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.
Volume 10, Issue 14 , October 2015, , Pages 275-291
Abstract
Abstract
In the present paper, it is tried to study the Collection of Stories written by Sadegh Hedayt entitled Three Drops of Blood and Gide’s Immoralist (Anti-Morality). We analyze the images in Three Drops of Blood and The Immoralist emerged from the authors’ anxiety and worry. We demonstrate ...
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Abstract
In the present paper, it is tried to study the Collection of Stories written by Sadegh Hedayt entitled Three Drops of Blood and Gide’s Immoralist (Anti-Morality). We analyze the images in Three Drops of Blood and The Immoralist emerged from the authors’ anxiety and worry. We demonstrate that how these two authors’ imagination has led to fantasize for overcoming worry and fear of death and creation of images that reflect the internal characters of these two stories. The unconscious desires and fantasies that are revealed in these two authors’ consciousness will be studied. The procedure of Gilbert Durand’s criticism is employed for achieving this objective. According to this, we will show how the imagination of the two authors leads to the reverie, the classification of the literary images in imaginary long poems will be lead to realizing Hedayat’s and Gide’s imagination. We will find the imaginative tendency of these two authors’ imagination.