Chapter 6 An Unconscious Source of Images: About How Bachelard Read Jung

In: Collective Structures of Imagination in Jungian Interpretation
Author:
Kamila Morawska
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Abstract

Bachelard—in his works written between 1928 and 1960, situated on two mutually exclusive fields: science and poetics, reason and imagination—appoints the imagination responsible for the fundamental relationship between the psyche and the cosmos, between the man and the world. Reaching the depth of Me in contact with the elements of the world, the French philosopher is studying fire, water, air, and earth. The concept of elements of nature is related to the mental life of man, similar to the concept of C.G. Jung. The psychological energy of the subject, analyzed through the prism of the four elements, propagates in four different directions. If for Jung the symbolism (after the Hippocrates-Galen) of water was related to the personality type of melancholy, air to spitfire, earth to phlegmatic, and fire to sanguine, for Bachelard the classification of the four fundamental elements leads to the formulation of key points of the imagination concept. The imagined being, called the elementary and basic image, combines the material and dynamic dimension of the imagination. This means that the dreaming entity provides either; matter for dream (fire, water, air, or earth) and puts his consciousness in motion. Elemental analysis returns in Bachelard’s “Rational materialism,” when chemistry is confronted with alchemy, and then in “Poetics of dreams,” when the philosopher shows the cosmic participation of I in Being. How does Jung appear in Bachelard’s works? He refers to three works by a Swiss thinker: “Psychologie und Alchimie,” “Psychologie der Ubertragung,” and “Symbolik des Geites.” The aim of the paper is to show the affinity between Jung and Bachelard. I think that you can capture them in three aspects. The first treats the importance of imagination in a mental life. For Bachelard, imagination is always defined as the ability, not to create an image, but to transform it; a new image is a creative transformation of the image-matrix. It is an anthropological reading of the imagination as an impulse, desire, will of man. The unconsciousness, which is necessary to explain this appearance of strength and psychological forms, cannot be determined solely by suppression (in the opinion of Bachelard, Freud’s psychoanalysis). The unconscious is not only suppressed, but it is all that comes from the inside—from the depths—to nourish consciousness and that allows consciousness to remain permanently in connection with the deep sources of images. The second one is related to the fact that Bachelard accepts the concept of Jung’s archetype to show that the unconscious is neither empty nor chaotic but that the images find in it their first potential of meaning and their dynamic source. Thanks to this, Bachelard enables universal sharing of the same image: Bachelard’s books on the four elements are read in all languages as consistent with the experiences of their cultural imagination. The third one emphasizes the androgynous character of the imagination. In other words, the imagination spontaneously develops in two modes: the feminine and masculine modes, anima and animus.

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