I was asked to give priority to the views of the writer than the "more technical" psychotherapist and this position appears to be a bit 'more uncomfortable. I could have used Freud's words and explain how and why the dream is the "royal road" to the unconscious, or speak of Bion and the fact that the end of our interaction with the reality we live in a dream state, continuous even awake.
I will, however, the function of reverie poetry and its ability to awaken in us, through the forces of imagination, the experience of the creative act, and then the dream.
The term reverie has the same root rêve, dream, and it is virtually impossible to translate into Italian. Perhaps it is close to fantasy, imagination, daydreaming. In fact we can define the reverie as a "state of mind" that you leave the register of the imaginary. Unlike rêve, where the ego is essentially the result of sleep, there is still a reverie in the dawn I, able to perceive its presence, albeit loose, and re-surrender to the dream worlds. The dream "kidnaps Our I "and overthrowing the hidden part of the iceberg showing the forces of our nature unconscious reverie expresses a" cogito "infant returns the matrix subjective imagination. In psychoanalysis
reverie, feeding of empathy is the ability to grasp and wonder of the specificity of the other, the same quality that makes a mother invaluable in meeting the needs and desires of the newborn. Over the artists, is the ability to create new worlds and to awaken in others the same germ of reverie, by sharing the wonder of the creative act.
The poet, writer, painter, composer and all those who use language creatively watering and allow us to deepen those roots that dream will stay at the basis of our ability to re-dream of raising our being along the imaginary axis, making unnecessary the frantic search for the Psychoanalysis is unconscious on the antecedents. Every reverie arouses all the senses and then harmonize them, particularly the poetic reverie that leaves us the maximum of inner freedom to re-imagine. The poetic reverie was originally the "sound of the word" word communicable, provocative word, a word that his destiny along with beauty and harmony we can reconcile with our human frailty and makes us, as well as "dreamers" and to "New World", also part of lively and authentic act of giving us a chance to create "well-being" and "longer".
The creative imagination, therefore, can not be violated and betrayed by the interpretation, but can only be lived within the phenomenology of the poetic resonance that transcends the subjectivity of taking it over itself, making it universal and accessible to the sensitive consciences, thus offering new opportunities and become happiness and development. If the male animus, as suggested by Jung and Bachelard, like things for their own use, stopping concreteness, the anxieties, fears and ambitions of the projects, the feminine soul, inherent in the register of the imaginary and poetic art throughout, is the quality and depth of experience, is an ontology of values. Then you realize that the more we can grow and develop our capacity for reverie and our creative potential, the more we give the man an opportunity not only to dream of a better world, but to actually experience it within themselves and out. Give more space for art to culture in all its manifestations, the more we create a better society and less alienated, less ill. Conversely, the more we enter the logic of making, profit, real, the technology, to appear, more losses the stuff of dreams for which we are mixed, making it an empty shell and producing around us only grief and desolation.
"Listening to certain words, such as the child listens to the sea in a shell, a dreamer of words, hear the sounds of a world of dreams." (G. Bachelard, The poetics of reverie)
Minimum Bibliography
G. Bachelard, The poetics of reverie, Daedalus Books, Bari;
G. Bachelard, The right to dream, Daedalus Books, Bari;
Del Longo N., psychoanalysis of objective knowledge and phenomenology of the imagination, Piovan Ed, Abano T.me, 1987;
Del Longo N., Capriccio n.24, Ed Mann, 2008;
0 comments:
Post a Comment