Volume 13, Issue 17 , October 2017, , Pages 101-116
Abstract
The discovery of a repertoire of myths proves that Sépanlou and Apollinaire are well aware of the social, cultural, traditional, religious and literary geography of various nations. They consciously proceed to the poetic reconstruction of space in order to establish interactions between human space ...
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The discovery of a repertoire of myths proves that Sépanlou and Apollinaire are well aware of the social, cultural, traditional, religious and literary geography of various nations. They consciously proceed to the poetic reconstruction of space in order to establish interactions between human space and literature. In addition to the legendary myths in their poetry, we can discern mythical elements, concealed behind actions, thoughts, words, characters and spaces. The present article intends to address, through two myths common among poets, certain mythical stratifications sedimented in space-time, as well as the reconstruction of space by poets who rely on these mythical stratifications. Moreover, we rely on the methodology of Gilbert Durand, in order to discover the unconscious mind of the poets and present their desires. This fact highlights actions, spaces and literary characters that have resemblances restored with their mythical counterparts. This will clarify the latent myths in them, highlighting the relationship between subject and space, and representing the commonalities between poets.
For Freud, the literary work is like a dream, a burst of the psyche of its author. Plunged into literary work, he discovers the internal knots concerning the author's past. He discovers in the afterlife of the second self the author who appears in the work, his true self that touches life in flesh ...
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For Freud, the literary work is like a dream, a burst of the psyche of its author. Plunged into literary work, he discovers the internal knots concerning the author's past. He discovers in the afterlife of the second self the author who appears in the work, his true self that touches life in flesh and blood. Bachelardian psychoanalysis is linked not with unconsciousness but with the awakening, consciousness and psychic coherence of the dreamer who creates the work. Reverie gives the dreamer the possibility of producing the image in the moment. Thus, contrary to the petrified image of Freud represented in the dream, the Bachelardian image is dynamic, spontaneous, and cut off from the past. Since the images of reverie appear at the moment as they are, the word ontology finds its own meaning. Moreover, Bachelard's reference to psychoanalytic methods plays a large role in obtaining objective knowledge. In Bachelardian reverie, mind, consciousness and imagination are centered on the material world. This is the reason why the problem of Phenomenology is involved. The penetration into the center of the material world will activate the soul and heart of the artist, sending the images directly into his consciousness. Such a splendor of image in all its purity requires a subject that leaves presuppositions, entering by freedom of expression into a new world, and thus representing this novelty in a new verbal form. Undoubtedly, unexpected characteristics of the pure image have no meaning in psychoanalytic science which is in search of the repressed events of the past. The contradiction between the causality of the Freudian image and the ontology of the Bachelardian image requires different reading practices. Bachelard's method is based on a careful reading of the works, for identification with the creative reverie of the author at the moment when he created his work. The Freudian reader intends to unveil the work to discover the pass of its author.