Academic literature on the topic 'Evolution créatrice (Bergson, Henri)'
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Journal articles on the topic "Evolution créatrice (Bergson, Henri)"
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De Souza, José Paulo Maldonado. "A propósito de “L’Évolution de l’inteligence géométrique” - Henri Bergson." Cadernos Cajuína 5, no. 1 (March 31, 2020): 215. http://dx.doi.org/10.52641/cadcaj.v5i1.376.
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“A propos de ‘L‘Évolution de l’intelligence géométrique” (1907), de Henri Bergson, apareceu originalmente em Revue de Métaphysique et de Morale, sendo mais tarde incluída na edição crítica de <em>L’Évolution Créatrice </em>(1907), dirigida por Fréderic Worms.
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Costa Carvalho, Magda. "Indecisão plena de promessas: imagens da vida e da infância na filosofia de Henri Bergson." EDUCAÇÃO E FILOSOFIA 34, no. 71 (February 5, 2021): 565–80. http://dx.doi.org/10.14393/revedfil.v34n71a2020-56831.
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Indecisão plena de promessas: imagens da vida e da infância na filosofia de Henri Bergson
Resumo: Numa passagem da obra Évolution Créatrice, Bergson recupera a imagem da criança para afirmar que a natureza viva opera através de tendências divergentes. Apesar de não ter desenvolvido um pensamento de pendor educacional, encontram-se na obra bergsoniana referências que, por um lado, recuperam a dimensão criativa e criadora da infância e, por outro, acentuam a forma infantil dos movimentos do élan vital. Estas referências fazem parte da imagética do autor, mostrando como o seu pensamento sugestiona leituras ímpares. O convite para cruzar a imagem da vida como infância com a imagem da infância como vida revela-se, assim, sugestivo para repensar o que nos habita como constitutivamente outro: a criança que fomos e a natureza que somos. E será através da imagem – como forma de contacto dinâmico com o real – que poderemos encontrar algumas respostas para a sugestão bergsoniana de se promover nas escolas um conhecimento infantil (enfantin).Palavras-chave: infância; criança; natureza; imagem; Bergson.
Indecision charged with promise: Images of life and childhood in Henri Bergson’s philosophy
Abstract: In a passage in his Évolution Créatrice, Bergson reclaims the image of the child to argue that living nature works through divergent tendencies. Although Bergson’s work doesn’t focus specifically on education, it does contain references that, on the one hand, reclaim the creative and creating nature of childhood, while on the other hand accentuating the childlike nature of élan vital’s movements (vital impetus). These references are part of Bergson’s repertoire of imagery and demonstrate how his thought evokes uneven readings. The invitation to cross the image of life as childhood with that of childhood as life ultimately evokes a rethinking of what inhabits us as constitutively other: the child we were and the nature we are. And it is through the notion of image – as a form of dynamic contact with reality – that we will find some answers for Bergson’s suggestion that schools promote a childlike knowledge (enfantin).Key-words: childhood; child; nature; image; Bergson.
Indecisión cargada de promesas: Imagénes de la vida y de la infancia en la filosofía de Henri Bergson
Resumen: En un pasaje sobre la obra Évolution Créatrice, Bergson recupera la imagen del niño para afirmar que la naturaleza viva opera a través de tendencias divergentes. A pesar de no haber desarrollado un pensamiento de carácter educacional, se encuentran en la obra bergsoniana referencias que, por un lado, recuperan la dimensión creativa y creadora de la infancia y, por otro, acentúan la forma infantil de los movimientos del impulso vital. Estas referencias hacen parte de la imagen del autor, mostrando como su pensamiento sugestiona lecturas impares. O convite para cruzar la imagen de la vida como infancia con la imagen de la infancia como vida se revela, de esta manera, sugestivo para repensar lo que nos habita como constitutivamente otro: el niño que fuimos y la naturaleza que somos. Y será a través de la imagen – como forma de contacto dinámico con lo real – que podremos encontrar algunas respuestas para la sugestión bergsoniana de promoverse en las escuelas un conocimiento infantil (enfantin).Palavras-clave: infancia; niño; naturaleza; imagen; Bergson.
Data de registro: 20/08/2020Data de aceite: 30/11/2020
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Teixeira, Rafael Henrique. "CLAUDE BERNARD, BERGSON E O CONHECIMENTO DA VIDA COMO PROBLEMA." Kriterion: Revista de Filosofia 61, no. 146 (August 2020): 501–22. http://dx.doi.org/10.1590/0100-512x2020n14611rht.
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RESUMO O objetivo deste artigo é apresentar, tomando por referência a filosofia de Henri Bergson (1859-1941) e a fisiologia experimental de Claude Bernard (1813-1878), dois esforços análogos, ainda que sem relação direta em suas origens, em face de imperativos que se colocam ao sujeito do conhecimento que se ocupa da vida. Tentaremos mostrar, autorizados pelo próprio Bergson, no interior de determinada prática científica representada pela fisiologia experimental de Claude Bernard, uma atitude diante dos fatos orgânicos que não é o monopólio de uma filosofia que se ocupa da verificação das condições e dos limites do conhecimento da vida, problemática que, na filosofia francesa do século XX, encontra em L’Évolution créatrice (1907) uma expressão incontornável.
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Adamson, Gregory Dale. "Henri Bergson: Evolution, time and philosophy." World Futures 54, no. 2 (August 1999): 135–62. http://dx.doi.org/10.1080/02604027.1999.9972752.
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G.T., Kabulniyazova. "PHILOSOPHICAL ASPECTS AND SCIENTIFIC SIGNIFICANCE OF HENRI BERGSON'S INTUITIONISM AND THE IDEA OF "VITAL ENTHUSIASM"." American Journal of Philological Sciences 3, no. 10 (October 1, 2023): 12–20. http://dx.doi.org/10.37547/ajps/volume03issue10-03.
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The article analyzes the views of the famous French philosopher Henri Bergson on vitality and intuitionism. Bergson contrasted his theory of creative evolution with Darwin's theory of evolution in a rationalistic spirit. He reveals that Darwin's views were mechanistic in nature. It also shows the difference between intellect and intuition. Since natural processes are characterized by vitality, they prove to be creative in nature.
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Macallan, Brian Claude. "Freedom as a Centralizing Motif in the Work of Henri Bergson." Process Studies 50, no. 1 (2021): 67–87. http://dx.doi.org/10.5840/process20215015.
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Contemporary debates on freedom traverse questions concerning metaphysics, the mind/body relationship, evolution, morality, and religion. Throughout his life, the French philosopher Henri Bergson dealt with these questions from the perspective of time, believing that spatializing these problems led to inadequate solutions. That freedom was a centralizing concern in his oeuvre can be demonstrated in the way he approached these questions in challenging determinism, materialism, mechanism, and finalism. Bergson studies, despite noting the importance of freedom for Bergson, have focussed on intuition and duration as his seminal contributions. Bergson himself never thematized freedom in any specific way, but by working with a positive conception of freedom, as a creation of the new within the fiow of duration, freedom can be seen as a centralizing motif in his work. By clarifying the nature of freedom and its centrality, the ground can be cleared for a Bergsonian intervention into contemporary debates on freedom.
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Macallan, Brian Claude. "Freedom as a Centralizing Motif in the Work of Henri Bergson." Process Studies 50, no. 1 (April 1, 2021): 67–87. http://dx.doi.org/10.5406/processstudies.50.1.0067.
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Abstract Contemporary debates on freedom traverse questions concerning metaphysics, the mind/body relationship, evolution, morality, and religion. Throughout his life, the French philosopher Henri Bergson dealt with these questions from the perspective of time, believing that spatializing these problems led to inadequate solutions. That freedom was a centralizing concern in his oeuvre can be demonstrated in the way he approached these questions in challenging determinism, materialism, mechanism, and finalism. Bergson studies, despite noting the importance of freedom for Bergson, have focussed on intuition and duration as his seminal contributions. Bergson himself never thematized freedom in any specific way, but by working with a positive conception of freedom, as a creation of the new within the flow of duration, freedom can be seen as a centralizing motif in his work. By clarifying the nature of freedom and its centrality, the ground can be cleared for a Bergsonian intervention into contemporary debates on freedom.
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Carvalho, Magda Costa, and M. Patrão Neves. "The Bio-Philosophical "Insufficiency" of Darwinism for Henri Bergson’s Metaphysical Evolutionism." Process Studies 41, no. 1 (April 1, 2012): 133–49. http://dx.doi.org/10.2307/44798999.
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Abstract The main goal of Henri Bergson’s philosophy of nature is to offer a dynamic understanding of living phenomena. It is in this context that we maintain that the author left us a "bio-philosophy," that is, an interpretation which, by adopting a positive model of biology as a cognitive paradigm, describes the essential character of living activity as time or duration (durée). Bergson’s positive metaphysics, which brings science to the metaphysical field and provides an inner perspective of the vital principle, consolidated itself in the study of evolutionary theories like Darwinism. However, the specificity of the perspective Bergson presents to us lies in the fact that he positions himself as a philosopher and not as a scientist: he does not seek a merely scientific explanation of reality, but an integral vision that allows us to give scientific evolution a metaphysical reading. Thus, when Bergson upholds the insufficiency of pure Darwinism, and proposes a true evolutionism, it is because he thinks that the only way to understand the evolutionary nature of life is by overcoming a strictly mechanistic perspective. For Bergson, such an interpretation results from the artificial way in which our intellectual functions deconstruct reality and lead to an incomplete and fragmented reading of the evolution of organisms. As a philosopher he seeks an explanatory level which, being scientifically based, is not restricted to the physico-chemical limits of reality. For that reason, Bergson claims that the inner cause of evolution is an activity where growth and division occur as a natural result of the divergence of life’s tendencies.
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BAZIN, VICTORIA. "Lorine Niedecker, Henri Bergson and the Poetics of Temporal Flow." Journal of American Studies 46, no. 4 (July 5, 2012): 977–96. http://dx.doi.org/10.1017/s0021875811001976.
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While Niedecker's “life by water” is the subject of many of her poems, reflecting the experience of living on the flood-prone island of Black Hawk, Wisconsin, the water imagery that saturates many of her poems also becomes a way of reflecting upon time as it is experienced, of consciousness as process, of subjectivity as something pulled along by a temporal stream. The poetics of temporal flow suggests Niedecker's interest in exploring forms of experience that fall outside conscious attention and that point to her affinity with the modernist philosopher of time, Henri Bergson, whose Creative Evolution she read in 1955. This paper examines some of the short, concise poems Niedecker wrote in the 1950s, together with the later, looser-limbed poems such as “Paean to Place” where she turns away from the objectivist principles of com pression in order to produce fluid, malleable poems commensurate with the flow of experience.
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Parsamov, Vadim V. "Yuri Lotman and Henri Bergson (Semiotics of Art – Philosophy of Life)." Voprosy Filosofii, no. 8 (2023): 205–15. http://dx.doi.org/10.21146/0042-8744-2023-8-205-215.
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In 1980–90s. Lotman’s scientific interests were mainly focused on discovering the processes taking place in the semiosphere. He was interested in the relation of space and time as two semiotic languages irreducible to each other, the problem of emptiness as an object and language of description, the role of explosions and unpredictable processes in the dynamics of culture, the function of historical memory in culture, etc. Many of these ideas turn out to be consonant with Bergson’s intuitive metaphysics with its concept of duration as the basis of creative evolution. At the same time, the name of Bergson is not mentioned in the works of Lotman. We can only speak of the intermediary channels through which Bergson’s ideas reached Lotman. He was greatly influenced by V.I. Vernadsky’s doctrine of the biosphere and I. Prigogine’s theory of dissipative structures. Each of these scientists was influenced by Bergson. For Vernadsky, the idea of irreversibility of time and duration as a creative process of life was important. Prigozhin, developing Bergson’s ideas about the unpredictability, made the processes of irreversibility and instability an object of study. But his research was mostly on the chemical and biological level. Lotman extended the study of random processes to the level of cultural history. A comparison of Lotman’s theoretical approaches to understanding the nature and function of art with Bergson’s intuitive philosophy reveals an undeniable similarity, which allows the late Lotman’s scientific ideas to be considered within the philosophical paradigm originating from Bergson.
Dissertations / Theses on the topic "Evolution créatrice (Bergson, Henri)"
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Rech, Luiz Ricardo. "Evolução e criação em Bergson." Universidade Estadual do Oeste do Parana, 2010. http://tede.unioeste.br:8080/tede/handle/tede/2110.
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Previous issue date: 2010-11-29This research investigates one of the celebrated concepts through which Henri Bergson was known: the vital impulse. As in all the author's thought, this idea provides direct relationships with all his philosophy, which is why it is necessary one approach to the notion of metaphysical employed by the philosopher. In fact, it is a metaphysical approach to the problem of evolution that Bergson is proposing in Creative Evolution. The dialogue established with the biology of his time serves as the backdrop for the exhibition of what Bergson calls the limits of scientific method. In addition to this dialogue, it is important to comprehend, too, as the concept emerges, which is its internal coordination in the philosophy of the author and what the implications later in their thinking.
A presente pesquisa busca investigar um dos célebres conceitos pelos quais Henri Bergson ficou conhecido: o elã vital. Como em todo o pensamento do autor, essa ideia estabelece relações diretas com toda a sua filosofia, razão pela qual se faz necessária uma abordagem da própria noção de metafísica empregada pelo filósofo. De fato, é uma abordagem metafísica sobre o problema da evolução das espécies que Bergson está propondo em A evolução criadora. O diálogo estabelecido com a biologia de sua época serve de pano de fundo para a exposição do que Bergson chama de limites do método científico. Para além desse diálogo, é importante compreender, também, como surge o conceito, qual é a sua articulação interna na filosofia do autor e quais as implicações posteriores em seu pensamento.
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Medeiros, Azize Maria Yared de. "NAS TRILHAS DO IMPULSO VITAL: COMPREENDENDO A MÍSTICA BERGSONIANA." Pontifícia Universidade Católica de Goiás, 2014. http://localhost:8080/tede/handle/tede/770.
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Previous issue date: 2014-08-12The object of this essay is to understand the mystic formulated by Henri Bergson, in his last work The Two Sources of Morality and Religion. The philosopher s reflections show two kinds of religious manifestations, which he called static and dynamic. The first one is characterized by institutionalized religions, with its dogmas and doctrines, whose traces are recognized as responsible for the processes of social cohesion. The second, known as dynamic, is related with the mystic, object of analysis of this essay. The multiple meanings of the term mystic and the complexity of the phenomenon required research about the historic and linguistic development of its roots. Mystic is understood in this thesis as a subjective human experience, which establishes, in a conscious way, a direct relationship, with no intermediary, with God, or the Absolute or even better, with Mystery, causing deep transformation in the subject of the experience, with social and communal consequences. Mystic, a definitive expression of bergsonian metaphysics, derives from an intuitive process and establishes the impossibility of intelligence and rationality to reach the Absolut. His reflections are based on theories of evolution. He argues that there is no opposition between creationism and evolution, and establishes the existence of élan vital, a vital force which, along with matter, develops the planet and its species. We found, in the makeup of Bergson s metaphysic thoughts and using his intuitive method, elements which can sustain the proposal thesis: we understand that the individual impetus for the search of meaning is part of the structure of human consciousness, and the comprehension that there is an ascendant evolutionary process, inherent to life and undertaken by humanity, reaches its summit and the core, not only in the mystic experience, but also in the loving action generated by it.
É objeto deste trabalho compreender a mística, conforme formulada por Henri Bergson em As Duas Fontes da Moral e da Religião, sua última obra. As reflexões do filósofo apresentam os dois modos de manifestação religiosa, por ele denominadas estática e dinâmica: a primeira, caracterizada pelas religiões institucionalizadas, com seus dogmas e doutrinas, cujos traços são reconhecidos como responsáveis pelos processos de coesão social; a segunda, denominada dinâmica, identifica-se com a mística, objeto de análise deste trabalho. A polissemia do termo mística e a complexidade do fenômeno demandaram uma pesquisa sobre o desenvolvimento histórico e linguístico de suas raízes. A mística é compreendida nesta tese como uma experiência humana, subjetiva, que estabelece, de forma consciente, uma relação direta e sem intermediações com Deus ou o Absoluto ou, melhor ainda, com o Mistério, e causa profunda transformação no sujeito da experiência, com consequências sociais e comunitárias. A mística, expressão definitiva da metafísica bergsoniana, resulta de um processo intuitivo e estabelece a impossibilidade de a inteligência e a racionalidade atingirem o Absoluto. A base de suas reflexões se encontra nas teorias da evolução. Defende não haver oposição entre criacionismo e evolucionismo e estabelece a existência de um élan vital, um impulso criador da vida que, junto à matéria, desenvolve o planeta e suas espécies. Encontramos, na construção do pensamento metafísico de Bergson e na utilização de seu método intuitivo, elementos que podem sustentar a tese proposta: nosso entendimento de que a pulsão individual pela busca de sentido é parte da estrutura da consciência humana e a compreensão de que existe um processo evolutivo ascendente, intrínseco à vida e empreendido pela humanidade, cuja realização atinge seu ápice e âmago não somente na experiência mística, mas na ação amorosa que dela decorre.
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Li, Chengji. "La vie et la connaissance chez Bergson et Canguilhem." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100065/document.
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Nous revenons dans cette thèse sur les notions de vie et de connaissance chez Bergson et Canguilhem. Par une analyse de la métaphysique bergsonienne de la vie et de l’épistémologie canguilhemienne de la connaissance de la vie, nous voyons la similarité, la différence et le rapport entre ces deux grands philosophes. Ils aboutissent dans leur philosophie à la même conclusion : la vie et la connaissance sont en fait la même chose, qui est la création et la liberté. Ils sont tous les deux à la fois philosophes et scientifiques. Ils s’inspirent largement des sciences naturelles de leur époque. Il y a un lien étroit entre eux. Les ouvertures que laisse Bergson constituent le point de départ de Canguilhem. C’est pourquoi il est important de faire des références croisées entre eux pour les lire et les comprendre. Bergson souligne l’importance de la coopération entre l’instinct vital et l’intelligence. Cependant, d’une part il n’a pas pu échapper à l’incompatibilité entre les deux, puisque nous constatons que la création intellectuelle et la création vitale ne s’unissent pas en une création unique ; d’autre part, le dualisme radical qu’il propose n’est pas suffisamment radical, puisqu’il n’y a ni différence radicale ni indépendance radicale entre l’esprit et la matière. Pour dépasser cette incompatibilité, Canguilhem s’est orienté vers une philosophie de l’erreur. Grâce à la progression des sciences, spécialement de la biologie qui apporte une notion informative de la vie, il a finalement combiné la technique et la science en un seul jeu de vérité. Mais il a surestimé sans doute le pouvoir de l’auto-normalisation de la vie. Dans leurs recherches, nous voyons la continuité du thème de la liberté. Les difficultés qu’ils laissent nous invitent à repenser sans cesse la vie et la connaissanceWe rethink in this dissertation the concepts of life and knowledge in the philosophies of Bergson and Canguilhem. By analyzing the metaphysics of Bergson and the epistemology of Canguilhem, we see their similarity, difference and relation. They came to the same conclusion: life and knowledge are the same thing，which can be defined as creation and liberty. They are similar in philosophy and in science. They took a lot of inspirations from the sciences of their own time. There is a connection between their philosophies. Caguilhem started from the point where Bergson stopped. That is why an inter-reference is indispensable when we read these two great philosophers. Bergson emphasizes the importance of the cooperation between life instinct and intelligence. But at one hand, he couldn’t avoid the incompatibility between the two, because the creation instinctive and the creation intellective become different; on the other hand, the radical dualism that he proposes becomes not so radical, because there is neither radical difference nor radical independence between the spirit and the matter. To surpass this incompatibility, Canguilhem turned to a philosophy of error. For the scientific developments, specially the development of biology that has brought an informative concept of life, he combined finally the technique and the science in to a single truth game. But he seems to have overestimated the power of auto-normalization of life. In their researches, we see the continuous theme of liberty. The difficulties that they left behind drive us continue to rethink about the concepts of life and knowledge today
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Taylor, Mark R. "Evolution and the novels of D.H. Lawrence : a Bergsonian interpretation." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:904ab62e-d1ea-4cc3-bd01-b3cba9ae3447.
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This thesis examines the degree and nature of D.H. Lawrence’s interaction with the concept of evolution, as manifest in his novels and the longer of his short stories. It addresses both Lawrence’s engagement with evolutionism directly informed by biology and his relationship with extrapolations of evolutionary ideas from outside the scientific sphere. In particular it considers the theories of Henri Bergson, and theosophical and occultist appropriations of evolutionary concepts. Instead of approaching Bergson as a philosopher of time, as has much previous research into Bergson’s impact upon modernist literature, the thesis considers how the Bergsonian notion that a ‘need of creation’ drives evolutionary development is reflected in Lawrence’s fiction. Chapter One investigates the role of the imagination in interaction with nature in Lawrence’s earliest novels, in particular The White Peacock (1911). It suggests that while creative imagination may appear to give a distorted impression of wider nature, it is nonetheless seen to be necessary for contact with the world to be enriching. Chapter Two considers the relationship between creativity and development in The Rainbow (1915) and Women in Love (1920), suggesting that creative force is seen to provide a means to resist the effects of wider cycles in nature between evolution and dissolution. In Chapter Three, Lawrence’s novels of migration and self-discovery, The Lost Girl (1920) and Aaron’s Rod (1922), are suggested to employ intricate Bergsonian structures, whereby the respective protagonists simultaneously explore multiple paths of evolutionary development, despite the ostensible paradoxes which result from this. Chapter Four, focusing upon Lawrence’s Australian fiction, considers the relationship between the hostile environment of Australia and the evolutionary development of its inhabitants. Chapter Five considers the importance of occultist evolutionism to Lawrence, using his annotations to P.D. Ouspensky’s Tertium Organum as a means to better understand the mystical aspects of the fiction he wrote while in North America. Finally, Chapter Six addresses the presentation of illness and injury in Lawrence’s work, particularly in Lady Chatterley’s Lover (1928), examining the relationship between the composition of an individual and his or her ability to fit into the structures of wider nature.
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Dewas, Céline. "Le devenir-Dieu des personnages kazantzakiens : l'oeuvre de Kazantzaki à la lumière de la philosophie bergsonienne." Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30038/document.
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Dans l’Évolution créatrice, Bergson émet l’idée d’un sur-homme, individu qui prolongerait l’effort que la vie a fixé dans l’évolution des espèces, et qui s’élèverait vers une liberté divine incessamment actualisée. L’œuvre littéraire de Kazantzaki apparait dans notre étude comme le lieu de matérialisation de ce sur-homme à l’histoire singulière. La notion bergsonienne de durée, utilisée comme méthode d’approche du texte, révèle à l’intérieur des textes de l’auteur grec une façon particulière de penser la création, dans l’œuvre et en soi. Celle-ci est présentée comme la fixation progressive d’une maturation de l’auteur, ralentie par des formes matérielles qui ne la contiennent plus : en particulier celle du langage et d’une perception trop intellectuelle, et pas assez intuitive, du monde. Inspiré par le modèle bergsonien, Kazantzaki essaie d’imprimer la mobilité ascendante de l’esprit à ses personnages en les affranchissant au fur et à mesure de leur montée, de toutes ces clôtures qui morcellent la réalité fluente et indivisible et réduisent la puissance de l’âme. A l’idée d’un personnage émergeant comme une création ex nihilo, on substitue l’idée bergsonienne d’une nouveauté apportée par un effort éprouvant la liberté de l’individu, celle de l’écrivain et celle du personnage, qui concentrerait dans le cas du sur-homme l’histoire humaine et pré-humaine. Suivant ainsi ces deux lignes d’évolution propres à Kazantzaki et à Bergson, chacun dans leur domaine, confrontés à différents obstacles, nous les voyons converger par le mouvement similaire de leur pensée et interroger finalement l’effort d’un même type d’homme, le mystiqueIn Creative Evolution, Bergson has put forward the idea of a super-man, who would continue the effort that life has fixed in the evolution of species, and would rise toward a constantly actualized divine freedom. The work of Kazantzaki appears in our study as a creation where the super-man, whose story must remain singular, is materialized. The bergsonian notion of duration used as a method to approach the text, reveals within the text a particular way of thinking the creation in the work and in oneself. It is presented as the continuous fixation of a maturation, slowed by material forms, that can not contain it anymore : in particular the language and the intellectual, and not sufficiently intuitive, vision of the world. Inspired by the bergsonian philosophy, Kazantzaki tries to imprint the spirit’s ascending mobility to his characters, by liberating them from all those closures that divide up the moving reality and reduce the power of the soul. We oppose to the idea of a character emerging like a creation ex nihilo, the bergsonian idea of novelty which would result from an effort testing the writer and the character’s freedom, and which would concentrate in the case of the super-man the human and pre-human history. Following those two lines of evolution which are particular to Bergson and Kazantzaki, each one in his area and confronted to different impediments, we see them converging by the similar movement of their thought and interrogate finally one type of man’s effort : the mystic
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LIN, CHING-FEN, and 林青芬. "A Study on the musical perspectives of Claude Debussy based on philosophy of Creative Evolution by Henri Bergson." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/s3ujc7.
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博士東方設計大學
文化創意設計研究所
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During the period of French “Belle Époque”, in philosophy and music circles, there were two great masters. One was the philosopher Henri Bergson (1859-1941) and the other was the musician Claude Debussy (1864-1918). They critically influenced in contemporary trend of philosophical thought and modern music development. This study uses text analysis on Creative Evolution, which is representative of the philosophical publication of Henri Bergson, and explores the musical pieces and artistic perspectives of Claude Debussy, to determine the context of their connection. This study expands the life philosophy theory of Creative Evolution, a major philosophical publication of Henri Bergson, into three research categories: “life and material”, “life and consciousness”, and “meaning of life”. It reinterprets the arguments of the life philosophy of Henri Bergson and probes into music of Claude Debussy. Based on different categories of musical works in different periods of Claude Debussy, this study explores the artistic style and philosophical content, compares personal letters and artistic perspectives in the musical comments and citations of Claude Debussy within Creative Evolution, to expand a new vision of music and philosophy research on Claude Debussy. This study intends to construct a research connection between music and philosophy as reference for future related study on the philosophy of Henri Bergson and the music of Claude Debussy. Conclusions of this study: the music of Claude Debussy represents profound life philosophy in Creative Evolution of Henri Bergson. Claude Debussy and Henri Bergson responded to each other in terms of the “intuition”, “freedom”, “originality”, and “innovation” of philosophy and music. Their life philosophy and music penetrate human and artistic spirit during the period of French “Belle Époque” and guide modern philosophy and music to continuous evolution.
Books on the topic "Evolution créatrice (Bergson, Henri)"
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Colloque "Disséminations de L'évolution créatrice. Histoire(s) de la réception" (2007 : Hōsei Daigaku, Gakushūin Daigaku, Kyōto Daigaku), ed. Disséminations de L'évolution créatrice de Bergson. Hildesheim: George Olms Verlag, 2012.
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Conry, Yvette. L' évolution créatrice d'Henri Bergson: Investigations critiques. Paris: Harmattan, 2000.
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1964-, Strummiello Giuseppina, ed. Dio, la vita, il nulla: L'evoluzione creatrice di Henri Bergson a cento anni dalla pubblicazione : atti del Colloquio internazionale, Bari, 4 maggio 2007. Bari: Edizioni di Pagina, 2008.
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Henri, Bergson. HENRI BERGSON : l'évolution Créatrice: NOUVELLE ÉDITION CHAILLAND / Henri Bergson / Henri Bergson / l'evolution Creatrice / Evolution / Creatrice. Independently Published, 2022.
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Henri, Bergson. L'évolution Créatrice: Redécouvrez les Grands Classiques de HENRI BERGSON Avec la Collection CHAILLAND. Independently Published, 2021.
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Henri, Bergson. L'Évolution Créatrice: L'Évolution Créatrice Est un Ouvrage Philosophique Rédigé Par Henri Bergson en 1907. Dans Ce Livre, Bergson développe l'idée d'une Création Permanente de Nouveauté Par la Nature. Independently Published, 2020.
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Henri, Bergson. HENRI BERGSON: L'ÉVOLUTION CRÉATRICE. Independently Published, 2021.
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CHAILLAND. Henri Bergson: L'ÉVOLUTION CRÉATRICE Avec Biographie. Independently Published, 2021.
Find full textBook chapters on the topic "Evolution créatrice (Bergson, Henri)"
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Roloff, Volker, and KLL. "Bergson, Henri Louis: L'évolution créatrice." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_9474-1.
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Pollock, Jonathan. "Pound, Bergson, and the Vortex of Memory." In Cross-Cultural Ezra Pound, 163–72. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781949979800.003.0013.
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Jonathan Pollock’s essay links Ezra Pound’s Vorticist thinking to the influential poetics of French philosopher Henri Bergson via Wyndham Lewis’s 1927 book, Time and Western Man. In that book, Lewis gives considerable attention to Bergson’s metaphysics but also devotes two chapters to Pound, whose reality is, like Bergson’s, of a temporal rather than a spatial nature. Drawing from Bergson, especially from Matière et Mémoire, Pollock makes a case for Pound’s Bergsonian poetics in The Cantos and speculates that from the start Pound’s notion of the vortex “almost certainly had in mind the famous cone of memory – a cone balancing on its tip on a flat plane. . .” In The Cantos, as in Bergson, “the vortex of the past is not to be understood as chronological”; rather, “the whole of the past is contained within each level, layer, or stratum of the cone.” Still, Pollock points out a significant divergence between them, when he discusses Bergson’s image in L’Évolution créatrice (1907) of a human arm plunged into iron filings. With Bergson the filings remain dead matter, whereas with Pound there is energy which creates patterns, like the Rose in the Steel Dust.
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Peng, Hsiao-yen. "Zhang Dongsun’s Chuanghualun [Creative Evolution]." In Modern Chinese Counter-Enlightenment, 73–103. Hong Kong University Press, 2023. http://dx.doi.org/10.5790/hongkong/9789888805693.003.0004.
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Chuanghualun創化論, Zhang Dongsun’s 1918 translation of Bergson’s L’Évolution créatrice, taking its cue from traditional Heart-Mind philosophy turns “consciousness” in French to “Heart-Mind” (xin心) in Chinese. A close ally of Liang Qichao, he believes what Bergson opposes is not science, but the “outdated” science that maintained the body-mind dichotomy, while Bergson’s theory of change and ceaseless evolution is commensurable with the teachings in the Book of Changes. The transcultural lexicon used in his Chinese rendering reverberated in the Lifeview discourses and many terms have since become everyday Chinese vocabulary. The impact of Zhang Dongsun and Chuanghualun has not yet been adequately assessed, including the establishment of the Creation Society in Japan, the young Mao Zedong as a proponent of the Heart-Mind concept, and Xu Fuguan and Mou Zongsan, postwar leaders of New Confucianism in Taiwan and Hong Kong, not to mention Julia Kristeva, the famous French literary theorist.
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Sinclair, Mark. "Bergson after Boutroux on Freedom and Contingency." In The Oxford Handbook of Modern French Philosophy, 124–37. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780198841869.013.7.
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Abstract Henri Bergson seldom refers to Emile Boutroux directly, and for this reason his relation to his teacher has often been neglected. On the basis of some of Bergson’s remarks about contingency in his recently published 1904–05 lecture course on the Evolution of the Problem of Freedom, this chapter shows how his whole philosophical career develops the ideas of Boutroux’s 1874 On the Contingency of Laws of Nature. The first part of the chapter concentrates in particular on how Bergson’s notion of free will in the third chapter of his primary doctoral dissertation develops Boutroux’s ideas about contingency in the psychological domain. The second part of the chapter focuses on Boutroux’s account of contingency in the natural world and shows that Bergson is more reluctant than his teacher to reject the truth of mechanistic philosophy and to adopt entirely a philosophy of contingency.
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de Duve, Christian. "What Is Life? Chemistry." In Life Evolving, 7–24. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195156058.003.0002.
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Abstract The great Louis Pasteur was a confirmed vitalist. So was the philosopher Henri Bergson, winner of the 1927 Nobel prize in literature and author of L’evolution creatrice, in which evolution is depicted as propelled by an “elan vital,” a vital surge. It was the case also for the physicist Pierre Lecomte du Nouy, who coined the term “telifinalisme” to designate what he perceived as the innate ability of living organisms to act purposefully, in opposition to the second law of thermodynamics. When I was a student at the Catholic University of Louvain, in Belgium, all my biology teachers were vitalists, with the exception of the physiology professor, Joseph Bouckaert, in whose laboratory I had the good fortune of taking my first steps in science and who was a staunch mechanist.
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Gontarski, S. E. "Towards a Creative Involution." In Creative Involution. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748697328.003.0005.
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This chapter analyses one of the most compelling discourses in Creative Evolution (1907), which is Henri Bergson's thinking through the issues of nothing. In this discourse, any negation, any inclusion of a ‘not’ in a statement announces ‘that some other affirmation, whose content I do not specify, will have to be substituted for the one I find before me’ (Bergson 1944: 315). Such is the ‘zero’ of Gilles Deleuze and psychoanalyst Félix Guattari's critique of Sigmund Freud's analysis of the Wolf Man, and centre stage in Beckett's first two published, eponymous, English novels, Murphy (1938) and Watt — the former in its pursuit of not annihilation but fulfilment, the latter plagued by self-generated apparitions in the house of Mr Knott. It is the nothingness of routine in the latter that gives way or mounts up to the nothing of existence and the waste of being. Beckett's negations, then, produce or result in neither absence nor void.
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King, Homay. "Notes on Some Forms of Repetition." In The Oxford Handbook of Film Theory, 274—C13.N37. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190873929.013.17.
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Abstract Homay King’s “Notes on Some Forms of Repetition” offers an open-ended taxonomy of types of repetition found in moving images, with examples drawn from early cinema (Edison’s Fred Ott’s Sneeze), slapstick comedy (Charlie Chaplin’s Modern Times), Disney animation (Pinocchio), the French New Wave (Jean-Luc Godard’s Alphaville), documentary film (Rithy Panh’s S21: The Khmer Rouge Killing Machine and Joshua Oppenheimer’s The Act of Killing), contemporary video art (Victor Burgin’s The Little House and Harun Farocki’s Parallel I-IV), and others. The forms of repetition defined and discussed include those found in free indirect cinema, reenactment, habit and rote repetition, automatism and comic repetition, and zoomorphism. Theoretical texts engaged with include Gilles Deleuze, Difference and Repetition and Cinema 2: The Time-image; Pier Paolo Pasolini, “The Cinema of Poetry”; Sigmund Freud, Beyond the Pleasure Principle and Jokes and their Relation to the Unconscious; Henri Bergson, Creative Evolution and Laughter: An Essay on the Meaning of the Comic; Sergei Eisenstein, Eisenstein on Disney, and others.
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Bergson, Henri. "The Comic in Situations (1900)." In Modern Theories of Drama, 25–34. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711407.003.0004.
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Abstract Comedy down the ages has aroused rather less theoretical interest than has tragedy: partly because of comedy’s supposedly inferior literary standing and partly because the very act of analysis is always in danger of killing its subject, that elusive will-o’the-wisp, stone dead. The study of the comic in life and art constituted only a small part of the work of the French philosopher Henri Bergson (1859-1941 ); it was nevertheless a matter to which he devoted a good deal of thought. He first broached the subject of what makes us laugh in a series of lectures given at the Lycèe of Clermont Ferrand in 1884; in 1899, he published the three articles in the Revue de Paris which, in the following year, were then turned into a book-Laughter. This analysis attracted very much more general attention than his other, more technical, philosophical writings. Indeed, Laughter proved to be one of his most famous books, second only to Creative Evolution (1907).