Les sciences humaines sont en crise. Psychologies, sociologies, histoire et ethnologies ont confondu leur visée, l'Homo sapiens, avec une méthode unidimensionnelle héritée d'une physique périmée depuis l'apparition du " Nouvel Esprit Scientifique ". Gilbert Durand constate que cet échec péremptoire n'est dû qu'à un mirage pédagogique. A travers les recherches de pointe des anthropologues renaît l'aurore de retrouvailles avec le destin immémorial de l'Homo sapiens. Nous assistons progressivement à la résurgence d'une " Science de l'homme " qui, dans sa (...) singularité, retrouve bien des données transmises par les savoirs traditionnels : là où la Méthode exerçait son emprise totalitaire, le pluralisme des singularités - le " polythéisme des valeurs " - devient le garant de l'unité compréhensive du Sapiens. Une " raison autre " reconstitue lentement mais sûrement les assises prometteuses d'un " Nouvel Esprit Anthropologique ". (shrink)

Dans la première moitié du xxe siècle, une tendance à la remythologisation caractérise le roman. Proust, Thomas Mann et Faulkner permettent à Gilbert Durand de dresser un portrait de « l’immortel » héros à partir de quatre traits : le temps sans mort et sans souci de sa propre fin ; le temps qui passe de l’entropie à l’infinie répétition ; l’obsession du sang ; l’absence d’âme et d’état d’âme. Le roman perd tout sentimentalisme, tout réalisme, tout psychologisme. Le (...) romancier mythographe accède ainsi à l’imaginaire immémorial du mythe. In the first half of the 20th century, novels are often characterized by a tendency to remythologization. Proust, Thomas Mann and Faulkner help Gilbert Durand to draw up a portrait of the new “immortal” heroes in a fictive world based on four features: time without death and without any concern for its own end; time which passes from entropy to infinite repetition of itself ; the obsession for blood; the lack of soul and state of mind. Consequently, the novel loses any sentimentality, realism or psychologism. So, the novelist as mythographer accedes to the immemorial imagination’s power of myth. (shrink)

Depuis les années 1960, Gilbert Durand a fondé et développé une méthodologie et une épistémologie novatrices de l'étude des imaginaires individuels et culturels qui ont inspiré une Ecole de Grenoble, qui n'a cessé d'essaimer à travers un grand nombre de centres de recherches en France et dans le monde. Sa pensée, connue à travers la mythocritique et la mythanalyse, enrichie par une vaste culture historique et pluriculturelle, a été appliquée dans les domaines les plus divers des sciences humaines et (...) sociales. Loin d'être un système clos, son oeuvre a inspiré une épistémologie ouverte qui a permis, sur la base des acquis fondamentaux, de se préciser, de s'adapter à des champs nouveaux, de recevoir les apports d'autres écoles, courants ou traditions culturelles. Les contributions ici rassemblées permettront de mieux situer l'émergence de la problématique de l'imaginaire dans différentes disciplines ou champs d'études, de présenter les innovations théoriques apportées par l'anthropologie de l'imaginaire de G Durand, d'illustrer les innovations qu'elles auront permises, d'amorcer des éléments de prospective pour les chantiers actuellement en cours d'exploration. (shrink)

Reprise d’un article de G. Durand initialement paru en 1963 dans les Cahiers internationaux de symbolisme. L’auteur examine trois périodes de la culture occidentale où l’image et l’imagination ont été dévalorisées au profit de la pensée rationnelle : le conceptualisme aristotélicien déformé par l’averroïsme médiéval, le dogmatisme de l’Église chrétienne d’Occident opposé à l’iconodulie byzantine, le scientisme issu de la pensée de Descartes. L’analyse conduit à une nouvelle théorie du symbole conçu comme pouvoir heuristique des images. Reprint of an article (...) by G. Durand originally published in 1963 in the Cahiers internationaux du symbolisme. The author examines three periods of Western culture where the image and imagination were devalued in favor of rational thinking: the Aristotelian conceptualism distorted by medieval averroism, the dogmatism of the western Christian Church opposed to the byzantine icons, the modern scientism derived from the thought of Descartes. This analysis leads to a new theory about the symbols, conceived as a creative thinking and an heuristic power of images. (shrink)

Reprise d’un article initialement paru dans La création sociale, no 6 de 2001, p. 121-139. Aucune « culture humaine » n’est « pure » ni « définitive » ; toute culture est métissée et sans « fin » déterminée. Pour analyser les diverses formes du métissage culturel dans plusieurs civilisations, sept concepts différents sont ici présentés avec des exemples de leur application aussi bien en Orient qu’en Occident et du Moyen Âge qu’à nos jours. Reprint of an article originally published (...) in La création sociale, no. 6 of 2001, pp. 121–39. No “human culture” is “pure” or “final”. Any culture is mixed with another. To analyze the various forms of cultural miscegenation in many civilizations, seven different concepts are here presented with examples of their application both in the Eastern and the Western countries and from the middle ages to our days. (shrink)

The list of saints dragonslayers is long in Western tradition: from archangel Michael, Saint George, Saint Marcel up to captain Nemo from the famous Jules Verne’s novel. It is quite different in East Asia and especially in China, where the dragon benefits from an extremely positive valuation. What are the causes of such a symbolic reversal? This is what we are trying to elucidate in this paper. The dragon, so laden with malignity in the West and requiring a hero to (...) fight it and to restore, against multiple perversity, the solidity of the concept of being, is an auspicious image in the Chinese world that benefits from the riches of multiplicity: assimilated to the “Son of Heaven”, emperor of all under heaven, located in the center of the changing world, he ensures the correct order of political, geographic, calendar, or anthropological pluralities. Two world views stand face to face: one that saves being by slaying the dragon, the other which recognizes the value of changes and transformations. (shrink)

"Dans les années 1960, Gilbert Durand, marqué par Gaston Bachelard, a développé une conception globale, complexe, transdisciplinaire de l'imagination, centrée sur le mythe langagier et les langages visuels. Parallèlement à Claude Lévi-Strauss, qui mettait en avant la notion de structure mythique et d'enracinement neuronal de la culture, G. Durand opta pour un "structuralisme figuratif" où la signification des images, tout en s'enracinant dans le biologique, relevait aussi d'une symbolisation, plus proche des psychanalyses et de G. Bachelard que de la (...) sémiotique. L'imagination et ses œuvres individuelles et collectives sont la résultante d'un "trajet anthropologique" qui s'étend des soubassements neurobiologiques aux matrices des mythes sociaux et religieux et vice versa. Plus de cinquante ans après, les avancées des sciences physiques et biologiques, neurologiques et cognitives permettent de jeter un regard nouveau sur l'ensemble des fonctions mentales, ainsi que sur les théories modernes du vivant et du cerveau. En quoi ces savoirs nouveaux éclairent-ils l'imagination et l'imaginaire, dans quelle mesure viennent-ils converger avec les références anciennes de G. Durand, quelle nouvelle anthropologie post-durandienne de l'imaginaire peut-on voir émerger?"--Page 4 of cover. (shrink)

Le célèbre ouvrage de Gilbert Durand, Les Structures anthropologiques de l’Imaginaire, propose une élucidation des fondements de l’imaginaire, c’est-à-dire de l’essence à partir de laquelle se dresse l’arborescence de la fantastique. Nous pensons que ces fondements — espace a priori et euphémisme — loin d’émerger d’une phénoménologie rigoureuse, au contraire découlent de présupposés psychanalytiques parasitant le projet initial. Le présent article n’a d’autre but que d’ouvrir la réflexion sur les fondements de l’imaginaire à la phénoménologie henryenne : l’affectivité comme (...) identique à l’être même, semble toute désignée pour compléter la fantastique transcendantale durandienne et ainsi offrir un renouveau aux structures de l’imaginaire. (shrink)

Dans la perspective de Gilbert Durand, cette étude traite de la conception de la création en général et, en particulier, de la création littéraire. Dans un premier temps, elle met l’accent sur le rôle de la création artistique en valorisant l’impératif de l’œuvre, puis, dans un second temps, sur celui de la création littéraire. Le but est de réfléchir sur la création et aussi sur son propre contenu, constitué de sens et de significations, du point de vue de l’imaginaire. (...) La méthodologie est basée sur le couple compréhension-explication de l’œuvre de l’auteur. En conclusion, il est important de souligner que la conception de la création durandienne s’exprime à travers l’impératif de l’œuvre, du lointain et de la fonction fantastique de l’imaginaire. The present study deals, from the perspective of Gilbert Durand, with the conception of creation, in general, and of the literary creation, in particular. At first, it focuses on the role of artistic creation by valuing the imperative of the work while, in a second moment, it focuses on the literary creation. The objective is to reflect on the creation and its own content, constituted of senses and meanings, from the perspective of the imaginary. The methodology is based on the explanation-understanding binomial and on the author’s work. As a conclusion, it is important to underline that the conception of Durandian creation is told through the imperative of the work, the Remote and the fantastic function of the imaginary. (shrink)

Profitant de la commémoration du cinquantenaire de la création du premier Centre de recherches sur l’imaginaire fondé par Gilbert Durand, Léon Cellier et Paul Deschamps, nous tentons d’approfondir notre réflexion sur les influences réciproques entre l’imaginaire chinois et la pensée durandienne, dont la rencontre se révèle féconde et fructueuse dans les champs interculturels et comparatifs, et semble propice pour la connaissance et le rayonnement de l’un comme de l’autre, et pour le développement futur de la recherche sur l’imaginaire. While (...) seizing the opportunity to participate in the commemoration of the 50th anniversary of the creation of the first Research Center on the Imaginary Founded by Gilbert Durand, Léon Cellier and Paul Deschamps, this presentation aims to deepen reflection on the reciprocal influences between the Chinese Imaginary and Durandian thought, This encounter proves to be fruitful in both inter-cultural and comparative fields, and is propitious for the knowledge and influence of both cultures. It may well spawn future developments in research on the Imaginary. (shrink)

Il s’agit d’essayer de penser un « entre-deux » entre les travaux novateurs de Gilbert Durand sur l’imaginaire et les conceptualisations sémiotiques de la signification. Bien que Durand semble rejeter toute forme d’« explication sémiologique » des images-symboles, sa conception de l’imaginaire est régie par une sémiosis et une rationalité spécifiques qui permettent d’entrevoir, même si l’intersection n’implique pas forcément la fusion, les contours d’un « entre-deux » entre son « archétypologie » et la sémiotique. This paper try to (...) imagine a “In-between” from the semiotic conceptualizations of the significance to the innovative work of Gilbert Durand on the imaginary. Although Durand seems to reject any form of “semiological explanation” of the image-symbols, his conception of imaginary is governed by a specific semiosis and rationality which make it possible to foresee, even if the intersection does not inevitably imply fusion, contours of a “In-between” between his “archetypology” and semiotics. (shrink)

This paper aims to examine the place of the dramatic in the Anthropological Structures of the Imaginary, through a comparative approach between this work and two others : Les Concepts fondamentaux de poétique and Les Deux cent mille situations dramatiques, in order to consider another possible order for the sequence of the structures proposed by Gilbert Durand, although the author declared in a note that he did not choose to follow « the ontogenetic plane of the emergence of dominant (...) reflexes ». (shrink)

Summary This paper aims to bridge anthropological and cognitivist research undertaken by Gilbert Durand and Mark Johnson, who studied the phenomenon of meaning making in a similar way, although they had to use different terminology as their disciplines demanded. Durand established systematization for analyzing symbolism by taking into account the position of the body and the perceptions determining the underlying schemata of symbols. Two decades later, Mark Johnson described image schemata as gestalts having an internal structure derived from bodily (...) perceptions. Owing to these similarities, a comparison between Durand and Johnson’s theories is offered first. In the second place, I reviewed the cognitive value of the anthropological regimes of imaginaire described by Durand. During the analysis, the terminology used by these theorists (like ‘image schemata’ or ‘axiomatic schemata’) was comparatively analyzed to find common ground between their positions. In conclusion, the need for recovering theories of imagination proposed by heterodox scholars like Durand is highlighted, since they anticipate the role of images and imagination not only in language, as Johnson demonstrated, but also in the formation of anthropologically relevant symbols, which are of interest for the analysis of literature and other arts. (shrink)

Les modèles de l’imaginaire issus de l’école française bachelardienne et durandienne ont permis de mieux appréhender l’étude des mythes, des religions et des arts. Non seulement les imaginaires obéissent à une logique symbolique, mais celle-ci s’enracine dans des soubassements corporels, comportementaux et même neurobiologiques, qui sont au cœur des neurosciences. Dans quelle mesure peut‑on transférer ces résultats de manière plus systématique aux milieux des artefacts techniques, et même aux nouvelles innovations technologiques aujourd’hui? L’article tente de dégager quelques orientations programmatiques qui (...) devraient permettre de comprendre combien la liberté d’innovation se conjugue avec des contraintes neuromotrices et symboliques. Models of Bachelard’s and Durand’s persuasion for the imagination faculty offered a more comprehensive approach for the study of myths, religions and arts. Imaginaries do not only obey a symbolic logic, since such a logic is deeply grounded in physical, behavioral and even neural roots, which are now key issues at stake in neuroscience. To what extent can we transfer these results in a more systematic way to technical environments for artifacts and to the more advanced technological innovations of today? This contribution attempts to devise a set of programmatic guidelines which could bring about a better understanding of how the synergy strengthens between freedom in technological innovation and constraints imposed by neuromotor control and symbolic logic. (shrink)

This article intends to show the topicality of the dragon theme among children in Quebec, first of all from a study of cultural productions (books and films) intended for them, but also from an analysis of anthropological tests (AT.9s) completed by 194 children aged 6 to 12 years between 2009 and 2019. This analysis of the AT.9s, contextualized by that of the children’s surrounding culture, allows us to conclude that the theme of the dragon persists, that there is a plurality (...) of interpretations of this figure, and that the theory of anthropological structures of the imaginary (G. Durand) is relevant to our time, including with children. From all of this emerges an observation: from the age of 6, children already possess the anthropological structures but also certain cultural figures that are found in adults and the great cultures of humanity. (shrink)

Sociology was obviously created for studying images, symbols or values related to social action, which is its main purpose. However, the imaginary field was very lately called up in sociology studies. Across the emergence of a sociology of the imaginary from Émile Durkheim to Gilbert Durand and Pierre Bourdieu. Jean-Pierre Sironneau draws and distinguishes several fields of this sociology: religion, beliefs, tradition, mythology and cultural expressions (literature, art and media). Social imaginary has become a fundamental issue as far as (...) contemporary sociology is concerned. (shrink)

L’épistémologie ouverte de Gilbert Durand a permis, depuis ses origines, il y a déjà 50 ans, non seulement un approfondissement dans l’étude du mythe dans les œuvres de culture, à partir de ces deux notions clés, que sont la mythocritique et la mythanalyse, mais également une pluridisciplinarité, de plus en plus poussée, entre les dites sciences humaines et les sciences en général. C’est, en définitive, grâce à l’imago-centrisme inhérent à cette méthode archétypologique qu’elle est devenue un horizon mythodologique au (...) pluriel, pour mieux étudier l’humain. For 50 years, Durand’s epistemology has both enhanced our understanding of cultural myths through the key notions of “myth-criticism” and “myth-analysis” and allowed multi-disciplinary collaborations between the social sciences and sciences proper. In sum, the central role Durand’s theoretical positions assign to “the image” has given rise to a manifold “myth-dology” now central in the study of human nature. (shrink)

This essay pursues Gilbert Durand’s plea for a new anthropological spirit that would overcome the bureaucracy-or-madness dichotomy which has since Nietzsche left its imprint upon contemporary thought, forcing it to choose between an “Apollonian” ontology established upon some kind of first principle and a “Dionysian” ontology consisting in the erasure of any founding norm. It does so by reclaiming Dionysus and Apollo’s original twin-ness and dual affirmation in dialogue with contemporary anthropological theory, especially Roy Wagner’s thesis on the interplay (...) of “elicitation” and “containment” in sociocultural life. What would happen then, I ask, if we were to reimagine today’s philosophical game – which after Heidegger Deleuze, and Derrida turns variously and increasingly around subtraction – otherwise: as a chiastic board on which Apollo would cut Dionysus’s continuum, which Dionysus would in turn restore despite Apollo’s cuts, and on which the obliteration of any of the two gods would entail the inevitable dismemberment of the other? Accordingly, I offer a full reassessment of Dionysus’s and Apollo’s complementary roles in ancient-Greek culture in discussion not only with Nietzsche’s Dionysian philosophy but also with Ihab Hassan’s postmodern critique of Orpheus. All of it less with the purpose of putting forward a new metaphysics than with the intent of restating the translucent-ness that keeps together reality and thought against any claim that they are either transparent or opaque to one another. (shrink)

Pinhas Sadeh was considered as an unorthodox writer as regards his environment, the “State Culture” in Israel. In the first part of this paper I present the biography of the author and his most representative work, Life as a parable, published in 1958, as well as his romantic and frankist roots and his leaning towards Christianity according to the Gospel. In the second part a mythical analysis of this work is made according to the inner journey of hero, through which (...) the main character is looking for his life meaning. In this second part I present my methodology, based on works of the Eranos Society (Mircea Eliade, C.G. Jung, Gilbert Durand). Afterwards, I analyse the mithems that I have found in Life as a parable. Finally, I make a mythical comparison between this novel and Siddharta, of Hermann Hesse. (shrink)

The imaginary has been inseparable, since prehistoric times, from technical artefacs, their forms, functions and uses. Gilbert Durand’s typologies can help to understand better the different technologies, their success, their effects, etc. Can we not go further by looking in the imaginary for one of the keys to technological innovation today which would allow an anthropological renovation of theoretical tools?

The human brain has long been misunderstood in its features. It is up to neuroscience to have shown that all its activities are connected, and understand each other only in this relationship between its different instances. To ascend, to merge, to connect are the basis of the organization of our psyche, including in its most elaborate symbolic productions. This is precisely the system highlighted by the Anthropological Structures of the Imaginary by Gilbert Durand, brilliant precursor.

O ensaio busca problematizar o Símbolo como o elemento que estabelece o cortejoentre o sagrado e o secular, tanto na escritura quanto na leitura da Bíblia, ao tensionar a suaprevalecente dimensão sagrada com o seu irrecusável aspecto humanístico e literário. Afundamentação teórica recai sobre a trajetória de pesquisa do pensador francês Gilbert Durand(1921-2012) sobre o símbolo e o imaginário, bem como a denúncia que ele efetua ao que elechama de esvaziamento simbólico do pensamento ocidental; e sobre os estudos dos (...) críticosliterários John B. Gabel, Charles B. Wheeler, Northrop Frye (1912-1991), Robert Alter e FrankKermode (1919-2010) da relação entre a Bíblia e a literatura. (shrink)

Pinhas Sadeh was considered as an unorthodox writer as regards his environment, the “State Culture” in Israel. In the first part of this paper I present the biography of the author and his most representative work, Life as a parable, published in 1958, as well as his romantic and frankist roots and his leaning towards Christianity according to the Gospel. In the second part a mythical analysis of this work is made according to the inner journey of hero, through which (...) the main character is looking for his life meaning. In this second part I present my methodology, based on works of the Eranos Society (Mircea Eliade, C.G. Jung, Gilbert Durand). Afterwards, I analyse the mithems that I have found in Life as a parable. Finally, I make a mythical comparison between this novel and Siddharta, of Hermann Hesse. (shrink)

O objetivo deste artigo é propor, em confluência com a filosofia de Gaston Bachelard, uma pedagogia do não inspirada na figura do cogito do sonhador para refletir sobre uma educação para a imaginação. Parte-se da filosofia do não de Bachelard para a construção de uma pedagogia do não, expressa como pedagogia do diálogo, que põe em relação complexa e complementar o conceito e a imagem, como prolongamentos do racionalismo aberto e da imaginação criadora. Na sequência, o cogito do sonhador é (...) evocado para o estudo do devaneio e do imaginário, no quadro da imaginação material dos quatro elementos. Esses passos preambulares são necessários para se chegar à educação para a imaginação, cuja dimensão de Bildung se opera por meio da eufemização. Como função da imaginação, a eufemização tende a transfigurar o sofrimento, a morte e o nada em algo aceitável, não como negação, mas como dinamismo prospectivo que tenta melhorar a situação do homem no mundo. Exemplo desse dinamismo são as imagens literárias, com a polissemia e a polifonia que as caracterizam e as alçam ao domínio do estranho e da transgressão em relação à ordem do sentido primário. Desse modo, intenta-se mostrar como a pedagogia do não e o cogito do sonhador se articulam na proposição de uma educação para a imaginação pautada pela função de eufemização. São convocadas para este estudo, além da já mencionada filosofia de Gaston Bachelard, as contribuições teóricas de Gilbert Durand e Jean Jacques Wunenburger. (shrink)

In this contribution we will approach language and images in different modalities: speech and face, anticipated and imagined movements, illusions on the sound by the image. It will be the opportunity for us to revisit the Gestalt concepts which were considered obsolete since structuralism in Humanities. As instantiated by Gilbert Durand in The Anthropological Structures of the Imaginary (1999, French 1st ed. 1960), we shall recall that Gestalt is not—even implicitly—an exclusively static approach to cognition. On the contrary we (...) will emphasize that forms can emerge from movements and stabilize in memory, thence morphology. And for speech, we will consider phonology as the stabilized outcome from audible and visible gestures of the mouth—caught in the time-course of a flow of some four in six syllables by second—via the perception of motor coordinations: which is necessary to master the most common expression of language between humans. We will adopt here also for the perceptual flows of spoken language, Multimodal Scene Analysis, the ongoing legacy of Gestalt Theory, including one of our main research topics: the gestural expression of the face and the hand for Deaf people, who practise as an augment French LPC (Langue française Parlée Complétée), adapted in 1967 from Cued Speech by its originator Dr Richard Cornett. (shrink)

La série Deux Flics à Miami (NBC, 1984-1989) a révolutionné en profondeur le genre de la série policière dans les années 1980 au point de devenir une série mythique. Loin d’être uniquement une série d’action qui exprimerait la « domination masculine » de héros invincibles, elle introduit au contraire souvent une dimension purement contemplative et poétique liée à l’échec et à une forme de tragique. En mettant en miroir la première et la dernière scène de trois épisodes emblématiques et la (...) façon dont motifs et détails se répondent, je voudrais ici montrer comment action, contemplation et méditation s’articulent dans la série, en insistant notamment sur le basculement de ce que l’anthropologue Gilbert Durand appelait un « imaginaire diurne » vers un « imaginaire nocturne ». La série se révèle ainsi plus généralement comme un vaste jeu de miroirs où l’on voit toujours un peu double et où tout se reflète et se répond. (shrink)

In this article, apart from a brief review of the relationship between mythos and logos, the author, who has based his study on the Freudian category of the social unconscious and Durkheim’s category of social consciousness, presents the characteristics of three modes of social memory: unconscious memory, interconscious memory and conscious memory. Based on Gilbert Durand’s mytho-analytical tool, the structure of the triad of memory: THE UNCONCIOUS – AWAITING – THE CONSCIOUS is shown as the memory of the Father, (...) Son and Mother. The mythological aspect of elapsing, past, reminiscence, living memory and anticipation is captured on the examples taken from Postmodern (the global society), Modern and even Pre-Modern). In this way, the author concludes that the contemporary transformation of memory into hallucinations means the beginning of anticipation for the End of History. (shrink)

The relationship between the imaginary and the political has many aspects and it is not possible to address them all in this paper. We will choose to focus on the relationship between myth and national idea, on the one hand, and myth and political ideologies on the other. Before considering these questions, we will first present the work of Gilbert Durand from his articles “Le social et le mythique” and “La cité et les divisions du royaume” ; then we (...) will focus on the study of the two axes announced. This paper thus emphasizes the importance of the imaginary in politics and society. We will conclude with the current development, particularly in Western Europe, where myth no longer plays its unifying role for society. (shrink)

Selon Damásio, le moi conscient se crée à partir de la capacité du cerveau à raconter, c’est-à-dire à transformer en récit les signaux et messages produits par ses diverses couches. Les mythes donnent au monde une cohérence significative qui provient de l’organisation des éléments que ses récits produisent. Les rapports au monde de toutes les espèces vivantes sont contenus dans les limites de leurs possibilités phylogénétiques qui résultent déjà d’une relation continuée pendant des millions d’années. La capacité humaine de créer (...) des récits sur le réel doit intégrer ces éléments phylogénétiques qui se manifestent même dans les parties non conscientes du cerveau intégrées pourtant dans le récit qui construit un moi. Ce dépôt venu du fond des âges est une des causes de l’excès de sens que nous poursuivons toujours et qui est, au niveau de l’imaginaire « premier » la voix de ce fonds dans ces rapports avec le texte du monde. Un récit est ainsi une façon de donner à voir l’invisible, et cette invisibilité produit un excès de sens qui cherche toujours à se manifester. Il est marqué par les cohérences et consistances des images de cet imaginaire premier qui médiatise toujours nos relations au monde et aux autres, et auquel s’ajoute les cohérences des imaginaires « seconds » des individus et des cultures. According to Damásio, the self-conscious arises from the ability of the brain to tell, i.e. turn into a story the signals and messages produced by its various layers. Myths give the world a significant consistency that comes from the organization of the elements produced by its stories. The relationships of all living species with the world are contained within the limits of their phylogenetic opportunities resulting from a relationship continued for millions of years. The human ability to create stories about reality must incorporate these phylogenetic elements into the narrative that builds self-awareness. This unknown repository coming from the depths of time is one of the causes of the excess of meaning that we always pursue and is, at the level of the basic imaginary, one that Gilbert Durand considered the heritage of sapiens, the voice of these assets in their links with the text of the world. A narrative is thus a means of seeing the invisible, and this invisibility produces an excess of meaning which always seeks to manifest itself. It is marked by the coherence and consistency of the images of this basic imaginary which always mediates our relationship to the world and to others, and to which is added the coherences of the secondary imaginary coming from individuals and cultures. (shrink)

This study aims at justifying one of Gilbert Durand’s postulates according to which all imaginaire (as a result of mental imagery) is anchored in our physiology but by directing it rather now towards our neurophysiology. New advances in neurobiology, connectome and neurogenomics lead to rethinking the framework of psychic activity and the induction of neural images.

Pinhas Sadeh was considered as an unorthodox writer as regards his environment, the “State Culture” in Israel. In the first part of this paper I present the biography of the author and his most representative work, Life as a parable, published in 1958, as well as his romantic and frankist roots and his leaning towards Christianity according to the Gospel. In the second part a mythical analysis of this work is made according to the inner journey of hero, through which (...) the main character is looking for his life meaning. In this second part I present my methodology, based on works of the Eranos Society (Mircea Eliade, C.G. Jung, Gilbert Durand). Afterwards, I analyse the mithems that I have found in Life as a parable. Finally, I make a mythical comparison between this novel and Siddharta, of Hermann Hesse. (shrink)

As a tribute to Marie-Agnès Cathiard, this opening text which aims to recount the story of a journey and researcher’s commitment places her work around the major themes that structured it. “From the body of speech to imagined bodies”, its contributions and experimental investigations, attentive to the innovations of neuroscience, have influenced the center’s policy in terms of anthropological research, breaking down innovative avenues, particulary on the imagination of the brain and the amputated body. Her contributions have enabled the conjunction (...) between cognitive sciences and research on the imagination, between biology and culture. Her work has rethought mental images in the light of neurology. They considered the connectomes of the imagination associated with certain image complexes (levitation, alien presence). They compared the contributions of neuroscience to the most ancient mythological phenomenologies, developing a transalpine neurocognitive anthropology. Marie-Agnès’research has opened the way to a neural status of the imagination, a real epistemological upheaval. This reconstruction enterprise, more narrative than conceptual, nevertheless allows us to underline the importance of her pioneering work in cortical mapping. Being part of the lineage of Gilbert Durand whose hypotheses she corroborates (primacy of images in cognitive operations, biological rooting of images), she has made it possible to take a new look at this heritage and to breathe new life into it. (shrink)

O artigo discute o imaginário trágico presente na obra de Ricardo Reis a partir de três dimensões: sua inserção na filosofia estóica e epicurista, seu paganismo e a educação para a indiferença. Ancora-se no Imaginário de Gilbert Durand, no trágico de Clément Rosset e utiliza a fenomenologia compreensiva como metodologia. O objetivo é compreender como a recorrência de imagens ligadas à brevidade da vida, à morte e ao destino configuram seu imaginário trágico.

This paper comparatively presents three notions related to the concept of creative fantasy. These three terms (”imagination”, ”imaginaire”, ”imaginal”) have been developed by the French school of research on the imagination (“recherches sur l’imaginaire”), which is little known in the Anglo-Saxon academic field. As such, the terms don’t even have convenient translations and linguistic equivalents. Briefly, imagination is fantasy conceived as a combinatory faculty of the psyche. French rationalistic “philosophes” saw it as a misleading and rather weakly creative ability. ”L’imaginaire” (...) is the resourceful and inventive aspect of fantasy, as conceived by the Romantics and then theorized by psychoanalysis and contemporary French philosophers. ”L’imaginal”, or ”mundus imaginalis” is a concept defined by Henry Corbin in order to designate fantasies as self-sustained, ontological beings. (shrink)

Programmed cell death (PCD) in unicellular organisms is in some instances an altruistic trait. When the beneficiaries are clones or close kin, kin selection theory may be used to explain the evolution of the trait, and when the trait evolves in groups of distantly related individuals, group or multilevel selection theory is invoked. In mixed microbial communities, the benefits are also available to unrelated taxa. But the evolutionary ecology of PCD in communities is poorly understood. Few hypotheses have been offered (...) concerning the community role of PCD despite its far-reaching effects. The hypothesis we consider here is that PCD is a black queen. The Black Queen Hypothesis (BQH) outlines how public goods arising from a leaky function are exploited by other taxa in the community. Black Queen (BQ) traits are essential for community survival, but only some members bear the cost of possessing them, while others lose the trait In addition, BQ traits have been defined in terms of adaptive gene loss, and it is unknown whether this has occurred for PCD. Our conclusion is that PCD fulfils the two most important criteria of a BQ (leakiness and costliness), but that more empirical data are needed for assessing the remaining two criteria. In addition, we hold that for viewing PCD as a BQ, the original BQH needs to include social traits. Thus, despite some empirical and conceptual shortcomings, the BQH provides a helpful avenue for investigating PCD in microbial communities. (shrink)