
into
unified
universal
stable,
ing object
being
primal archetype. "Reverie
unifies cosmos
and substance"
1969a, p. 176). For Bachelard,
(Bachelard,
ments,"
Reverie,
in giving
reverie enables
the state of being-in-relation
that characterizes
ultimately,
the Husserlian
"eidetic/transcendental
the
reduction,"
entry into the realm
not
in
of "essences,"
the classical
Platonic
sense, but in a more properly
hermeneutic
sense, commanding
a
in
object
poetic synthesis.
To Bachelard,
reverie, which
izing and free.
It transcends
a complete
culminates
the surface
interp?n?tration
of subject
and
70
C.J.S.
PICART
sense
It simultaneously
co-creates
both the dreamed world and
experience.
sense
we
can
It
in
the dreaming
is
that
this
describe Bachelard's
later
subject.
a
even?
form of subjective
idealism. This is because Bachelard
thoughts as
tually
92).
8.
Conclusions
it is evident
In conclusion,
the human
between
tionship
him
to follow
in his exploration
that Bachelard,
of the rela?
the
and
the
of
emergence
psyche
image, leads
an increasingly
he
method.
Hence,
subjective
begins with a
on to a psychology,
a
moves
to
then
and
phenomenology
psychoanalysis,
of images. His epistemological
interests are gradually displaced
hermeneutic
a
to malign
attraction.
The
imperative
against
by
metaphysical
vigilance
an
is
into
replaced by
appeal to a joyous and admiring
lapsing
daydreams
it is easy to conclude
in poetic reverie. From such an observation,
absorption
that Bachelard's
earlier
interests
concerns
aesthetic
constitute
a radical break
away from
his
in science.
(even
if only partially)
of his earlier
epistemological
faculties
of the mind
and reverie, the principal
(in the new
constitute an escape from
science) and the soul (in the new poetics), essentially
common
sense is reminiscent
idealization
reverie's
beyond
solipsism. Hence,
a
of
science of "second approximation"
of the transcendence
(i.e., a science
Both
reason
or "common
in the "thing-ism"
the naive view enmired
beyond
to
the
associated
and
values/orientations
adheres
of
objects
sense-icality"
that "realizes
the rationality"
of the new
with
the "phenomenotechnique"
that gets
science) (Bachelard, 1984, p. 3). The hypothesis that I am setting forth is that
Bachelard's
work
in the epistemology
of science made
him wary
of a priori,
universal and rigid logical categories. This endowed him with the flexibility
to respond to the inventive images of surrealism
sensitively.
to the tradi?
of this "new" science (as opposed
The peculiar epistemology
sense" that presents an "epistemological
attitude"/"common
tional "scientific
71
scientific
the "new
in two contexts.
this notion
First, to describe
logical break." He employs
even contradicts
in which
off
from
and
scientific knowledge
the way
splits
An
common-sense
and
belief.
cites
he
is a remark from
experiences
example
a chemistry
text that states that glass is similar to zinc sulfite, which
is not
of the two substances
but on the fact they
based on any overt resemblance
structures.
analogous
crystalline
even
more
Second,
radically than simply filling in the gaps where the every?
uses "epistemological
break" to describe
tapers off, Bachelard
day experience
both possess
how novel
familiar
scientific
facts. An
are
to explain
the nature of combustion
yet futile attempts
perspicacious
more
overcome
on
successful
Lavoisier's
his
Based
observations,
attempt.
by
to be a process
Lamarck
combustion
the "vio?
interpreted
through which
lence" of fire unmasks
the fundamental,
color of paper
black
underlying
was
successive
chromatic
colors.
For
what
Bachelard,
by stripping away
rooted
wrong with Lamarck's
principally
approach was that he remained
within
the realms of the common-sensical,
and of direct, natural observation;
in contrast,
the "new scientific
the movement
towards
spirit," necessitates
and the experimental
production
laboratory conditions.
artificial
investigation
of phenomena
under
As
such, Bachelard
essentially
transplants the chief insights of his philoso?
?
as the need for an open, flexible
of
which
be
summarized
science
may
phy
? on to
to
the
continuous
revolutions
his
of science
philosophy,
adaptable
in contemporary
revolution
literature, without
an
mass.
two
into
Both science and
collapsing
disciplines
amorphous
literature require not only their own "differential
but their own
ontologies,"
as
well.
epistemologies
exploration
of
the aesthetic
these
and "hermeneutic"
Bachelard's
Hence,
"phenomenological"
approach
to literature. It is the means
the image is his epistemological
response
that is least disruptive
adopts to know the literary image, in a manner
in the same way that his epistemology
the image's active mode of being,
to
he
to
of
72
C.J.S.
aware
remain
of the delicate
PICART
tension
how we
between
know
we
and what
know.
It is this twofold
that
allows
Bachelard
and
and metaphysics
interplay between epistemology
to effect a "cross-fertilization"
between his scientific
Notes
amount
1. A certain
the way
surrounds
of controversy
commentators
Some
and aesthetics.
science
it seems
just what
and
is essentially
irreconcilable.
a relation
Bachelard
perceives
that Bachelard's
conclude
On
the other
obvious
between
is
duality
others
hand,
perceive
hidden strands of unity within a tapestry that depicts the bifurcation between science and
poetry.
For
of
examples
the spectrum
of positions
on
the matter,
to the following:
refer
Poulet (1965, pp. 1-26), Gagey (1970), Margolin (1974), Smith (1982).
2. Refer to Husserl (1982, pp. 53-55, 59, 94-95, 108, 110-111, 115, 142, 160, 187, 204,
278, 302).
3. For
it is difficult
in some instances,
fire is hard to light; in others,
Ernst Theodor
whose
is to the German
Romantic,
Hoffman,
example,
allusion
4. The
to put out.
stories
fantasy
science.
is a shadow who
"while
the dreamer
of the nocturnal
dream
6. To Bachelard,
has lost his
. . . can formulate
a cogito
at the center of his dreaming
of reverie
self
self, the dreamer
... reverie
a glimmer
in which
is an oneiric
of consciousness
subsists"
p.
(1965b,
activity
150).
7. For a similar
approach,
to Glieder
refer
(1989,
pp. 27-53).
References
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New York:
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M.
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J.C.
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