La consci\u00e8ncia disposa de dues maneres de representar-se al m\u00f3n. L”una, directa, a trav\u00e9s de la qual la cosa mateixa sembla que es presenta a l”esperit, com en el cas de la percepci\u00f3 o de la simple sensaci\u00f3. L”altra, indirecta, quan, per la ra\u00f3 que sigui, la cosa no pot presentar-se \u201cen carn i os\u201d a la sensibilitat. [\u2026] Entre aquests casos de consci\u00e8ncia indirecta, l”objecte es re-presenta a la sensibilitat mitjan\u00e7ant una imatge.\u00bb Aix\u00ed s”obre La imaginaci\u00f3 simb\u00f2lica, el volum en qu\u00e8 Gilbert Durand aprofundeix en els problemes interpretatius del s\u00edmbol i observa el proc\u00e9s d”exclusi\u00f3 a qu\u00e8 el pensament cientista occidental l”ha sotm\u00e8s. L”obra es detura, tamb\u00e9, en l”ambig\u00fcitat fonamental que el s\u00edmbol presenta: no nom\u00e9s pel doble sentit que revesteix \u2014l”un, concret, propi; l”altre, al\u00b7lusiu, figurat\u2014, sin\u00f3 tamb\u00e9 perqu\u00e8, en classificar-los, els s\u00edmbols ens revelen els \u00abr\u00e8gims\u00bb antag\u00f2nics i, tanmateix, complementaris amb els quals s”endrecen les imatges. L”ess\u00e8ncia dial\u00e8ctica del s\u00edmbol es manifesta en molts plans, i Durand els examina en di\u00e0leg amb Freud, Jung, Cassirer, Corbin, Eliade, Bachelard, L\u00e9vi-Strauss i altres, per concloure que el s\u00edmbol es desplega al llarg del progr\u00e9s de la cultura humana. La seva recerca i coher\u00e8ncia intel\u00b7lectual va fer cada vegada m\u00e9s patent les concomit\u00e0ncies de la seva obra amb \u00e0mbits en aparen\u00e7a tan dissemblants com la f\u00edsica de part\u00edcules, la neuro\u00adci\u00e8ncia o l”espiritualitat.<\/p>\n","protected":false},"excerpt":{"rendered":"
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