La philosophie de Bachelard autour de la volonté prend à contre-pied cette conception centrale de la philosophie. En la déplaçant de son cadre habituel qu’est la philosophie de l’action, il en fait une notion centrale de son esthétique. Il réalise une synthèse où « les rêveries qui veulent » retrouvent la « volonté qui rêve.» Cela notamment dans son Lautréamont qu’on peut lire comme un moment d’une généalogie de la volonté de l’animal à l’humain.

This book explores the significance of the Resurrection for human moral imagination and moral life. It shows that the Resurrection, contemplatively apprehended, shifts our ethically conditioned understanding of what it means to be human. It shifts our relationship to mortality and finitude, and opens up new possibilities and sources for human life and hope. It thereby transforms the picture of human being operative in moral thinking about justice and personal relations, as well as some of our fundamental moral concepts.

Partant de l'hypothèse selon laquelle l'élaboration d'une théorie générale de l'imagination constitue l'une des visées centrales de la philosophie ricoeurienne et l'un de ses legs les plus prometteurs, ce livre se propose de travailler à une genèse rigoureuse de cette philosophie de l'imagination, en s'appuyant principalement sur les trois oeuvres qui composent la Philosophie de la volonté. A travers une analyse des dialogues de Ricoeur avec Sartre, Nabert, Bachelard, Merleau-Ponty, Jaspers, Cassirer, Husserl et Heidegger autour de la question de l'imagination, (...) il s'agit de montrer comment cette première grande oeuvre philosophique ricoeurienne esquisse une théorisation très novatrice de la fonction poético-pratique de l'imagination - capable tout à la fois de poser les bases d'une réhabilitation générale de la fonction de l'imagination dans l'agir humain et d'initier une réflexion critique sur les usages méthodologiques de l'imagination dans le discours philosophique. (shrink)

"Entre la connaissance commune et la connaissance scientifique, la rupture nous paraît si nette que ces deux types de connaissance ne sauraient avoir la même philosophie. L'empirisme est la philosophie qui convient à la connaissance commune. Au contraire, la connaissance scientifique est solidaire du rationalisme et, qu'on le veuille ou non, le rationalisme est lié à la science, le rationalisme réclame des buts scientifiques. Par l'activité scientifique, le rationalisme connaît une activité dialectique qui enjoint une extension constante des méthodes". Voici (...) un livre sur l'activité rationaliste du chimiste contemporain. On y voit à l'oeuvre une "phénoménotechnique" qui construit ses multiples substances en éliminant progressivement l'irrationnel. Souligner l'engagement de pensée qui se manifeste dans cette activité, telle est la volonté de Bachelard inscrite dans son projet général d'attirer "l'attention des philosophes sur le caractère spécifique de la pensée et du travail de la science moderne". (shrink)

Gaston Bachelard occupies a unique position in the history of European thinking. As a philosopher of science, he developed a profound interest in genres of the imagination, notably poetry and novels. While emphatically acknowledging the strength, precision and reliability of scientific knowledge compared to every-day experience, he saw literary phantasies as important supplementary sources of insight. Although he significantly influenced authors such as Lacan, Althusser, Foucault and others, while some of his key concepts are still widely used, his oeuvre tends (...) to be overlooked. And yet, as I will argue, Bachelard’s extended series of books opens up an intriguing perspective on contemporary science. First, I will point to a remarkable duality that runs through Bachelard’s oeuvre. His philosophy of science consists of two sub-oeuvres: a psychoanalysis of technoscience, complemented by a poetics of elementary imagination. I will point out how these two branches deal with complementary themes: technoscientific artefacts and literary fictions, two realms of human experience separated by an epistemological rupture. Whereas Bachelard’s work initially entails a panegyric in praise of scientific practice, he becomes increasingly intrigued by the imaginary and its basic images, such as the Mother Earth archetype. (shrink)

L’originalité de la philosophie de Bachelard tient à la place donnée, dans ses recherches, à l’imagination et à la poésie. En proposant « de considérer l’imagination comme une puissance majeure de la nature humaine », il a ainsi ouvert de nouveaux espaces de méditation et de réflexion philosophiques dont s’inspirent encore de nombreux philosophes.

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.

A central theme in the Christian contemplative tradition is that knowing God is much more like ‘unknowing’ than it is like possessing rationally acceptable beliefs. Knowledge of God is expressed, in this tradition, in metaphors of woundedness, darkness, silence, suffering, and desire. Philosophers of religion, on the other hand, tend to explore the possibilities of knowing God in terms of rational acceptability, epistemic rights, cognitive responsibility, and propositional belief. These languages seem to point to very different accounts of how it (...) is that we come to know God, and a very different range of critical concepts by which the truth of such knowledge can be assessed. In this paper, I begin to explore what might be at stake in these different languages of knowing God, drawing particularly on Alvin Plantinga’s epistemology of Christian belief. I will argue that his is a distorted account of the epistemology of Christian belief, and that this has implications for his project of demonstrating the rational acceptability of Christian faith for the 21st century. (shrink)

House. From cellar to garret. Significance of the hut -- House and universe -- Drawers, chests and wardrobes -- Nests -- Shells -- Corners -- Miniature -- Intimate immensity -- Dialectics of outside and inside -- Phenomenology of roundness.

Le philosophe analyse la symbolique de la flamme, qu'il qualifie d'un des plus grands opérateurs d'images parce qu'elle force l'homme à imaginer, sous des aspects philosophique, poétique, esthétique ou encore littéraire. Il humanise la flamme et la fait centre de toute demeure, un être familial gardien des souvenirs.

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.

In this new study, Cristina Chimisso explores the work of the French Philosopher of Science, Gaston Bachelard by situating it within French cultural life of the first half of the century. The book is introduced by a study - based on an analysis of portraits and literary representations - of how Bachelard's admirers transformed him into the mythical image of the Philosopher, the Patriarch and the 'Teacher of Happiness'. Such a projected image is contrasted with Bachelard's own conception of philosophy (...) and his personal pedagogical and moral ideas. This pedagogical orientation is a major feature of Bachelard's texts, and one which deepens our understanding of the main philosophical arguments. The primary thesis of the book is based on the examination of the French educational system of the time and of French philosophy taught in schools and conceived by contemporary philosophers. This approach also helps to explain Bachelard's reception of psychoanalysis and his mastery of modern literature. _Gaston Bachelard: Critic of Science and the Imagination_ thus allows for a new reading of Bachelard's body of work, whilst at the same time providing an insight into twentieth century French culture. (shrink)

Comment Bachelard, fils d'un cordonnier, professeur de physique et chimie, a-t-il pu devenir cet humaniste aussi savant que philosophe, aussi penseur que poète? Il n'a pas emprunté les chemins balisés, ceux des élites universitaires et culturelles. Il a contrarié les pronostics et les conventions. Il s'est adjugé contre vents et marées le droit de penser par lui-même en bousculant les frontières des savoirs et de la culture et en dérangeant les us et coutumes établis. "Un ouvrage aussi lumineux que la (...) destinée et l'oeuvre de Gaston Bachelard. Au plus près de sa vie et de sa pensée". (Philippe Meirieu). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Breathing with Mountains1Paul A. Harris (bio)For Sydney Levy, who brought me on board.Geologic AspirationsStone breathes within nature's time cycle…. It begins before you and continues through you and goes on. Working with stone is not resisting time but touching it.—Isamu NoguchiUnder the suffocating circumstances of lockdown, COVID conditions inevitably wafted their way into the stoned thinking of Pierre Jardin.2 The pandemic atmosphere made air apparent, and breathing became personal, (...) political, and planetary. People sought perspective in sometimes surprising ways. While many turned to the Stoics, Jardin turned to stone. Suspending his disbelief in "The Hammock of Relaxation" (fig. 1), Jardin stretched his imagination, and set himself adrift in diffuse reveries of rocky respiration. Click for larger view View full resolutionFigure 1.The Hammock of Relaxation. Pebble on book cover.Photo by author.Jardin composes a life centered in absorbing stone(s), encompassing both a physical process of soaking in a substance slowly and psychological experience of becoming engrossed in it. He feels alive with stone and stone alive in him; literally and metaphorically, he has spent hours looking at stone, listening to stone, and touching/being touched by stone. But he had never seriously considered breathing stone. Immediately, a slew of questions arose: Do rocks breathe? Do mountains? Does the Earth? What would it mean to breathe with a stone, or with the planet? Jardin's pursuit of lithic and lithospheric respirations came to comprise his geologic aspirations, which are set out here. [End Page 261]Aerial ImaginationPierre Jardin's geologic aspirations took inspiration from Gaston Bachelard's aerial imagination, as described in Air and Dreams. Accepting Bachelard's invitation to "listen to nothing but our own breathing…, to become as aerial as our breath…" (Bachelard, Air 241), Jardin set about inventing a regimen of contemplative breathing exercises. To do so, he took up what Bachelard terms the "search for a thought hidden under expressive sedimen,ts, [in which] a geology of silence is developed" (Bachelard Air, 251). The question was, what "expressive sediments" should Jardin mine in this quixotic quest? What materials and mental modalities would precipitate a "geology of silence"?In order to meld minds with Bachelard, Jardin placed a pebble on Robert Lapoujade's pencil portrait that graces the book's cover (fig. 2). The results were alchemical: the cobble transmuted into a philosopher's stone, opening Bachelard's third eye; the rock launched a basalt on Jardin's senses that produced an "intoxication of aerial imagination raised to its cosmic role" (Bachelard, Air 241). A gesture as simple as placing a rock on a book crystallized new quartz-veins of thought. What follows are Jardin's experiments with a variety of "expressive sediments," a series of multi-scalar meditations and various instantiations of lithic respiration. Click for larger view View full resolutionFigure 2.Aerial Basalt on the Senses. Pebble on book cover.Photo by author.Atmospheric CompositionsPierre Jardin's geologic aspirations began with a Composition of Place, a meditative technique deployed in the Spiritual Exercises of Ignatius of Loyola. Loyola stipulates that "for contemplation or meditation about visible things… the 'composition' will consist in seeing through the gaze of the imagination the material place where the object I want to contemplate is situated" (Ganss 47). Taking "Breathing with Mountains" as the "object" of contemplation stretches Jardin's imagination to a geologic scale; its "material place" is the Earth's atmosphere, or more specifically, its lowest layer, the troposphere. [End Page 262]To facilitate his meditation, Jardin scales Earth down to a stunning serpentine stone, which he has mounted like a globe. Holding the stone and breathing slowly, Jardin can visualize the troposphere as the thinnest of films on the rock's surface. In his active imagination, the bumps, furrows, and ridges in the rough rock texture evoke the constant crumpling of the lithosphere caused by drifting and crashing tectonic plates.With the stone standing in for Earth, Jardin suddenly becomes a geologic giant representing Anthropocene humanity. As his exhalations cloud the stone, Jardin considers how Anthropogenic expirations are changing the composition of the Earth's atmosphere. An index of human impact is provided... (shrink)

Gaston Bachelard's thought remains a continual source of inspiration for a phenomenological psychology that takes human habitation as a fundamental given and as an abiding mystery of the human condition. the following essay explores the ideas Bachelard developed in the course of his study of poetry. It examines in particular his vision of imagination as a unique passage way by means of which we reach an inhabitable, intersubjective and fully human world. Within that perspective, our lives are constantly renewed by (...) the appearance of a revealing image or a telling metaphor. Each time that we are awakened by this appeal we commemorate the birth and rebirth of a human world. (shrink)

This essay examines animality through an analysis of Les Chants de Maldoror, an obscure but influential nineteenth-century text by the Comte de Lautréamont. Drawing upon the work of Gaston Bachelard as well as the apophatic tradition in Christian mysticism, Les Chants de Maldoror can be read as a text that complicates the boundary between animality and spirituality, producing an “apophatic animality” that ultimately impacts the poetics of the text itself.

Analyse de l'herméneutique du mouvement, ainsi que de son imprégnation dans la philosophie occidentale moderne, notamment en utilisant les figures centrales de Bachelard et de Merleau-Ponty. Les contributions tentent de mettre au jour les rapports qu'entretiennent imagination et mouvement, images dynamiques et schèmes moteurs.

L'ouvrage nous offre un exposé minutieux de la Poétique de Gaston Bachelard, qui nous mène à un dialogue imaginaire où María Noel Lapoujade exprime ses propres points de vue dérivés de sa Philosophie de l'imagination, des images et des imaginaires et donne ainsi les fondements de sa notion originale d'Homo imaginans. La lecture de cet ouvrage original et fondé nous conduit à un scénario peuplé de résonances inédites de la pensée de Bachelard.

In this paper we seek to draw attention to some striking and heretofore unnoticed textual connections between Adam Smith's Theory of Moral Sentiments and David Hume's A Treatise of Human Nature. We find significant textual parallels between the parable of the poor man's son of TMS 4.1 and the famous conclusion to Book 1 of Hume's Treatise. These passages are often regarded as especially intense and moving parts of their respective works. We explore the nature and substance of these connections (...) and comment on their larger significance. The nature of the connections suggests that Smith consciously engaged Hume in his work through philosophical conversation. We suggest that these related passages show both Hume and Smith exploring and developing a particular dialectic between contemplation and action in human life. Both move to invert the classical relationship between contemplation and action through what we call the elevated imagination. (shrink)

A psychology, Phenomenology and ontology of creativity developed by this french epistemologist and historian of science (1884-1962) are systematically described. Starting from analysis of image networks in literature, Bachelard presents imagination as autonomous, A power of human transcendence, A force preceding perception and memory. He ultimately surpasses psychological reductionism. Imagination of form is inferior to imagination of matter (depth); yet they both are secondary to dynamic imagination. Bachelard's fundamental method is a phenomenological study of images as origins of consciousness; a (...) phenomenology of reverie and writing underlies his ontology. Reverie is the model upon which imaginative consciousness is judged. Man should extend the freedom and beauty of his inner cosmos to enhance relation with the world. (shrink)

In 1939 Gaston Bachelard published a book Lautréamont on the poem The Songs of Maldoror by Isidore Ducasse. Bachelard’s Lautréamont was inspired by the method of psychoanalysis. The purpose of this article is to analyze Bachelard’s interpretation of the Chants, to compare his version of psychoanalysis with the versions of Freud and Jung, and to show its meaning in the historical and philosophical context.

The man and his times -- Early epistemology -- The new scientific mind -- Fragmentation and the temptation of ontology -- Fire, water, and the material imagination -- Air, earth, and the dynamic imagination -- A phenomenology of the creative imagination.

Gaston Bachelard distinguishes the radical novelty and newness of the imagination from pre-existing sensory impressions. In this article, I explore Bachelard's connections between time, the imagined image and poetic form, and I consider their implications for the cinema. Concentrating my analysis on Ildikó Enyedi's Testről és lélekről/ On Body and Soul — a film that alternates between doubled worlds, depictions of human and animal life — I draw out the temporality and the diversity of Bachelard's imagined images. Bringing Bachelard's instant, (...) vertical time and the crystalline to bear on Enyedi's film, I argue that, under the pretext of sleep, rest and dreaming, On Body and Soul engages the temporality and attentiveness of the Bachelardian imagination, together with its poetic effects. (shrink)

The aim of this article is to show that what Gaston Bachelard called the “psychology of the imagination” often doubles as moral psychology. In Water and Dreams, for example, Bachelard presents “water’s morality,” which is a morality attained by an imagination of water’s purity. Similarly, in Air and Dreams, he explores the aerial imagination that forms the moral thought in Thus Spoke Zarathustra and calls the will to dynamism in Nietzschean philosophy “an experimental physics of moral life.” In Earth and (...) Reveries of Will, numerous terrestrial images are considered and the moralities they embody are discussed—among them the supreme hardness of the oak tree in Virginia Woolf’s Orlando and the “counsel of solidity” it gives. As Bachelard becomes more inclined to call his endeavor a “phenomenology of the imagination,” concern for morality becomes less pronounced. And yet in two of his later works, The Poetics of Space and The Poetics of Reverie, Bachelard continues to delve into the ways imagination allies with moral life. Sensitively heeding the solicitations from the material world and our responses to them, Bachelard’s psychology of the imagination is a project of self-knowledge of an unusual sort: it uncovers “the autobiography of lost possibilities” and revives confidence in human strength. Finally, a comparison between Bachelard’s moral psychology with the work of Theodor Adorno and of John McDowell shows that its philosophical significance is best viewed as a re-enchantment project—the re-enchantment of nature and our relationship with it. (shrink)

L’imagination joue un rôle crucial et pourtant équivoque dans la théorie des passions de Descartes ainsi que dans celle de Hobbes. En dépit de sa réduction de l’imagination au corps, Descartes explique l’affectivité de l’âme comme le résultat complexe de l’interdépendance de la pensée et de l’imagination. Hobbes, d’un autre côté, réfute tout dualisme entre passions corporelles et volonté ; toutefois, il décrit les passions de l’esprit comme causées par une imagination « mentale » qui regarde au possible et à (...) l’avenir. Cette contribution étudie les ramifications d’une telle « pensée imaginative » dans les anthropologies morales de Descartes et de Hobbes. (shrink)

Gaston Bachelard began his academic career as a teacher of physics and chemistry, turning eventually to the history and philosophy of science: a personal evolution not uncommon in France, which since the turn of the century has also offered the examples of Duhem, Poincaré and Meyerson. Unlike these older contemporaries, however, Bachelard took as his special province not the logical structure of scientific theory, or the norms of theory construction, but the inventive spontaneity or “dynamism” of scientific thought. While celebrating (...) science as the ultimate expression of reason, he paid as much attention to its imaginative false starts as to the rational explanations it adopts. By 1938, moreover, he had turned explicitly to the activity of imagination: this became the general theme of a number of works that revolve freely about the four elements of an earlier and more poetic “science,” and the philosopher's field eventually was to become nothing less than his total experience, whether reasoned, lived or dreamed. (shrink)

In this essay, I show how the French philosopher of science, Gaston Bachelard, reacted to the idea of phenomenology at different stages of his philosophical development. During the early years, Kantianism (through a Schopenhauerian reading of Kant) had the greatest influence on his understanding of phenomenology. Even if he always considered phenomenology a valuable method, Bachelard believed that the term noumenon is necessary, not for a full description of reality, but for probing possible sources of reality. For him, phenomena are (...) not only static objects or things observed in nature, but dynamic objects that can be produced or even created (hence phenomenotechnique). The noumenal realm lies beyond the structure of the phenomenal world. In his later “poetical” years, Bachelard did not make a strict distinction between noumena and phenomena, but instead situated the poetical (literary) image, a phenomenon of literary consciousness, in specific zones between subjectivity and objectivity; the term phenomenotechnique no longer plays any role in his study of imagination or daydreams. For the later Bachelard, phenomenology became the method or attitude that can best lead us into the unexplored regions of our consciousness (reverie) which remain largely forgotten by Western philosophy, or drowned out by its exclusive concern with other aspects of consciousness, such as rational thought. (shrink)

L’œuvre de Bachelard se partage en une philosophie des sciences qui a fait date par son engagement rationaliste, et en une « métaphysique de l’imagination », expression qu’utilise Bachelard lui-même dans L’Air et les songes pour désigner le but avoué de l’ensemble des textes de poétique qu’il a produits. Notre propos est de mettre en évidence le caractère double de son œuvre, non pas dans une visée simplement descriptive, mais véritablement problématique : nous voudrions montrer que cette caractéristique s’explique par (...) le principe du double qui travaille la réflexion de Bachelard à la racine à la fois dans son œuvre épistémologique et dans son œuvre de poétique. (shrink)

In this essay, Perraudin sets out to contrast the competing philosophies of time and imagination of two major French thinkers of the twentieth century: Henri Bergson (1859–1941) and Gaston Bachelard (1884–1962). Despite Bachelard’s polemical approach vis-à-vis philosophical tradition in his works on epistemology and poetics, his accounts of time and imagination have been shown by several critics to be significantly influenced and inspired by his predecessor. Perraudin nonetheless argues that Bachelard’s critique of Bergson’s theory of continuous temporality opens the way—through (...) the subtle dialectics of his “philosophy of no”—to more prolific, and as yet untapped, therapeutic possibilities in our understanding of time and imagination than Bergson’s accounts of continuum of the élan vital had managed to reveal. (shrink)

Gaston Bachelard (1884-1962) was a seminal figure in contemporary French philosophy. Together with Michel Foucault, Georges Canguilhem and Jean Cavailles, he shaped the 'French epistemological' school of philosophy of science. In France, Bachelard is a towering presence; in the English-speaking world, he is little known. Now, Zbigniew Kotowicz gives us the first English language, in-depth presentation of the entire spectrum of Bachelard's work: epistemology, poetic imagination and temporality. And he explores an old philosophical tradition that Bachelard's thought opens up - (...) atomism - a doctrine that has been almost forgotten and is much misunderstood ". (shrink)

L'oeuvre de Gaston Bachelard apparaît aujourd'hui comme une oeuvre prophétique. Dans la mesure où elle concerne aussi bien les domaines de l'imagination et de la poésie que les démarches rationnelles de la recherche scientifique la plus avancée. Et l'homme contemporain est effectivement en proie aux exigences contradictoires de l'intelligence spéculative et des dérives créatrices de l'imaginaire. (4e de couverture).

Gaston Bachelard, parallèlement à sa philosophie de l'imagination poétique, a développé une œuvre originale consacrée à l'intelligence des sciences, en multipliant les approches historiques, épistémologiques, pédagogiques et éthiques de la rationalité scientifique. Tout en se situant de manière parfois surprenante par rapport aux théories philosophiques classiques de la science (de Platon à Husserl), il s'est enhardi à éclairer les révolutions scientifiques de la première moitié du XXe siècle, en physique, chimie, etc. Ses orientations qui méritent débats ont cependant marqué une (...) grande part de la philosophie des sciences française. (shrink)

This paper deals with the problem of the subject in Bachelard?s concept of surrationalism. Focusing on the epistemological character of surrational creativity, the issue of the subject is approached through the analysis of the relationship between subjectivity and objectivity in the surrational act. Comparing the character of novelty in surrealism and surrationalism, the paper introduces Bachelard?s distinction between formal and material imagination, with the latter further discussed through the prepositions?against? [contre] and?in? [dans]. Bachelard?s theory of the internal dialectic - the (...) theory of subdivision of the subject - is analyzed through his concept of reverie. The last chapter deals with the dialectic between the apodictic and the assertoric subject, aiming to reconsider the idea of interiority and repose. (shrink)

‘PHILOSOPHY, or the doctrine and discipline of ideas’, as S. T. Coleridge understood it, is the theme of this book. It considers the most vital and mature vein of Coleridge’s thought to be ‘the contemplation of ideas objectively, as existing powers’. A theory of ideas emerges in critical engagement with thinkers including Plato, Plotinus, Böhme, Kant, and Schelling. A commitment to the transcendence of reason, central to what he calls ‘the spiritual platonic old England’, distinguishes him from his German contemporaries. (...) The book also engages with Coleridge’s poetry, especially in a culminating chapter dedicated to the ‘Limbo’ sequence. This book pursues a theory of contemplation that draws from discussions of imagination and the ‘Ideas of Reason’ in Coleridge’s published texts and extensively from his unpublished works, fragments, letters, and notebooks. He posited a hierarchy of cognition from basic sense intuition to the apprehension of scientific, ethical, and theological ideas. The structure of the book follows this thesis, beginning with sense data, moving upwards into aesthetic experience, imagination, and reason, with final chapters on formal logic and poetry that constellate the contemplation of ideas. Coleridge’s Contemplative Philosophy is not just a work of intellectual history, it addresses a figure whose thinking is of continuing interest, arguing that contemplation of ideas and values has consequences for everyday morality and aesthetics, as well as metaphysics. The volume will be of interest to philosophers, intellectual historians, scholars of religion, and of literature. (shrink)

In literary aesthetics, the debate on whether literary fictions provide propositional knowledge generally centres around the question whether there are authors’ explicit or implicit truth-claims in literary works and whether the reader’s act of looking for and assessing such claims as true or false is an appropriate stance toward the works as literary works. Nevertheless, in reading literary fiction, readers cannot always be sure whether the author is actually asserting or suggesting a view she expresses or presents because of the (...) artistic and imaginative nature of the work. In this essay, I shall argue that in addition to asserting and suggesting, authors make use of a third way of conveying knowledge by their works: they invite the reader to genuinely or extra-fictionally contemplate unasserted thoughts or viewpoints to a given issue, or they offer hypotheses or provide the reader fictional material for constructing a hypothesis. The aim of this essay is to examine this rather unanalyzed but extremely wide grey zone: the author’s act of ‘contemplating’ and the cognitive value of its products which I shall call ‘literary hypotheses.’. (shrink)

Some of the early‐modern changes in the social framing of science, while often believed to be essential, are shown to be contingent. They contribute to the flawed public narrative around science today, and especially to the misconceptions around science and religion. Four are examined in detail, each of which contributes to the demise of the contemplative stance that science both requires and offers. They are: (1) a turn from an immersed subject to the pretense of a pure objectivity, (2) a (...) turn from imagination as a legitimate pathway to knowledge, (3) a turn from shared and participative science to a restricted professionalism, and (4) an overprosaic reading of the metaphor of the “Book of Nature.” All four, but especially the imperative to consider reading nature as poetry, and a deeper examination of the entanglements between poetry and theoretical science, draw unavoidably on theological ideas, and contribute to a developing “theology of science.”. (shrink)