• The Korean Publising Journal, Monthly
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• s.131
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• pp.17-17
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• 1993

• Journal of Gifted/Talented Education
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• v.19 no.3
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• pp.603-646
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• 2009

This paper explores in depth Gaston Bachelard's theory of imagination so as to establish the philosophical bases of creativity. While he had begun his studies on imagination to eliminate unreliable subjectivity hampering objectivity of philosophy of science, he was fascinated to become a philosopher of imagination by its unlimited power. Since his theory of imagination marked a prominent spot in the history of Western idea, this paper will seek its significant implications that will also shed light on the philosophical grounds of creativity. The best way to approach his theory is to differentiate whether imagination is the power of forming images or that of transforming them. If not misguided by surface simplicity of the aforementioned differentiation, it will be revealed that it has accrued strata in the history of Western idea. The power of forming images is related to theory of mimesis or of representation, and to ocularcentric and logo-centric structures. Bachelard strongly opposes to the theory of imagination as power of forming images, since, if it is so, its expansion and development are not possible. He thereby constructs the theory of imagination as power of transforming images. The force of movement lies at the core of his theory. Imagination as an ability to intuit movement is directly related to the problem of change in the history of Western idea. If an entity is incessantly changes itself, it becomes a crucial role of imagination to capture the force perse in the perpetual movement without distortedly and abruptly fixing it at a still point of time and space. Bachelard criticizes such a method that makes movement a controllable entity consisting of partitioned moments of space; instead, he constructs theory of imagination that reveals the true power of indispensable movement. Furthermore, it will be revealed that Bachelard's theory has more affinities with Kantian imagination and reflective judgement of aesthetics than the past researches on Bachelard showed. This paper, by means of the above investigation, will transcend the superficiality of defining what are Bachelard's formal, material, and dynamic imaginations; simultaneously, it will bear philosophical conditions of possibility that makes us experience imagination fully. These conditions also become the philosophical foundations of creativity. It will draw to a provisional close its imaginative journey of everlasting movement by making ontological and ethical dimensions of imagination and creativity.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.2
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• pp.85-94
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• 2018

This study tries to connect the 'four-elements metaphor' of Bachelard with architectural Images of Coop Himmelblau. Two basic terms of 'phenomenology of imagination' and 'material image' are explored firstly to understand the meaning and value of Bachelardienne four-elements in architectural discourse. The material images of air, fire, water, and clay are applied to the analysis of architectural experience of Busan Cinema Center(BCC) which is selected among works of Himmelblau by reason of its integrity of the four-elements' images. After elaborate Bachelardienne description of the images of BCC, the study examines whole Himmelblau's works since 1968 chronologically from the perspective of the four-elements' architectural images which are found in the analysis of BCC. The study of BCC could discover the images of air in two roofs, the images of fire in Double cone, the images of water in outdoor cinema, Dureraum square, flying brides, and the images of clay in Cinemountain and BIFF Hill. The chronological study found that Himmelblau had started their projects with the images of air in 1968 and tried the fire from 1978, and their regular examination of water and clay images had begun in mid 90's. After 2000, they could show a certain harmony of the four elements in their works.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.132-142
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• 2022

The purpose of this study is to interpret the MCU's universal worldview from the perspective of geometry and to storytell narrative elements with mathematical imagination. For storytelling, data from the Phase 3 series aired from 2016 to 2019 was used. The Phase 3 series stimulates the imagination of the public with the sense of reality shown in the narrative and images based on geometrical theory and various predictions about future technology. Imagination is the driving force for diverse and original thinking about the unexperienced, and the ability to find order in chaos and create new perceptions of matter. The power of imagination is very necessary not only in artistic activities, but also in the scientific field where logic and rationality are important. Bachelard's imagination aims for art, the primitive realm of human beings, and contains sincerity and passion for the wonders of nature and all things. By exploring the MCU's worldview and superhero narrative through geometrical logic and imagination-driven imagery, you can understand the cosmic messages and laws in the film. From a convergence point of view of art and science, various and original techniques based on mathematics and scientific imagination used in MCU video production will help to improve the quality of video analysis.

• Journal of Educational Research in Mathematics
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• v.23 no.2
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• pp.237-252
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• 2013

The philosophy of science of Bachelard is introduced mainly with epistemological obstacles in the discussions within mathematics education. In his philosophy, epistemological obstacles are connected with the dialectical developments of science. Science progresses through generalization of concepts and theories by negating things which were recognized as obvious. These processes start with ruptures against the existing knowledge. Epistemological obstacles are failure in keeping distance with the existing knowledge when reorganization is needed. This concept means that there are the inherent difficulties in the processes of concept formation. Finally I compare the view of Bachelard on the developments of science and the 'interiorization-condensation-objectification' scheme of reflexive abstraction in mathematics education and discuss the inherent difficulties in the learning mathematics.

• Cross-Cultural Studies
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• v.25
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• pp.679-694
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• 2011

La langue est un des ${\acute{e}}l{\acute{e}}ments$ $privil{\acute{e}}gi{\acute{e}}s$ de la $r{\hat{e}}verie$ chez Bachelard. La langue est une force fondamentale de l'imagination. D'une part, elle garde son propre valeur dans le processus de l'imagination, et d'autre part elle forme sa propre image. La $priorit{\acute{e}}$ de langue chez Bachelard a, en effet, quelque liaison avec la notion de Logos qui avait ${\acute{e}}t{\acute{e}}$ $trait{\acute{e}}$ depuis longtemps comme $v{\acute{e}}rit{\acute{e}}$ ${\acute{e}}ternelle$ dans la $m{\acute{e}}taphysique$ occidentale. Cependant, la notion de logos de Bachelard se $diff{\grave{e}}re$ de celle de $m{\acute{e}}taphysique$ occidentale. Tandis que la $m{\acute{e}}taphysique$ traditionnelle traite le logos comme un but ${\acute{e}}ternel$ de sa $m{\acute{e}}ditation$, Bachelard donne l'importance sur la $capacit{\acute{e}}$ linguistique et imaginaire du logos. Le $logosph{\grave{e}}re$ est un des exemples qui montre bien la $diff{\acute{e}}rence$ entre la notion de logos de Bachelard et celle de $m{\acute{e}}taphysique$ traditionnelle. Le $logosph{\grave{e}}re$ est un $n{\acute{e}}ologisme$ de Bachelard qui est fait pour $d{\acute{e}}signer$ $l^{\prime}atmosph{\grave{e}}re$ verbal de la $soci{\acute{e}}t{\acute{e}}$ contemporaine $gr{\hat{a}}ce$ ${\grave{a}}$ l'emission de radio. Bachelard comprend le $ph{\acute{e}}nom{\grave{e}}ne$ de radio en tant que $r{\acute{e}}alisation$ de $Psych{\acute{e}}$ dans la vie quotidienne. C'est $gr{\hat{a}}ce$ ${\grave{a}}$ la technologie moderne que nous pouvons avoir l'univers de langue plus facilement par rapport aux $si{\grave{e}}cles$ $pr{\acute{e}}c{\acute{e}}dents$. Selon Bachelard, la radio n'est pas un simple instrument de communication. C'est une porte pour entrer dans la $r{\hat{e}}verie$ universelle. La radio est une voix du monde qui exprime notre inconscient. Quand un $r{\hat{e}}veur$ $r{\hat{e}}ve$, son $r{\hat{e}}verie$ se $d{\acute{e}}veloppe$ en se discutant avec le monde. Alors, quand nous $r{\hat{e}}vons$, nous parlons au monde et nous ${\acute{e}}coutons$ du monde, de sorte que nous devenons les citoyens du $logosph{\grave{e}}re$. Dans son oeuvre Sur la Grammatologie, J. Derrida critique la $m{\acute{e}}taphysique$ occidentale en la intitulant logocentrisme. Derrida pense que la philosophie occidentale a comme le but final la $pr{\acute{e}}sence$ de logos. Cette $pr{\acute{e}}sence$ de logos ne peut ${\hat{e}}tre$ $r{\acute{e}}alis{\acute{e}}e$ que par la langue de la voix, non pas par la langue de $caract{\grave{e}}re$. $D^{\prime}o{\grave{u}}$ vient le logocentrisme ou le phonocentrisme de $m{\acute{e}}taphysique$ occidental. Mais Derrida pense que le logocentrisme n'est qu'un autre aspect de l'ethnocentrisme ${\acute{e}}troit$ de l'occident. La notion de $logosph{\grave{e}}re$ de Bachelard a quelques ressemblances avec logocentrisme par ses apparences. Cependant, elles ont une $diff{\acute{e}}rence$ fondamentale depuis leur $d{\acute{e}}part$. Tandis que logocentrisme $tra{\hat{i}}te$ la parole en tant que $mani{\grave{e}}re$ d'expression de raison qui est une puissance fondamentale de l'homme, Bachelard pense que la parole est un $r{\acute{e}}sultat$ d'une opposition et fusion de notre raisons et parole. Bachelard pense que la parole est une $r{\acute{e}}alisation$ de l'image qui est l'essence de notre $psych{\acute{e}}$. Pour lui, la parole, la quintessence de $logosph{\grave{e}}re$, est le champ de l'imagination $d^{\prime}o{\grave{u}}$ jaillissent les images. C'est pour cela que $logosph{\grave{e}}re$ se situe ${\grave{a}}$ l'antipode de logocentrisme. $Logosph{\grave{e}}re$ nous fournit un espace de $r{\hat{e}}verie$ de langue. Notre $soci{\acute{e}}t{\acute{e}}$ contemporaine $fourr{\acute{e}}e$ des images visuelles creuses est $d{\acute{e}}pouill{\acute{e}}e$ de plus en plus des espaces de $r{\hat{e}}veries$. C'est une des raisons que le $logosph{\grave{e}}re$ de Bachelard doit ${\hat{e}}tre$ $r{\acute{e}}activ{\acute{e}}$ aujourd'hui.

• Cross-Cultural Studies
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• v.34
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• pp.93-114
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• 2014

Gaston Bachelard had a revolutionary progress in the field of human understanding by proposing his theory of image and imagination. His theory of the new image was so powerful, almost all areas of human science, particularly that of literary criticism, were strongly influenced and this influence continues until today. Today almost everyone accepts his theory of the image without much objection, but not rarely asked where began his transfer from the philosophy of science to the images. We propose a hypothesis that the beginning of the new concept of Bachelard's image was inspired by studies of contemporary science, especially quantum mechanics. The Heisenberg's uncertainty principle was the core of quantum mechanics, and opens new perspectives on the material world. We could summarize the message of the uncertainty principle : the material world is made up of various layers, and the material can not be measured by the location and movement at the same time. So we must have a new point of view of another dimension to know this material world. Bachelard had accepted this view of Heisenberg and developed his own theory of epistemological rupture. What is revolutionary in the theory of Bachelard's image is the fact that he looked at the images with the new perspective. The human psyche is another world compared to the rational world that dominates our daily lives. Bachelard insists that the image can not be explained by the concept. The fantasy world is a totally different world to that of rationality. That is why it can not be explained by the language of rationality as the concept. The imaginary world exists independently of the real world, but it is superimposed on the real world. These two worlds are influencing each other, and it is between these two world where our daily lives continues. The declaration of Bachelard 'image is a specific reality' is never a metaphor or rhetorical expression. This is an ontological expression that must truthfully. The imaginary world is a world built on the image and it works according to its own law. It is not a representation or copy of the real world. But the world of imagination are not alone. It exists in the same time and space with the world of science. It is superimposed with the world of science. Both two world influence each other. Bachelard has made a revolutionary change by studying the images. He gave them their own place. It has changed the views on the images that were treated as mere representations of reality. Thanks to him, the image can have its own value, that of a factor that creates reality. Bachelard shows how we can go deep into the source of being and the universe if we look at the pictures with the eyes of other dimensions.