Friday, April 29, 2011

Plain Jane Jane Eyre Press

I saw the movie Jane Eyre last evening on Date Night. I liked it. I didn't even mind the flashbacks. Then we ate Indian food & had the most upbeat waiter in the world. The world.

I'm not wearing socks today. Deal with it.

I think my hair might be long enough for PIGTAILS. How do you feel about that? Tell me about your feelings. Please.

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quotations I like from Bachelard, The Poetics of Space

What’s at stake:
“I shall prove that imagination augments the values of reality.”-3

“…can we isolate an intimate, concrete essence that would be justification of the uncommon value of all of our images protected from intimacy? This, then, is the main problem.”-3

“…the primary virtues, those that reveal an attachment that is native in some way to the primary function of inhabiting.”-4

“…the real beginnings of images, if we stuffy them phenomenologically, will give concrete evidence of the values of inhabited space, of the non-I that protects the I.”-5

“…all really inhabited space bears the essence of the notion of home. In the course of those work, we shall see that the imagination functions in this direction whenever the human being has found the slightest shelter…”-5

“Now my aim is clear: I must show that the house is one of the greatest powers of integration for the thoughts, memories, and dreams of mankind. The binding principle in this integration is the daydream.”-6

“We are unable to live duration that has been destroyed. We can only think of it, in the line of an abstract time that is deprived of all thickness.”-9

-can we have an intimacy that is not isolating???


On poetry/the poet:
“The house, the bedroom, the garret in which we were alone, furnished the framework for an interminable dream, one that poetry alone, through the creation of poetic work, could succeed in achieving completely. If we give their function of shelter for dreams to all of these places of retreat, we may say, as I pointed out in my earlier work, that there exists for each one of us an oneiric house, a house of dream-memory, that is lost in the shadow of a beyond of the real past.”-9

“Poetry gives not so much a nostalgia for the expressions of youth, which would be vulgar, as a nostalgia for the expressions of youth.”-33

“In the tiniest of hatreds, there is a little, live, animal filament. And the poet-psychologist—or the psychologist-poet, if such a one exists—cannot go wrong in marking the different types of aggressions with an animal cry. It is also a terrible trait of men that they should be incapable of understanding the forces of the universe intuitively, otherwise than in terms of psychology of wrath.”-44

“When the poet unfolds [the image of the house] and spreads it out, it presents a very pure phenomenological aspect. Consciousness becomes ‘uplifted’ in contact with an image that, ordinarily, is ‘in repose.’ The image is no longer descriptive, but resolutely inspirational.”-53

“In reality, however, the poet has given concrete form to a very general psychological theme, namely, that there will always be more things in a closed, than in an open, box. To verify images kills them, and it is always more enriching to imagine than to experience.”88

“And yet I receive the message of this extraordinary image, and for a brief instant, by detaching me from my life, it transforms me into an imagining being. It is in such moments of reading as this that, little by little, I have come to doubt not only the psychoanalytical origin of the image, but all psychological causality of the poetic image as well. Poetry, in its paradoxes, may be counter-causal, which is yet another way of being of the world, of being engaged in the dialectics of the passions. But when poetry attains its autonomy, we can say that it is a-causal. In order to receive directly the virtue of an isolated image—and an image in isolation has all its virtue—phenomenology now seems to me to be more favorable than psychoanalysis, for the precise reason that phenomenology requires us to assume this image ourselves, uncritically and with enthusiasm.”168


On images, imagination, dreams and memory:
“…real images are engravings, for it is the imagination that engraves them on our memories. They deepen the recollections we have experienced, which they replace, this becoming imagined recollections

“Great images have both a history and a prehistory; they are always a blend of memory and legend, with the result that we never experience an image directly. Indeed, every great image has an unfathomable oneiric depth to which the personal past adds specific color. Consequently it is not until late in life that we really revere an image, when we discover that its roots plunge well beyond the history that is fixed in our memories. In the real of absolute imagination, we remain young late in life. But we must lose our earthly Paradise in order actually to live in it, to experience it in the reality of its images.”-33

“…images are never capable of repose. Poetic reverie, unlike somnolent reverie, never falls asleep. Starting with the simplest of images, it must always set the waves of the imagination radiating.”-36

“Here, however, the image does not come from a nostalgia for childhood, but is given in its actuality of protection. Here, too, in addition to community of affection, there is community of forces, the concentrated courage and resistance of both house and man. And what an image of concentrated being were are given with this house that ‘clings’ to its inhabitants and comes the cell of a body with its walls close together….from having been a refuge it becomes a redoubt…such a dwelling has an educative value…”46

“But can this transposition of the being of a house into human values be considered as an activity of metaphor? Isn’t this merely a matter of linguistic imagery? As metaphors, a literary critic would certainly find them exaggerated. On the other hand, a positivist psychologist would immediately reduce this language to the psychological reality of the dear felt by a man immured in his solitude, far from all human assistance. But phenomenology of the imagination cannot be content with a reduction which would make the image a subordinate means of expression: it demands, on the contrary, that images be lived directly, that they be taken as sudden events in life. When the image is new, the world, is new.”-47

“the image is created through co-operation between the real and the unreal, with the help of the functions of the real and the unreal. To use the implements of dialectical logic for studying, not this alternative, but this fusion, of opposites, would be quite useless, for they would produce the anatomy of a living thing. But if a house is a living value, it must integrate an element of unreality. All values must remain vulnerable, and those that do not are dead.”--59

“The pure recollection, the image that belongs to us alone, we do not want to communicate; we only give its picturesque details. Its very core, however, is our own, and we should never want to tell all there is to tell about it. This in no way resembles unconscious repression, which is an awkward form of dynamism, with symbols that are conspicuous. But every secret has its little casket, and this absolute, well-guarded secret is independent of all dynamism. Here the intimate life achieves a synthesis of Memory and Will.”-85

“In this case, the animal is merely a pretext fro multiplying the images of ‘emerging.’ Man lives by images. Like all important verbs, to emerge from would demand considerable research in the course of which, besides concrete examples, one would collect the hardly perceptible movement of certain abstractions….only images can set verbs in motion again.”-109

“We want to see and yet we are afraid to see. This is the perceptible threshold of all knowledge, the threshold upon which interest wavers, falters, then returns.”-110

“To live alone; there’s a great dream! The most lifeless, the most physically absurd image, such as that of living in a shell, can serve as origin of such a dream. For it is a dream that, in life’s moments of great sadness, is shared by everybody, both weak and strong, in revolt against the injustices of men and of fate.”-123

“Here one sense clearly that this is a mixed problem of imagination and observation. I have simply wanted to show that whenever life seeks to shelter, protect, cover or hide itself, the imagination sympathizes with the being that inhabits the protected space. The imagination experiences protection in all its nuances of security, from life in the most material of shells, to more subtle concealment through imitation of surfaces.”-132

“Consciousness of being at peace in one’s corner produces a sense of immobility, and this, in turn, radiates immobility. An imaginary room rises up around our bodies, which think that they are well hidden when we take refuge in a corner. Already, the shadows are walls, a piece of furniture constitutes a barrier, hangings are a roof. But all of these images are over-imagined. So we have to designate the space of our immobility by making it the space of our being.”-137

“For great dreamers of corners and holes nothing is ever empty, the dialectics of full and empty only correspond to two geometrical non-realities. The function of inhabiting constitutes the link between full and empty. A living creature fills an empty refuge, images inhabit….”-140

“If we were to give the imagination its due philosophical systems of the universe, we should find, at their source, an adjective. Indeed, to those who want to find the essence of a world philosophy, one could give the following advice—look for its adjectives.”-144

“In such imagination as this, there exists total inversion as regards the spirit of observation. Here the mind that imagines follows the opposite path of the mind that observes, the imagination does not to end in a diagram that summaries acquired learning. It seeks a pretext to multiple images, and as soon as the imagination is interested by an image, this increases its value.”-151-152

“This warm intimacy is the root of all images.”154

“I myself consider literary documents as realities of the imagination, pure products of the imagination. And why should the action of the imagination not be as real as those of perception?”-158

“But in this poetic life of images there is more than a mere game of dimensions. Daydream is not geometrical. The dreamer commits himself absolutely.”-167


On forms of enclosure/shelter:
“The hut can receive none of the riches “of this world.” It possesses the felicity of intense poverty; indeed, it is one of the glories of poverty, as destitution increases it gives us access to absolute refuge.”-32

“But however cosmic the isolated house lighted by the stars of its lamp may become, it will always symbolize solitude.”-36

“Objects that are cherished in this way really are born of intimate light, and they attain a higher degree of reality than indifferent objects, or those that are defined by geometric reality. For they produce a new reality of being, and they take their place not only in an order but in a community of order, from one object in a room to another, housewifely care weaves the ties that unite a very ancient past to the new epoch.”-68

“Wardrobes with their shelves, desks with their drawers, and chests with their false bottoms are veritable organs of the secret psychological life. Indeed, without these ‘objects’ and a few others in equally high favor, our intimate life would lack a model of intimacy. They are hybrid objects, subject objects. Like us, through us and for us, they have a quality of intimacy.”-78

“The lock doesn’t exist that could resist absolute violence, and all locks are invitation to thieves. A lock is a psychological threshold. And how it defies indiscretion when it is covered with ornament!”-81

“but in order to make so gentle a comparison between house and nest, one must have lost the house that stood for happiness, so there is also an alas in this song of tenderness, if we return to the old home as to a nest, it is because memories are dreams, because the home of other days has become a great image of lost intimacy.”-100

“If we go deeper into daydreaming of nests, we soon encounter a sort of paradox of sensibility. A nest—and this we understand right away—is a precarious thing, and yet it sets us to daydreaming of security. Why does this obvious precariousness not arrest daydreams of this kind? The answer to this paradox is simple: when we dream, we are phenomenologists without realizing it.”-103

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