Academic literature on the topic 'Gaston Bachelard’s Poetics of space'
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Journal articles on the topic "Gaston Bachelard’s Poetics of space"
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Martinicorena, Sofía. "“An entire past comes to dwell in a new house”: Topophilia and Jeremiad in Joan Didion’s Run River." ES Review. Spanish Journal of English Studies, no. 41 (October 26, 2020): 105–21. http://dx.doi.org/10.24197/ersjes.41.2020.105-121.
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In this paper, I will analyse Joan Didion’s poetics of praise and mourning in her first published novel, Run River, understanding the Western landscape she presents in it as an instance of Gaston Bachelard’s idea of the childhood home as a felicitous, eulogised space. I will argue that Didion’s depiction of the Sacramento Valley and the struggle of the families inhabiting it to accept the changing face of the landscape results in a jeremiad narrative of the West as paradise lost. Reflecting on the limitations both of Bachelard’s discussion of the childhood home and of the West as a mythographic space, I will conclude by assessing Didion’s topophilia and her ambiguous stance as a Western writer.
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Pereira da Silva, Valéria Cristina. "Venise des deux côtés du miroir : Imaginaire et identité entre l’amour et la mort." Caietele Echinox 40 (June 28, 2021): 269–83. http://dx.doi.org/10.24193/cechinox.2021.40.21.
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"Venice, deeply imaginary and symbolic, is in various cultural documents, like books, paintings, cinema, music, photography and other arts. In this research, we use the literary and the poetic narrative as privileged sources for understanding the imaginary and the identity of this city, closely connected with love and with death too. This investigation uses as a method Gaston Bachelard’s phenomenology defined in The Poetics of Space and the symbolical imaginary described in relation to the material imagination in Water and Dreams. Venice is a city on water and its identity is closely associated with love, as one mirror side, and with death or even hell, as the other mirror side."
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Raičević, Andrea, and Vladimir Stevanović. "Gaston Bachelard's poetics of space: Inverse dreambook for interpretation of thinking by means of building." Arhitektura i urbanizam, no. 51 (2020): 20–32. http://dx.doi.org/10.5937/a-u0-28495.
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This paper aims to examine the philosophical work of the French epistemologist and phenomenologist - Gaston Bachelard, by transferring its interpretation from the general into a specific field of architecture. The Poetics of Space (La Poétique de l'Espace), as a Bachelard's work that enjoys even today the most comprehensive reception among the architects and theorists of architecture, shall be taken as a starting point of our analysis. Intending not to limit itself to the considerations which encompass only texts that are strictly thematically or problematically dealing with architecture, this paper aims to position and contextualise Bashlar's philosophical thought within the phenomenological reflections that found their applications in the theory of architecture. In this sence, we shall provide an insight into the duality of relations between the Bachelard's concept of poetic image (l'image poétique) and a poetic object/motif, which, in our case, referes to the inherent elements of an architectural object intended for dwelling. Therefore, in addition to the material and geometric, we shall try to apprehend and explain the experiential manner of spatial perception, and single out the echoes of Bashlar's philosophical thought, which carry within themselves a potential to distort architectural thinking. The results of research shall indirectly demonstrate two possible ways of interpreting the Bachelard's work: 1) the analogous application and appropriation of interpretations of Bachelard's text as a reversed manualdreambook for provoking and inscribing the desired experience in the architectural space, and 2) the application of the mechanisms of phenomenological analysis itself, directed towards the interest in the process of creating a poetic image, as guidelines for the actualisation of an architectural object in its specific reality, through the work on its poeticity.
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Antropova, Svetlana. "At the Crossroads of Memory and Imagination: a Poetic Image of a Window at Night in Samuel Beckett’s "A Piece of Monologue"." ACTIO NOVA: Revista de Teoría de la Literatura y Literatura Comparada, no. 5 (December 28, 2021): 93–117. http://dx.doi.org/10.15366/actionova2021.5.005.
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The pivotal objective of this research is to analyse a poetic image of an imaginary window at night as well as a “ghost” room in Samuel Beckett’s play A Piece of Monologue through the binary lens of Gaston Bachelard’s The Poetics of Space, and Beckett’s biography. An absent onstage window, being part of an imagined reality created by the Speaker, becomes the nexus of this short play, and is discussed in relation to its locus, the writer’s memory, and material imagination. Tightly linked to Beckett’s life, childhood home and the instance of his birth, this image becomes a multi-layered construct, which gains a life of its own in the play and represents the universal themes of birth, death, loss of loved ones and mourning.
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Ayiter, Elif. "Spatial poetics, place, non-place and storyworlds: Intimate spaces for metaverse avatars." Technoetic Arts 17, no. 1 (June 1, 2019): 155–69. http://dx.doi.org/10.1386/tear_00013_1.
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Abstract This article will ask questions that connect the conceptions of Marc Augé's 'place/non-place' and Gaston Bachelard's 'poetic space' to the avatar of real-time, perpetual, online, three-dimensional virtual builder's worlds, also known as the metaverse. Are metaverses 'places' or 'non-places'? Do we actually live in the metaverse or do we just traverse these worlds very much in the sense that Marc Augé defines them as transitional loci that are assigned only to circumscribed and specific positions? The question following from this is whether there are nevertheless three-dimensionally embodied virtual spaces that go beyond being transitional 'non-places' to locations in which an imaginative relationship to architecture in the sense in which Bachelard describes them in his seminal work The Poetics of Space (1958) or that correspond to Marc Augé's definition of 'place' exist.
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Kotaba, Katarzyna. "Czy wojna jest dla dzieci? O obrazach wojny w literaturze dla najmłodszych." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (December 13, 2017): 184–92. http://dx.doi.org/10.24917/3934.
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Is war suitable for children? Images of war in children’s literature I drew on poetics of space by Gaston Bachelard to describe the reality of war from a child’s perspective. War stories for children were depicted in following books: Zaklęcie na “w” (The w-word spell) by Michał Rusinek, Asiunia by Joanna Papuzińska, Czy wojna jest dla dziewczyn? (Is war suitable for girls?) by Paweł Beręsewicz and Wszystkie moje mamy (All my moms) by Renata Piątkowska. Happy places, where children can cower and find shelter are typical features of Bachelard’s poetics of space. During the war cellars served as bomb shelters and they were also the places where adults and children looked for a hideaway and safety. Another determiner of poetics of space is a small - big opposition which is carried out e.g. by setting a small child against an adult, a strong German. This opposition is connected with good - bad or white - black dialecticc. The phenomenology of roundness is the next determiner of poetics of space and it is exhibited in children songs and games. Even during the war children desired to have ordinary and happy childhood without fear. Warm embrace of parents and storytelling are also very important. The phenomenology of the hidden is a final determiner of poetics of space and it is expressed e.g. as additional packets which people sewed to their clothes to smuggle food and medicine or as special boxes, which served to transporting children from ghetto. Illustrations are very important, because they supplement the text. During the war children must face up to a new reality. Instead of parents’ love, there are harsh rules of war.Key words: war; children; bombing; ghetto; German;
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Vydra, Anton. "Hand and Engraving: from Flocon’s Engravings to Bachelard’s Philosophizing." Studia Universitatis Babeș-Bolyai Philosophia 67, no. 1 (April 5, 2022): 11–27. http://dx.doi.org/10.24193/subbphil.2022.1.01.
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"This text deals with the relationships between the phenomenalizations of hand and engraving art, especially against the background of Gaston Bachelard’s philosophical commentaries on the works of Albert Flocon. Special space is devoted to the interpretation of Flocon’s engraving of two hands in connection with Escher’s similar lithography. Another thematic field is the role of the tool and the hand equipped with the tool. However, the central axis of this thinking is the interconnection or intertwining of body and matter, the interactive relationship between human being and matter, between visual observation and dynamic haptics, which require a certain force and thus also experience the back pressure of matter. The conclusion of the text draws attention to a specific engraving, such as writing, especially the writing of a philosophical text, as we read about it in Bachelard’s book The Flame of a Candle, the last word of which is—surprisingly—engraving. Keywords: poetics of touching, engraving, instrumentality, resistance of matter, work of art "
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Helin, Jenny, Matilda Dahl, and Pierre Guillet De Monthoux. "Caravan Poetry: An Inquiry on Four Wheels." Qualitative Inquiry 26, no. 6 (April 23, 2019): 633–38. http://dx.doi.org/10.1177/1077800419843949.
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How can we create possibilities for a generative moment between the research participants and ourselves? In a study about (day)dreaming, we searched for ways of doing our research in which we could meet and jointly explore the becoming of life and important matters through our experiences of dreaming. Inspired by Gaston Bachelard’s phenomenology of dreaming and in particular his book The Poetics of Space, in which he emphasized the importance of small, intimate spaces for poetic moments to occur, we decided to buy a small countryside caravan. Through this inquiry into a new spatiotemporality for our research encounters, we experienced how the caravan offers a rupture from the mundane ongoingness enabling us to reconnect to the moment, the place, each other, and ourselves. This rupture awakens the verticality of time allowing us to be looking anew and making novel connections. What may be seen as self-evident, but it was not for us, is the recognition that in developing research practices for studying dreaming, we had to first start dreaming ourselves.
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Pruszinski, Jolyon G. R. "Interpreting Literary Ecologies and Extending Spheres of Concern: A Note on Bachelard’s The Poetics of Space for Eco-Theology." Religions 12, no. 10 (October 18, 2021): 891. http://dx.doi.org/10.3390/rel12100891.
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This critical note addresses two key features of eco-theology with regard to future prospect: that literary analysis is an important mode of eco-theological work and that an important function of eco-theology is to expand readers’ spheres of concern to include even the most remote of global environmental issues. Working from Tweed’s contention in Crossing and Dwelling that a central function of religion is the process of making homes, the note emphasizes the home as the primary sphere of concern and the need for eco-theological work to extend the concern naturally associated with the private home to the broadest possible sphere: the whole earth as conceived as human home. As pertaining to literary-analytical resources for this eco-theological endeavor, the note highlights the importance of Gaston Bachelard’s The Poetics of Space. Bachelard’s work offers a compelling exploration of the psychological connection between the most intimate spheres of concern (the private home) and the most extended ones (the broader world). Broader eco-theological engagement with his work will employ resources both for understanding relations between the relative scales of human ecology and for expanding spheres of concern, particularly in extending that concern often reserved for the most intimate ecological sphere to the most expansive.
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Rizo-Patron, Eileen. "Bachelard's Subversive Hermeneutics: A Reading of "Lightning "in Shelley's Prometheus Unbound." Religion and the Arts 10, no. 3 (2006): 355–73. http://dx.doi.org/10.1163/156852906779433375.
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AbstractThe purpose of this piece is to probe the nature of Bachelard's subversive hermeneutics by focusing on his predilection for those often unsettling poetic intuitions which emerge with the force of a summons in the experience of reading. My wager is that the hermeneutics of literary texts proposed by Gaston Bachelard in The Poetics of Space (1957) has its antecedents in his polemical theory of "discontinuous time" and the accompanying "pedagogy of discontinuity" set forth in his early work L'Intuition de l'instant: essai sur la Siloé de Gaston Roupnel (1932). The task of this hermeneutics, epitomized by Bachelard's own reading of Siloé, is to detect the ruptures, burning questions, or surprising insights that spark and (re)orient the movement of our life projects, with a view to unfolding the ethical implications of the "call of an instant" upon our sense of intimate duration and history. In the second half of this essay I proceed to set this hermeneutics into motion through a reading of Shelley's Prometheus Unbound that focuses on "lightning" as an image of Bachelardian "instants" in this drama—critical moments charged with contradictions that ultimately seem to steer the poet's course in directions, or towards ethical possibilities, other than his controlling artistic will could have charted out in advance.
Dissertations / Theses on the topic "Gaston Bachelard’s Poetics of space"
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Posada-Olaya, Maria Antonia. "The Power of Collections to Create Place." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/365346.
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This exegesis is an account of how an artist can build a sense of place or a sense of belonging to a particular place through their art-making process. Specifically, it examines how collections or taxonomies have assisted me to understand my sense of belonging, as a native of Colombia dislocated to Australia, in the face of an increasingly dislocated and hybridised world. In arguing that collections make manifest the complex emotional connections people forge with the places they inhabit, I first examine the notion of place. Then I discuss how collections can become dwellings for experiences and memories, and how people also ‘dwell’ in their collections. Gaston Bachelard’s Poetics of space offers a framework to reflect on the tensions between the intimacy of a newly developed sense of home, and the hybrid and foreign public places through which one has to go, and in which one has to dwell after geographical dislocation. Examining how contemporary artists who use collections or taxonomies in their work represent ideas of place, and how the concept of place exists through those collections I present my own ‘collection of collectors’ whose works have informed my studio practice. I conclude by reflecting on the bodies of work that I produced over the course of my research project, and analyse how successful they were in conveying ideas of place and the place-making process.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Mickala, Cyrille. "Habiter : sciences, phénoménologie et herméneutique à partir de Gaston Bachelard et Maurice Merleau-Ponty." Thesis, Lyon 3, 2014. http://www.theses.fr/2014LYO30030.
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Est-il encore possible de vivre et d’habiter l’espace aménagé et construit en particulier, quant à considérer le déluge technoscientifique et industriel qui détermine et influence le domaine de l’architecture moderne ? Le rationalisme et le fonctionnalisme d’une certaine tendance de l’architecture moderne en intégrant les progrès technoscientifiques et industriels dans le monde de la maison, semble condamner l’expérience d’habiter à une crise irréversible. L’activité architecturale se voulant conforme aux progrès scientifiques et techno-industriels, elle impose à l’expérience pratique de la maison et préscientifique des lieux de vie, des normes de vie découlant de la seule raison. C’est en général une architecture et un urbanisme modernes abstraits et fonctionnalistes qui se développent en suivant la voie de l’objectivité rationnelle ouverte par Galilée et Descartes, ils maîtrisent, administrent et esthétisent le tout du monde ainsi que toutes les expériences humaines à l’espace en les dépouillant des considérations poétiques, mythologiques et affectives. Ainsi, la construction des institutions humaines d’habitation devient dans l’identification de la crise d’habiter, un « processus technologique prosaïque dérivant directement de la raison mathématique, d’un diagramme fonctionnel, ou d’une règle de combinaisons formelles » au désavantage de l’expérience concrète d’habiter. Mais si l’architecture n’a pas affaire qu’à elle-même, si elle n’est pas une pratique qui trouve sa fin en elle-même puisqu’elle s’ouvre vers l’autre, comment peut-on philosophiquement toujours espérer habiter authentiquement, originairement et poétiquement le monde et l’espace de la maison en particulier ? La philosophie, par l’approche phénoménologique et herméneutique à partir de Gaston Bachelard et Merleau-Ponty, présente pour l'expérience moderne d'habiter, des voies significatives originales qui permettent de répondre à la crise qu’elle connait. En renouvelant autrement que par la seule connaissance rationnelle les relations de l'homme à l'espace, elle se présente comme une voie remarquable de ré-compréhension, de relecture et de ré-enchantement de l’expérience originaire d’habiter le monde, la ville et l’espace de la maisonIs it still possible to inhabitate and live the laid out and constructed space in particular, as for considering the techno and industrial flood that determines and influences the field of modern architecture? Rationalism and functionalism of a given trend of modern architecture by incorporating techno and industrial progress in the world of home, seems to condemn the experience of living in an irreversible crisis. The architectural activity wanting to meet scientific and techno-industrial progress, it requires practical experience in home and prescientific places of life, of living standards arising from the only reason. It is a general an architecture and a modern, abstract and functionalist urbanism that develop along the path of rational objectivity initiated by Galileo and Descartes, they control , manage and aestheticize the whole world and all human experience to space by stripping poetic , mythological and emotional considerations. Thus, the construction of human institutions housing becomes in identifying the crisis of living a «prosaic and technological process deriving directly from the mathematical reason, a functional diagram, or a rule of formal suits «in drawback of the concrete experience of living. But if the architecture does not matter to itself, if it is not a practice that is an end in itself because it opens to another, how can we still philosophically hope to authentically, originally and poetically live the world and the space of the house in particular? Philosophy, by phenomenological and hermeneutic approach inheritated from Gaston Bachelard and Merleau-Ponty presents to the modern experience of living, original significant ways that respond to the crisis it faces. Renewing differently more than the only purely rational knowledge the relations of man to the space, it presents itself as a remarkable way of re- understanding, rereading and re-enchantment of the original experience of inhabitating the world , the city and the space of the house
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Chiu, Chun-ta, and 邱俊達. "Toward the poetic space: On phenomenology of Gaston Bachelard''s The Poetics of Space." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/5958mg.
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Fraga, Maria Goreti Durão. "Gaston Bachelard e a Pedagogia das Artes Visuais centrada na perceção do espaço." Master's thesis, 2018. http://hdl.handle.net/10400.14/27325.
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O presente relatório é o resultado da nossa prática pedagógica de ensino
supervisionado, numa turma do 9º ano de escolaridade, na Escola Cooperativa de Ensino –
Didáxis, na disciplina de Educação Visual, no âmbito do Mestrado do Ensino de Artes
Visuais no 3º Ciclo do Ensino Básico e no Ensino Secundário, lecionado na Faculdade de
Filosofia e Ciências Sociais da Universidade Católica Portuguesa.
O presente estudo procura resolver as dificuldades que os alunos manifestam no
conceito e definição do espaço, como competência essencial a desenvolver no processo
ensino aprendizagem e na sua representação gráfica, assim como as suas implicações no
ensino das artes visuais e na vida. O enquadramento desta questão determinou uma
investigação teórica e uma intervenção pedagógica de operacionalização de estratégias na
turma referida. A intervenção realizada demonstrou que os alunos assimilaram os
fundamentos essenciais, superando as dificuldades inicialmente sentidas.
Na primeira parte do relatório aplicamos técnicas de representação gráfica do espaço,
tornando se estas determinantes ao nível das aprendizagens bem como úteis nas estratégias
aplicadas que contribuíram para o conhecimento deste conceito em estudo, a nível teórico,
baseado na obra de Gaston Bachelard.
Na segunda parte do relatório descreve-se todo o processo do trabalho prático
desenvolvido com a referida turma da escola Cooperativa de Ensino – Didáxis, no
concelho de Vila nova de Famalicão, com a supervisão da cooperante e docente da
disciplina. O programa da Unidade a lecionar que criei, denominado Gaston Bachelard e
as artes Visuais Centrado na Perceção do Espaço, desenvolveu se a partir da abordagem
por projetos, desde a representação gráfica de sólidos, passando à representação da
perspetiva axonométrica, terminando na execução de um projeto tridimensional.
Por fim, apresentamos as conclusões que se retiram da implementação das estratégias
de desenvolvimento do conhecimento do conceito de espaço. Em função dos resultados
obtidos, das atividades desenvolvidas ao longo do ano letivo e dos inquéritos de avaliação
qualitativa, verificou-se uma evolução dos conhecimentos dos alunos, pela assimilação de
novos conceitos relativos à problemática da perceção do espaço.This report is the result of our pedagogical practice of supervised teaching in a class of the 9th year of schooling in the Cooperative School of Teaching -Didáxis, in the discipline of Visual Education, within the scope of the Masters of Visual Arts Teaching in the 3rd Cycle of Education Basic and Secondary Education, taught at the Faculty of Philosophy and Social Sciences of the Portuguese Catholic University. The present study seeks to solve the difficulties that students manifest in the concept and definition of space, as an essential competence to be developed in the process of teaching learning and its graphic representation, as well as its implications in the teaching of the visual arts and in life. The framing of this question determined a technical investigation and a pedagogical intervention of operationalization of strategies in the mentioned subject. The intervention demonstrated that the students assimilated the essential foundations, overcoming the difficulties initially felt. In the first part of the report we apply techniques of graphical representation of the space, becoming these determinants in the level of the learning as well as useful in the applied strategies that contributed to the knowledge of this concept in study, at the theoretical level. The second part of the report describes the whole process of the practical work carried out with the said group of the Teaching-Didactic Cooperative school, in the municipality of Vila Nova de Famalicão, with the supervision of the cooperative and teacher of the discipline. The program of the Unit to teach that I created, denominated Gaston Bachelard and the Visual Arts Centered in the Perception of the Space, developed from the approach by projects, from the graphic representation of solids, happening to the representation of the axonometric perspective, finishing in the execution of a threedimensional project. Finally, we present the conclusions that are drawn from the implementation of knowledge development strategies of the concept of space. Based on the results obtained, the activities developed throughout the school year and the qualitative evaluation surveys; there was an evolution of students' knowledge, through the assimilation of new concepts related to the problem of space perception
Books on the topic "Gaston Bachelard’s Poetics of space"
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Lattig, Sharon. “A Music Numerous as Space”. Edited by Greg Garrard. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199742929.013.028.
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This article examines the concept of cognitive environment in relation to ecocriticism. It discusses Gaston Bachelard’s analysis, in his The Poetics of Space, of historian Jules Michelet’s work depicting the building of a bird’s nest. It suggests that the corporeal act of nest-building may then be argued to imply the continuity of an organism and its environment and that the notion of enclosure is built into any ecology or Thoreavian economy.
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Pate, Joseph, and Brian Kumm. Contemplating Compilations. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.6.
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Through this chapter the crafting of compilations is explored as an act, art, and expression of music making, illuminating the listeners’ and compilers’ positions as cocreators of meaning, function, and purpose. Music becomes repositioned and repurposed as found or sound objects that pass through Gaston Bachelard’s triptych of resonance, repercussion, and reverberations, a process of music speaking to so as to speak for individuals’ deeply personal and significantly meaningful experiences. The chapter addresses the question, “What motivates someone to partake in this personally meaningful, vulnerable, and artistic endeavor?” Using Josef Pieper’s conceptions of leisure as celebration, an orientation toward the wonderful, and an act of affirmation, the chapter concludes that the creation and crafting of compilations (e.g., mix tape) affords poetic spaces for connection, enchantment, felt-aliveness, or what Max van Manen called an “incantative, evocative speaking, a primal telling, [whose] aim [is] to involve the voice in an original singing of the world.”
Book chapters on the topic "Gaston Bachelard’s Poetics of space"
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Chimisso, Cristina. "Gaston Bachelard’s Places of the Imagination and Images of Space." In Place, Space and Hermeneutics, 183–95. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-52214-2_14.
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Fraiman, Susan. "Shelter Writing." In Extreme Domesticity, 25–44. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231166348.003.0002.
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Defines and illustrates the concept of “shelter writing”: a mode of slow, step-by-step description, cherishing the actions of homemaking in the aftermath of domestic dislocation. Offers the paradigmatic example of Daniel Defoe’s Robinson Crusoe (1719), focuses on Leslie Feinberg’s Stone Butch Blues (1993), and closes by touching on the reality TV show Queer Eye for the Straight Guy. Establishes the logic of hyper-investment in homemaking as compensation for domestic deprivation or difficulty. Calls on Gaston Bachelard’s The Poetics of Space for his notion of the “felicitous house,” while also placing more emphasis than Bachelard on the reality of domestic labor.
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Østermark-Johansen, Lene. "The Poetics of Space." In Walter Pater's European Imagination, 209—C5.F19. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192858757.003.0006.
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Abstract The chapter examines the physical and emotional life of the Paterian self in dialogue with architectural space, from the tiny house of the reliquary to the vast spaces of the cathedral. Whether as home to dislodged human remains, shifted about through history, or as a religious edifice, Pater’s houses constitute significant shells for the self in which interior and exterior interact. Bachelard’s phenomenological topoanalysis plays some part in the discussion of architecture as a container of memories across Pater’s writings. The chapter discusses the notion of ‘home’, central to Pater’s circular narratives as a place from which to depart and return. It traverses a range of domestic interiors, from Pater’s own at Brasenose College to the aesthetic interior in Gaston. Like Shakespeare’s birthplace, the evocative empty space of Montaigne’s tower becomes a site of memory, embodying a sense of absence, while serving as a stimulus to the imagination. Pater had a claustrophobic fear of death; the dead are often exhumed or erupt to the surface in his writing. The chapter traces his concern with exhumations and resurrections from ‘Denys l’Auxerrois’ to ‘Gaudioso the Second’. Pater’s love of the gothic is reflected in his obsession with death; the architectural framework of his exhumations resides in that northern European architectural style which Ruskin had promoted so forcefully. Pater’s gothic almost becomes a character in its own right. The poetics of Pater’s space is both national and European, domestic and public, as the journey from Pater’s college rooms to the French cathedrals demonstrates.
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Charbonneau, Michèle. "Gaston Bachelard and the Phenomenology of the Imagination." In The Oxford Handbook of Phenomenologies and Organization Studies, 79—C4.P104. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780192865755.013.6.
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Abstract Gaston Bachelard’s phenomenology of the imagination proposes to explore the human values of poetic images. After summarizing Bachelard’s background and work, this chapter presents his conception of the imagination and the phenomenological method he developed to study poetic images. This method proposes to meditate on literary images that deal with the materiality of the world (houses, trees, caves, volcanoes, lakes, etc.), and to explore these images through poetic reveries by activating a formal, material, and dynamic imagination. The chapter then explores the avenues of renewal that Bachelard’s phenomenology of the imagination has brought or could bring to Management and Organizational Studies (MOS) with respect to the themes of creativity, organizational poetics, issues related to the transformation of the material environment of organizations (including ecological issues), methods for exploring the imagination within organizations and research activities, and management education.
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"Cosmic Dreaming: The ‘Triple Liaison’ of Memory, Imagination and Poetry in Gaston Bachelard’s Poetics of Reverie." In Why do We Write as We Write? Paradigms, Power, Poetics, Praxis, 117–24. BRILL, 2013. http://dx.doi.org/10.1163/9781848882058_013.
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Fennell, Jack. "Haunted Spaces and Monstrous Lairs." In Rough Beasts, 211–35. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620344.003.0009.
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Space is not merely an inert fact of nature, or a simple backdrop to history. It is, rather, a socially constructed set of meanings that are attached to the world around us – in place-names, in stereotypes and values (e.g. ‘rough’ neighbourhoods and ‘desirable locations’), and the psychological resonances of different spatial concepts (e.g. the meanings suggested by ‘cottage,’ ‘mansion’ and ‘cave’). Supernatural antagonists contribute to these layers of meaning, producing haunted spaces and territories where trespassers meet gruesome ends. This chapter looks at the production of monstrous space in Irish literature, leaning particularly on Michel Foucault’s understanding of the ‘heterotopia’ (a space of crisis, containing that which cannot be spatially ordered according to the dominant ideology of the society that produces them), and Gaston Bachelard’s categorisation of fear into ‘Fear in the Attic’ (transitory, insubstantial) and ‘Fear in the Cellar’ (enduring, resistant to rationalisation).
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Humble, Nicola. "The Body in the Library." In Libraries in Literature, 128–39. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192855732.003.0009.
Full textAbstract:
Abstract This chapter considers the trope of the body in the library in the Golden Age crime fiction of the first half of the twentieth century—both the corpse on the hearthrug of the country house library that becomes a cliché of much early clue-puzzle crime fiction, and the reading, writing, lounging, snoozing, shelving, dusty bodies to be found in university libraries. It identifies a wide range of library-focussed crime fiction from both the USA and the UK, examining descriptions of libraries through a deployment of Bachelard’s poetics of space. Its central focus is Agatha Christie’s The Body in the Library (1942) and Dorothy L. Sayers’s Gaudy Night (1936). It suggests that for Christie the trope functions as a synecdoche for the distancing effects with which the Golden Age crime novel treats violence, while for Sayers the material paradoxes of bodies, books, and libraries undermine the novel’s ostensible valorization of the life of the mind.
Conference papers on the topic "Gaston Bachelard’s Poetics of space"
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Alison, Aurosa. "Les « Unités » Modulor dans la Philosophie de l’Espace de Gaston Bachelard." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1045.
Full textAbstract:
Résumé: Celui du Modulor est le premier exemple de la mesure humaine utilisée dans l’architecture. L’architecture de la moitié du vingtième siècle a été influencée par les projets de Le Corbusier. En même temps, la pensée de Gaston Bachelard s’évolue contextuellement au Mouvement Moderne et en 1957 le philosophe publie le célèbre ouvrage « La Poétique de l’espace ». Une bonne partie de sa pensée a été influencée par l’étude des quatre éléments naturels, par une conception de l’espace intime et par les différents développements de l’image de la maison. La description de la maison, dans les mots de Bachelard, correspond aux thèses principales de Carl Gustav Jung sur les différentes étapes de l’âme. Dans cette étude nous analysons les liaisons entre une conception intime de l’espace vécu et la pensée progressive de l’architecture moderne. A travers les exemples suggérés par l’Unité d’Habitation et par le Cabanon de Le Corbusier, nous voulons illustrer les dynamiques d’une philosophie de l’espace, émotionnelle, intime et secret. Abstract: The Modulor is the first example of the human measure. The architecture of the second part of the twenty century was influenced by Le Corbusier works. The development of the thought of Gaston Bachelard is contextualized in the second half of the twentieth century too, he writhed the Poetic of the Space on 1957. His philosophy was influenced based on the study of the four natural elements, up to the conception of intimate space, namely that of the house. The Bachelard house description corresponds to the Carl Gustav Jung’s theses about the soul life and the soul stadium. In this paper we analyse the correspondences between an intimate conception of the lived space and an architectural progressive thought. Throw the examples of Le Corbusier’s Unité d’Habitation and of Le Corbusier’s Cabanon we try to explain the emotional, intimate and secret dynamic of a current Space Philosophy. Mots clés: Unités, Modulor, Architecture, Mouvement Moderne, Gaston Bachelard, Poétique de l’espace, Espace intime. Keywords: Unités, Modulor, Architecture, Gaston Bachelard, Space Philosophy, Intimate Space. DOI: http://dx.doi.org/10.4995/LC2015.2015.1045