Poet’s Elaboration
Gendlin often discusses the poet’s process of writing and erasing. I have examined how this process is discussed in “Thinking Beyond Patterns” (Gendlin, 1991) and “Experiencing and the Creating Meaning (ECM)” (Gendlin, 1962/1997) and how they correspond to each other.
The following is a well-known paragraph from “Thinking Beyond Patterns” (Gendlin, 1991):
If I were to translate the process of elaboration into the terminology of his early ECM, I would say that the functional relationship is comprehension, not only when the poet gives his final answer but also in the middle of the process when “a great many such lines come and are rejected.”
First of all, if the poet could say what he meant, it would stand to reason that we could say that the symbols “comprehended” the felt meaning:
But if felt meaning functions as an arbiter, Gendlin discusses, then the functional relationship is comprehension not only when we feel we finally said what we meant but also when we feel we did not say what we meant:
Based on the above, my interpretation at this time is as follows: First, when a great many lines come as new phrasings, the felt meaning functions as a selector. Second, when such lines are rejected, the felt meaning functions as an arbiter. The primary functional relationship in the elaboration process is comprehension, assuming that the terminology in his early ECM was not abandoned in his later “Thinking Beyond Patterns.”
Of course, comprehension may not be the only thing that functions in such an elaboration process. In the “transition” (Gendlin, 1962/1997, pp. 171-2) between the rejection of an old line and the coming of a new one, information blanks (.....) often emerge (Tanaka, 2021, pp. 131–2). When the poet “leaves the specified meaning [of the older line] and turns to the felt meaning” (Gendlin, 1962/1997, p. 172), it is the deliberate direct reference that we can call creative regress. If the poet has left the specified meaning, the functional relationship should not be called comprehension because the felt meaning cannot function as an arbiter.
P.S.
I think that the process of “a great many motifs come and are rejected” occurs not only in poets but also in composers, as the renowned conductor John Eliot Gardiner says in the video below:
“Beethoven reviews fragments of the three earlier movements and rejects them one by one.” (Gardiner, 2020; cf. Tanaka, 2023, September)
When Beethoven rejected the fragments of the three earlier movements, it could also be said that the primary functional relationship is comprehension.
References
Gardiner, J. E. (2020). Symphony No. 9: ‘Up above the stars he must dwell,’ Retrieved from the official YouTube channel of Monteverdi Choir and Orchestras.
Gendlin, E. T. (1962/1997). Experiencing and the creation of meaning: a philosophical and psychological approach to the subjective (Paper ed.). Northwestern University Press.
Gendlin, E. T. (1991). Thinking beyond patterns: Body, language and situations. In B. den Ouden, & M. Moen (Eds.), The Presence of Feeling in Thought (pp. 21–151). Peter Lang.
Hideo Tanaka (2021). Tapping ‘it’ lightly and the short silence: applying the concept of ‘direct reference’ to the discussion of verbatim records of Focusing sessions (with the English language supervision of Akira Ikemi) [Abstract]. In Nikolaos Kypriotakis & Judy Moore (Eds.), Senses of Focusing, Vol. 1 (pp. 125-38). Eurasia Publications.
Tanaka, H. (2023, September). Listening to “Ode to Joy” from Beethoven’s 9th Symphony in a Focusing-Oriented Way: Commentary Using an Official Video
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