Part reminiscence, part meditation, Reveries of the Solitary Walker is Rousseau's last great work, the enduring testimony of an alienated person seeking self-knowledge. As he records his walks round Paris, he finds happiness in solitude and nature. The new translation includes an introduction and notes that explore the work and its contexts.

Die vorliegende Arbeit handelt von der psychoanalytischen »Reverie« als einem behandlungstechnischen Konzept, das dem Aufspüren und der Transformation gering symbolisierter affektiver Zustände dient. Ausgehend von Bions Modell der mütterlichen »Reverie« wird Fred Buschs Diskussion postbionianischer Reverie-Entwürfe von Ogden, da Rocha Barros und Ferro gestreift. Dann wird anhand von drei Fallvignetten eine klinische Phänomenologie der »Reverie« vorgestellt und ins intersubjektive Feld der analytischen Begegnung eingebettet. Mithilfe einiger Begriffe des späten Bion wird »Reverie« als Transformationsarbeit durch fünf Elemente charakterisiert: eine Haltung der (...) träumerischen Versonnenheit, die Aufmerksamkeit auf die dunkle Stelle der Sitzung, die klinische Intuition sowie die Konversion von Sinneseindrücken und Affektzuständen in Bilder und Erzählungen, die schließlich deutend verstanden werden können. Am deutlichsten wahrnehmbar werde dieser Prozess, wenn er sich in einem »affektiven Piktogramm« verdichte. (shrink)

In Poetics of Reverie he considers the absolute origins of that imagery: language, sexuality, childhood, the Cartesian ego, and the universe.

First published posthumously in 1782 from an unfinished manuscript, _The Reveries of the Solitary Walker_ continues Rousseau's exploration of the soul in the form of a final meditation on self-understanding and isolation. This accurate and graceful translation by Charles Butterworth--the only English version based on Rousseau's original text--is accompanied by an interpretive essay, extensive notes, and a comprehensive index.

This article addresses the development of an online residency platform Floating Reverie, for artists who work in and around digital media. The particular focus of this article is on the methodology used by the curator of the residencies and the artists as a form of networked curation within a South African creative digital art context.

Dans les heures de grandes trouvailles, une image poétique peut être le germe d'un monde, le germe d'un univers imaginé devant la rêverie d'un poète. La conscience d'émerveillement devant ce monde créé par le poète s'ouvre en toute naïveté. [...] L'exigence phénoménologique à l'égard des images poétiques est d'ailleurs simple : elle revient à mettre l'accent sur leur vertu d'origine, à saisir l'être même de leur originalité et à bénéficier ainsi de l'insigne productivité psychique qui est celle de l'imagination.

Eine neue Sicht des letzten und am wenigsten verstandenen Buches von Rousseau.

Lorsqu'il commence à écrire les Rêveries à l'automne 1776, Rousseau est un vieil homme proche de la mort, presque pauvre, célèbre dans toute l'Europe et pourtant assuré que l'espèce humaine le rejette. Il continue cependant d'écrire et les Rêveries sont à ses yeux la suite des Confessions. Mais il ne s'agit plus désormais de raconter sa vie ni de s'expliquer aux autres pour dévoiler sa vraie nature. Dans une solitude propice à l'introspection, si des souvenirs épars remontent maintenant à sa (...) mémoire, c'est pour lui-même qu'il les consigne en même temps qu'il cherche à se mieux connaître et réfléchir plus largement sur les ressorts de notre esprit humain. Mais ces méditations sont aussi des promenades où la rêverie devient expansion de l'être, où le contact avec la nature est source de bonheur dans la pure conscience d'exister. Une nouvelle manière d'écrire s'inaugure donc, un libre parcours sans effort que la ligne mélodieuse d'une prose souvent poétique rend admirablement sensible. Ces Rêveries que Rousseau nous laisse lorsqu'il meurt à Ermenonville en juillet 1778, il se peut ainsi qu'elles ne nous soient pas adressées : elles nous sont en tout cas destinées. (shrink)

This article draws on the interrelated concepts of reverie and repose in Gaston Bachelard's philosophy to approach Claire Denis' poetic foregrounding of objects in 35 Shots of Rum (35 Rhums, 2008). Connecting Bachelard's work on time to his later studies of the imagination, I demonstrate how the poetic time of reverie and repose are essential to Bachelard's thinking. Focusing on three especially charged objects (trains, rice cookers and lanterns), I argue for reverie and repose as being embedded into the rhythmic (...) structure, affective organisation and form of Denis' film. Contextualising Bachelard's later thinking in relation to Eugène Minkowski, I maintain that Denis' objects reverberate (both formally and sensuously). In 35 Shots of Rum, Denis' poetic objects and her evocation of different in-between states parallels Bachelard's own materialist thinking on the imagination, reverie and repose. (shrink)

가스통 바슐라르의 사상에서 가장 기초적이고 핵심적인 용어는 ‘몽상(reverie)’이다. 몽상은 상상이나 꿈과 달리 실재에 대한 깊이 있는 체험을 통해 기존에 존재하는 모든 이미지나 앎으로부터 해방되어 항상 새로운 이미지를 산출할 수 있는 능력이며, 그렇기 때문에 위대한 시인들, 위대한 예술가들의 영감과 창작의 근원이 되었던 능력이다. 몽상이 산출하는 ‘역동적인 이미지’는 그 역동성으로 인해 항상 새로운 이미지를 창조하며, 본질적으로 불완전한 앎을 지니고 있는 과학적인 앎을 완성하고자 하는 경향성을 가진다. 그리고 몽상은 본질적으로 ‘비상하고자 하는 능력’을 의미한다. 몽상가가 지향하는 것은 인식의 변증법이며, 이를 통해 끊임없이 대립하는 것을 (...) 수용하고 보다 완성된 것을 추구하며 보다 이상적인 것과 보다 상승된 가치를 추구한다. 바로 여기에서 몽상이 사랑의 능력과 연계된다. 사랑하는 대상에는 사랑하는 자의 몽상이 집약되어 있다. 몽상이 사랑의 능력이나 행위를 전제하는 것은 몽상은 본질적으로 새로움을 지향하고, 통일성을 지향하고, 완성된 것을 지향하고, 보다 큰 가치를 지향하는 것이기 때문이다. 즉 몽상은 사랑에서 그 목적을 발견하는 것이다. ‘과학과 시’, ‘이성과 상상’이라는 대립을 하나의 장에 수렴하고 통일시키는 것은 곧 사랑의 능력이다. 이렇게 바슐라르의 사상에서 몽상은 항상 열림과 새로움을 가능하게 하는 것이라면, 사랑은 비상과 통일을 담보해 주는 것이라 할 수 있다. (shrink)

The classical distinction between leisure and work is often used to define features of the emancipated life. In Aristotle leisure is defined as time devoted to purposeful activity, and distinguished from the labour time expended merely to produce life’s necessities. In critical theory, this classical distinction has been adapted to provide an image of emancipated life, as purposively driven, fulfilling and meaningful activity. Aspects of this adapted definition undermine the classical leisure/work distinction to the extent that the demand for meaningful (...) work, i.e., a leisure-work conjunction, is now used as a critical perspective on unfulfilling, oppressive labour. Rancière, however, is critical both of this idea of an extended franchise for leisure and of its dependence on craft and artisanal labour as the model of satisfying, skilled work. Instead of Aristotelian leisure, or ‘fulfilling’ work, Rancière identifies in the state of reverie an alternative marker for the emancipated life. The theme is consistent across the scattered archival, historiographical, philosophical, literary and aesthetic contexts his writing treats. But since reverie is defined as disengagement from action, the position raises a number of difficulties. This article examines how Rancière connects reverie to emancipation. It focuses on two questions: the nature of the relation between his definition of reverie and the classical, Aristotelian concept of action; and, whether, given the constitutive non-relation between reverie and action that he outlines, Rancière’s position can address the persistent problem in critical theory of the motivation for the emancipated life. It is argued that his highlighting of the potential communicative significance of modes and scenes of emancipated life is relevant to this problem. The key argument is that rather than developing a ‘theory’, his approach to emancipation focuses on and values communicable experiences of emancipation, and that states of reverie are one such type of valued experience. (shrink)

Upon first reading this work, and without knowing its author, one may doubt its philosophical significance. Whereas philosophy implies wakefulness, the Reveries denotes dreams, "a shapeless diary" of the movements of the author’s soul. Often perceived as the product of Rousseau’s disturbed last years, seldom has it been used for interpreting his better known writings. It may therefore seem not surprising that two centuries should have passed before a scholarly English translation of high quality would appear, one that is indeed (...) prepared by a translator thoroughly grounded both in the tradition of Western philosophy and in the thought of Rousseau. Yet appearances notwithstanding, Charles Butterworth appends to his excellent translation an elaborate interpretative essay to justify the view that Rousseau’s last writing represents an ordered view that is not only philosophically interesting, but also reveals the basis of his paradoxical thought. (shrink)

Questo articolo si propone come contributo alla teoria della rêverie degli elementi naturali sviluppata da Gaston Bachelard. Si argomenterà che la contemplazione del mare sollecita una visione particolare del mondo che può affettare le nostre idee del tempo e della memoria. Sulla scia del famoso detto di Eraclito, quella del fiume è sempre stata l’immagine principale per descrivere la natura inafferrabile del tempo; ma il mare, il luogo dove finiscono tutti i fiumi, fornisce una perfetta analogia naturale per la (...) conservazione del «passato in sé» attorno cui Henri Bergson ha costruito la sua teoria della durata e della memoria: niente scompare davvero, e così il passato viene dotato della consistenza e della vivida eternità che la filosofia tradizionale attribuiva all’essere. Intercessori dal panorama letterario, uniti alla considerazione filosofica di alcune immagini ricorrenti – specialmente quelle del relitto e della città sommersa – aiuteranno ad approssimare la rêverie marina al pensiero di Bergson, approssimazione che si compirà nella conclusione. (shrink)

Merleau-Ponty claims that the idea of objective knowledge is supported by "our reveries." My aim in this paper is to explore this argument with respect to the idea of health. As a case study, I focus on bioethical issues surrounding return of results of incidental variants with respect to the use of genetic and genomic screening technologies (GSTs) in newborn and pediatric contexts. Drawing on a range of Merleau-Ponty’s texts, I argue that this case suggests the modern idea of health (...) to turn largely on the desire for control over one’s fate. More specifically, this is a desire for control aimed at assuring that the meaning of one’s life will stay the same as indexed by one’s ability expectations. I term this a desire for existential homeostasis. I further contend that the desire for existential homeostasis is underwritten by multiple sorts of privilege and, insofar as it informs health as a reverie, it is a desire that is particularly apt to contribute to and maintain injustice in both theory and practice. (shrink)

Heinrich Meiers Reflexionen zu Rousseaus "Rêveries" haben das philosophische Leben im Ganzen zum Gegenstand. Sie bedenken seinen Beginn und sein Ende. Sie verhandeln seinen Grund, sein Ziel und seine tragende Mitte.

Selon Léonard de Vinci, le peintre doit « se mettre à la place de l’esprit même de la nature », entendue comme genèse perpétuelle, force vitale et métamorphique. Dans sa démesure, un tel projet fascine autant qu’il terrifie. Pour répondre à ce défi, Léonard renouvelle profondément l’art de la peinture jusqu’à en faire, en théorie comme en pratique, un exercice sans cesse recommencé. Les notes et préceptes du Traité de peinture comme les techniques qu’il invente en témoignent – chiaroscuro, sfumato, (...) perspective aérienne, componimento inculto [esquisse informe ou sauvage], etc. À la jonction de la main et de l’esprit, l’exercice de peindre sollicite une ascèse perceptive et imaginative, à travers le jugement, le regard, porté sur le monde et ses formes mouvantes. Ascèse, au sens fort d’un désapprentissage permettant de détisser les rets de l’habitude et les tropismes subjectifs. Cet exercice opère non seulement le crayon à la main, par le déploiement de l’esquisse et la fécondité du repentir [pentimento], mais, dans un plus grand dénuement encore, en regardant « des murs souillés de beaucoup de taches », « avec l’idée d’imaginer quelque scène » – « incitation à la rêverie éveillée » comme l’appelle André Chastel. Dès lors l’exercice de peindre prend chez Léonard une tournure très étonnante et singulière : tout en privilégiant la dimension processuelle de l’œuvre, il s’agit de faire, pour ainsi dire, de la peinture sans pigment ni pinceau. Autrement dit, la prétention cosmique du peintre n’a d’égale que son aptitude au dénuement. (shrink)

An essay in metaphysics together with an essay in metametaphysics. The latter repeats the familiar charge that metaphysical statements are literally meaningless; the former tells us what the author would hold "if metaphysics had a bearing on reality." Neither is impressive.--A. C. P.

Normal 0 false false false EN-US JA X-NONE In _The Reveries of a Solitary Walker_, Rousseau keeps a record of the thoughts, ideas, and reveries that freely run through his mind during his solitary walks. He finds that it is only when he is alone and not being disturbed that he is able to exist just for himself, and can “truly claim to be what nature willed”. Rousseau goes on these solitary walks in the countryside on the outskirts of Paris. (...) But if solitude is what he requires, why travel all the way to the countryside, which he says is very far from his residence in the middle of Paris? Put another way, why does he feel the need to be amidst nature in order to engage in these reveries? What do his reveries tell us about the role that nature has played in his life? This article will examine the role of nature in Rousseau’s solitary walks, as well as its presence in his life as revealed through his reveries. In particular, we will see that nature has played a central role in shaping Rousseau’s soul both during his adolescence and his adulthood. It is an essential ingredient to helping Rousseau realize his project of examining and ordering his soul, and in his attempt to understand what kind of man he is, given his deracination from mainstream society. Throughout his life nature has served as his mirror for self-examination; it acts as a trigger for various memories, it provides a harmonious setting for delving into the more painful of these memories, and allows him to extract insights that enable him to face his mortality. (shrink)

Les études récentes consacrées à la pensée épistémologique de Bachelard en France et en Italie mettent en évidence le caractère créatif et propulsif assigné aux mathématiques dans la construction du réel physique. Les travaux de Bachelard consacrés à la mécanique quantique dans les années '30, et en particulier à la physique théorique de Dirac, introduisent un concept particulier, celui de« rêverie anagogique » pour comprendre le caractère toujours plus abstrait et créateur de la mathématique dans la pensée des différents (...) niveaux de la réalité physique. Sur les traces de ce que Federigo Enriques qualifiait de « poésie mathématique », Bachelard propose une véritable « nouménologie mathématique » qui fournit les bases épistémiques pour comprendre I '« efficacité rationnelle » des mathématiques et leur application au réel. Pour toutes ces raisons, Bachelard utilisera dans ces années-là un terme nouveau pour désigner son engagement rationaliste: le « surrationalisme » qui condense ce qu' Enriques appelait « la philosophie implicite » dans les sciences, soit la « pensée des sciences » où, à travers la fonction jouée par la « rêverie anagogique », les mathématiques mettent en acte les « enjeux » continus du rationnel comme tel. (shrink)

This paper examines Bohdan Boichuk’s poetry by looking into the role his childhood memories played in forming his poetic imagination. Displaced by World War II, the poet displays a unique capacity to transcend his traumatic experiences by engaging in creative writing. Eyewitnessing war atrocities perpetrated by the Nazis does not destroy his belief in the healing power of poetry; on the contrary, it makes him appreciate poetry as the only existentially worthy enterprise. Invoking Gaston Bachelard’s classic work The Poetics of (...) Reveries: Childhood, Language, and the Cosmos, I argue that Boichuk’s vivid childhood memories, however painful they might be, helped him poetically recreate and reimagine fateful moments of his migrant life. (shrink)

Rousseau's Reveries of a Solitary Walker is enigmatic. It reveals many influences and addresses even more themes. For these reasons and others, political theorists have tended to ignore it in favour of his more overtly political works. Yet to dismiss his last work is to neglect what might be a useful tool in unlocking his political theory. This article argues that the Reveries confirm what many have recently suggested-- that Rousseau is a Platonist in many important respects. Further, it holds (...) that his particular brand of Platonism as espoused in the Reveries provides essential epistemic information necessary to carry out his democratic politics--indeed, one far more democratic than Plato's, yet consistent with a Platonic metaphysics. (shrink)

"On the Happiness of the Philosophic Life" presents Heinrich Meier's confrontation with Rousseau's "Rêveries", his most beautiful and daring writing. The "Rêveries" show the fire of philosophy in the mirror of the water; in the reflections of the unlimited, needing more precise determination; of the inconspicuous, needing careful inspection; and of the surface, needing in-depth Interpretation.

Nicolas Malebranche looks at the phenomena of imaginative contagion up to the point of madness, as in the case of the visions of sorcerers and werewolves. Although Malebranche relies on a psycho-physiological description, it becomes obvious that the responsibility for such contagions is not to be attributed to those who were expected to be the cause, that is would-be sorcerers, but to those who picked up on their deeds and gave them some importance. It is therefore the material conditions of (...) these stories and the use made by them of the social and intellectual authorities that should be underlined. In the final analysis, the Malebranchian reflexion on imaginative contagion is a critique of the writers of such stories and of the anxiety they may produce in their readers' minds. At this point, the general explanatory schema according to which a contagion is due to the action of a strong imagination upon a weaker one is no longer relevant. For as regards the writer, given that he is impressed by the visionary's tales and has himself a strong imagination, this makes him all the more responsible for what he writes. (shrink)

People engaged in teaching and research in philosophy departments are under strong and constant -pressure to believe that what they are doing makes sense. Their belief may well be rooted in an initial project, formed autonomously under the guidance of teachers and fellow students; even so, it will continue to be shaped and confirmed by the requirements of peer approval and student satisfaction. The hungry sheep keep looking up. Sheer humanity requires us to show enthusiasm for what we dispense as (...) nutrition, and a convincing display of conviction requires that we start by convincing ourselves. But in retirement all this falls apart. Often, perhaps usually, an element of belief and devotion is maintained, because the formed ego of the retiree is that of self-as-teacher or self-as-philosopher. But if, as may well be, the retiree's philosophizing was undertaken merely as gainful employment, things rapidly come to pieces. In these circumstances, a request for a paper on metaethics or any other loosely defined topic may bewilder. What, really, could be at issue here? Or so it seems. But there is something factitious in this bewilderment. (shrink)

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 in Bachelard's emerging metaphysic, which becomes increasingly “phenomenological” in a manner reminiscent of Husserl. This means that although Bachelard does not use Husserlian terms, he appropriates the following features of (Husserlian) phenomenology: 1. a desire to “embracket” the initial (rationalistic) impulse; and 2. an aspiration to apprehend in its entirety, (...) the creative epiphany of an image. Ultimately, this paper aims to show that there is a sense in which Bachelard's metaphysical concerns in his poetics are an outgrowth of (rather than radical break from) his earlier scientific and epistemological concerns. What results in reverie is an aesthetic intentionality providing a metaphysic of the imagination: the aesthetic object, such as fire or water, is an object only insofar as it enables/calls forth a subject to enter into a receptive, self-aware and cosmic state of being; subject-ness and object-ness are intimately and archetypally intertwined. Bachelard's “new poetics” results from his transplantation/cross-fertilization of the general epistemology of the “new scientific spirit” on to/across his aesthetics. (shrink)

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 in Bachelard's emerging metaphysic, which becomes increasingly “phenomenological” in a manner reminiscent of Husserl. This means that although Bachelard does not use Husserlian terms, he appropriates the following features of (Husserlian) phenomenology: 1. a desire to “embracket” the initial (rationalistic) impulse; and 2. an aspiration to apprehend in its entirety, (...) the creative epiphany of an image. Ultimately, this paper aims to show that there is a sense in which Bachelard's metaphysical concerns in his poetics are an outgrowth of (rather than radical break from) his earlier scientific and epistemological concerns. What results in reverie is an aesthetic intentionality providing a metaphysic of the imagination: the aesthetic object, such as fire or water, is an object only insofar as it enables/calls forth a subject to enter into a receptive, self-aware and cosmic state of being; subject-ness and object-ness are intimately and archetypally intertwined. Bachelard's “new poetics” results from his transplantation/cross-fertilization of the general epistemology of the “new scientific spirit” on to/across his aesthetics. (shrink)