By Cristina Chimisso
During this new learn, Cristina Chimisso explores the paintings of the French thinker of technological know-how, Gaston Bachelard (1884-1962) via situating it inside of French cultural lifetime of the 1st 1/2 the century. The publication is brought by means of a learn - in keeping with an research of images and literary representations - of the way Bachelard''s admirers remodeled him into the legendary photo of the thinker, the Patriarch and the ''Teacher of Happiness''. the sort of projected photograph is contrasted with Bachelard''s personal perception of philosophy and his own pedagogical and ethical ideas.
This pedagogical orientation is a tremendous characteristic of Bachelard''s texts, and one that deepens our figuring out of the most philosophical arguments. the first thesis of the booklet is predicated at the exam of the French academic method of the time and of French philosophy taught in faculties and conceived by means of modern philosophers. This process additionally is helping to provide an explanation for Bachelard''s reception of psychoanalysis and his mastery of contemporary literature. Gaston Bachelard: Critic of technology and the mind's eye therefore permits a brand new studying of Bachelard''s physique of labor, when even as offering an perception into 20th century French tradition.
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Extra resources for Gaston Bachelard: Critic of Science and the Imagination (Routledge Studies in Twentieth-Century Philosophy)
From ancient times, anecdotes about childhood have been employed in biographies, funeral orations and doxographies, in order to show the exceptional gifts of a personage. The fact that a person had proven to possess remarkable capabilities in his or her early life has been taken to suggest that such capabilities are not the result of training but are rather innate. For instance, anecdotes about the childhood of a painter were traditionally used to show how early his talent was apparent, and hence that it was due to his inherent genius rather than to practice.
By contrast, Bachelard's rationalist intellectual does not qua rationalist alternate sojourns in the city and in the countryside. For Bachelard, knowledge gained in solitude had no scientific value. When Bachelard's rationalist retreats into solitude, he is no longer a rationalist, but rather a dreamer, a poet, or a human being on holiday. Bachelard wanted to de-mythologise the intellectual. For him, the intellectual's personality and individuality must play no role in the production and transmission of knowledge.
It leads to a very special kind of attention which has nothing in common with the attention involved in watching or observing. 21 This pose, however, was not exclusive to the philosopher. Indeed, it has a complex history and its meanings range from those of sorrow, to contemplation and creative thought. These different feelings and attitudes have in common a depth of thought and concentration on oneself. The first examples of this gesture are found in Egyptian sarcophagi, where the posture expresses sorrow.