Gaston Bachelard writes in The Poetics of Space:
to go so far and so deep, [we] must go beyond the sentimental resonances with which we receive (more or less richly – whether this richness be within ourselves or within the poem) a work of art. This is where the phenomenological doublet of resonance and repercussions must be sensitized. The resonances are dispersed on the different planes of our life in the world. While the repercussions invite us to give greater depth to our own existence. In the resonance we hear the poem, in the reverberations we speak it, it is our own. The reverberations bring a change of being. It is as though the poet’s being were our being. The multiplicity of resonances then issue from the reverberations unity of being. Or, to put it more simply, this is an impression that all impassioned poetry-lovers know well: the poem possesses us entirely. This grip that poetry acquires on our very being bears a phenomenological mark that is unmistakable. The exuberance and depth of a poem are always phenomena of the resonance-reverberation doublet. it is as though the poem, through its exuberance, awakened new depths in us. In order to ascertain the psychological action of a poem, we should therefore have to follow the two perspectives of phenomenological analysis, towards the outpourings of the mind and towards the profundities of the soul.
Needless to say, the reverberation, in spite of its derivative name, has a simple phenomenological nature in the domain of poetic imagination. For it involves bringing about a veritable awakening of poetic creation, even in the soul of the reader, through the reverberations of a single poetic image. By its novelty, a poetic image sets in motion the entire linguistic mechanism. The poetic image places us at the origin of the speaking being.
Through this reverberation, by going _immediately_ beyond all psychology or psychoanalysis, we feel a poetic power rising naively within us. After the original reverberation, we are able to experience resonances, sentimental repercussions, reminders of our past. But the image has touches the depths before it stirs the surface. And this is also true of a simple experience of reading. The image offered us by reading the poem now becomes really our own. it takes root in us. It has been given us by another, but we begin to have the impression that we could have created it, that we should have created it. It becomes a new being in our language, expressing us by making us what it expresses; in other words, it is at once a becoming of expression, and a becoming of our being. Here expression creates being.
This last remark defines the level of the ontology towards which I am working. […]
When I receive a new poetic image, I experience its quality of inter-subjectivity. I know that I am going to repeat it in order to communicate my enthusiasm. When considered in transmission from one soul to another, it becomes evident that a poetic image eludes causality. Doctrines that are timidly causal, such as psychology, or strongly causal, such as psychoanalysis, can hardly determine the ontology of what is poetic. For nothing prepares a poetic image, especially not culture, in the literary sense, and especially not perception, in the psychological sense.
I always come then to the same conclusion: the essential newness of the poetic image poses the problem of the speaking being’s creativeness. Through this creativeness the imagining consciousness proves to be, very simply but very purely, an origin. In a study of the imagination, a phenomenology of the poetic imagination must concentrate on bringing out this quality of origin in various poetic images.
related reference: 2005 Paulo C. Chagas POLYPHONY AND EMBODIMENT: A CRITICAL APPROACH TO THE THEORY OF AUTOPOIESIS TRANS Revista Transcultural de Música, diciembre, número 009 Sociedad de Etnomusicología (SlbE) Barcelona, España –> http://redalyc.uaemex.mx/pdf/822/82200915.pdf