Rhythmanalysis

Rhythmanalysis

 

Bachelard devotes two-thirds of his Psychoanalysis of Fire to tracing the psychological and poetic links between elemental fire and sexuality. He notes that most of those who write of the origin of fire by friction have never directly observed such a phenomenon, and that the constellation is set up through more intimate attractions than objective observation: “ Love is the earliest scientific hypothesis for the objective reproduction of fire.”

巴舍拉傾注「火的精神分析學」三分之二的篇幅,來追蹤元素的火跟性之間有何心理及詩意的關連。他注意到,大部份以磨擦來詮釋火的起源的作者,從來沒有直接觀察到這樣一個現象,而且情結的建立是透過比客觀觀察更親密的吸引力:「火的客觀複製,最早的科學假如是愛情。」

 

Then Bachelard attempts a ‘ rhythmanalysis” of friction; the moment one starts rubbing, one experience an objective, gentle warmth “ at the same time as having the impression of pleasant exercise”. The schema of friction is found by him in Bernardinn de Saint-Pierre, the Abbe Nollet, Von Schubert and especially in Novalis, and Bachelard ultimately uses the term “ Novalis complex” for the drive “ toward fire, which is provoked by rubbing and the need for shared warmth.”

然後巴舍拉企圖說明磨擦的「韻律分析」。我們開始磨擦的那一瞬間,我們經驗到客觀的柔適的溫暖,同時又似在從事愉悅的運動。他在Bernardinn deSaint-Pierre, the Abbe Nollet, Von Schubert 特別是拿波利斯的作品裡,發現這個摩擦的模式。最後,巴舍拉使用「拿波利斯情結」來說明,磨擦激起追求火的欲念,及互相需要溫暖的需求。

 

Technological , psychoanalyrical and poetic inquiry thus reveals a vast mythic complex deriving from the rhythmical sexual gesture, which overdetermine the gynecological rhythm of menstruation, and the seasonal or lunar rhythm of fertility. Such a profound, universal obsession with rhythm is rapidly sublimated; the rhythms derive from and reinforce one another, and, starting from the basic sexual rhythm, finish in their musical sublimation.

科技、心理、跟詩意的研究因此顯示:韻律的性的姿態,婦女月經的韻律,以及季節性或月亮的肥沃韻律,產生一個廣大的神秘情結。這樣一個深刻的,普遍性的執迷於韻律很快地被昇華,韻律互相激發,互相強化,開始於基本的性的韻律,終結於音樂般的昇華。

 

As Bachelard says, perhaps it was in this “ labor of love”, making fire,” that man learned to sing”. Ethnological research confirms this intuition; among tribal peoples the rhythmical techniques of fire, polishing, felling, and the rhythm of the boatman or blacksmith are accompanied by dances and songs. In numerous Semitic languages and in Sanskrit, Scandinavian, and Turco-Tatar, the “ master of fire” is the “ master of songs”. Odin and his priests are “ song-smiths”. A probable survival of such a link in the West is to be found among the gypsies who are both smiths and musicians.

如巴捨拉所言,就在這個製造火的「愛的勞動」中,人類學會歌唱。民族學的研究證實了這種觀點,在原始部落,火的韻律技巧,磨平、砍伐,以及船夫或鐵匠的韻律都伴隨著跳舞跟歌唱。在無數的語言,如閃族語、梵語、斯堪地那維亞與韃靼語中,製造火的高手就是歌唱高手。奧亭和他的僧侶都是「歌唱高手」。在西方尚存的關聯可以在吉普賽當中被找到,他們既是鐵匠,又是音樂家。

 

P322

Anthropological Structures of the Imaginary

By Gilbert Durand

Translated by Springhero 雄伯

Http://springhero.wordpress.com

32hsiung@pchome.com.tw

 

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