Bücher von Théodule Ribot

Dans l'un de ses derniers écrits, Ribot commence à parler de la conscience affective en affirmant l'opposition complète entre la vie affective et la vie intellectuelle, l'impossibilité de connaître l'affectif par des procédés intellectuels, la difficulté de l'exprimer en termes intellectuels. Il aborde ensuite la question de la mémoire affective. Enfin, les chapitres suivants traitent de l'antipathie, de la nature du plaisir et d'une forme d'illusion affective.

Contemporary psychology has studied the purely reproductive imagination with great eagerness and success. The works on the different image-groups, visual, auditory, tactile, motor, are known to everyone, and form a collection of inquiries solidly based on subjective and objective observation, on pathological facts and laboratory experiments. The study of the creative or constructive imagination, on the other hand, has been almost entirely neglected. It would be easy to show that the best, most complete, and most recent treatises on psychology devote to it scarcely a page or two; often, indeed, do not even mention it. A few articles, a few brief, scarce monographs, make up the sum of the past twenty-five years' work on the subject. The subject does not, however, at all deserve this indifferent or contemptuous attitude. Its importance is unquestionable, and even though the study of the creative imagination has hitherto remained almost inaccessible to experimentation strictly so-called, there are yet other objective processes that permit of our approaching it with some likelihood of success, and of continuing the work of former psychologists, but with methods better adapted to the requirements of contemporary thought. The present work is offered to the reader as an essay or first attempt only. It is not our intention here to undertake a complete monograph that would require a thick volume, but only to seek the underlying conditions of the creative imagination, showing that it has its beginning and principal source in the natural tendency of images to become objectified (or, more simply, in the motor elements inherent in the image), and then following it in its development under its manifold forms, whatever they may be. For I cannot but maintain that, at present, the psychology of the imagination is concerned almost wholly with its part in esthetic creation and in the sciences. We scarcely get beyond that; its other manifestations have been occasionally mentioned, never investigated. Yet invention in the fine arts and in the sciences is only a special case, and possibly not the principal one. We hope to show that in practical life, in mechanical, military, industrial, and commercial inventions, in religious, social, and political institutions, the human mind has expended and made permanent as much imagination as in all other fields. The constructive imagination is a faculty that in the course of ages has undergone a reduction-or at least, some profound changes. So, for reasons indicated later on, the mythic activity has been taken in this work as the central point of our topic, as the primitive and typical form out of which the greater number of the others have arisen. The creative power is there shown entirely unconfined, freed from all hindrance, careless of the possible and the impossible; in a pure state, unadulterated by the opposing influence of imitation, of ratiocination, of the knowledge of natural laws and their uniformity. In the first or analytical part, we shall try to resolve the constructive imagination into its constitutive factors, and study each of them singly. The second or genetic part will follow the imagination in its development as a whole from the dimmest to the most complex forms. Finally, the third or concrete part, will be no longer devoted to the imagination, but to imaginative beings, to the principal types of imagination that observation shows us.

Théodule Ribot (1839-1916), Professeur au collège de France, consacra sa vie à explorer les multiples aspects d'une Psychologie qu'il entendait rendre enfin scientifique. Il étudie successivement dans cet ouvrage les conditions organiques, affectives et intellectuelles de la personnalité, en insistant sur les anomalies et les désordres.

Le coeur a ses raisons que la raison ne connaît pas... Mais que serait une raison sans coeur ? Un pur formalisme désaffecté ! Rompant avec le logicisme et l'associationnisme de son temps, Ribot refuse de voir dans la logique des sentiments un déchet ou une scorie. Il la décrit comme une organisation originaire de la pensée en tant que celle-ci est animée par un jeu d'instincts, de tendances, de passions, de désirs. Ainsi nous assistons avec ce texte à l'entrée en force du point de vue dynamique dans l'étude des productions mentales.