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Henri Bergson (1859-1941), fransk filosof og forfatter, modtog nobelprisen i litteratur 1927. Beskæftigede sig med begrebet intuition. Har haft betydning for bl.a. Gaston Bachelard, Bertrand Russell, Merleau-Ponty, Levinas og senere Gilles Deleuze. “Udkommet i Frankrig i 47 oplag i forfatterens levetid ... Der kan ikke herske tvivl om at Bergson er en fortræffelig skribent som - uden at ville vække hverken latter eller gråd - formår læseren til at glemme tiden.” - Kasper Nefer Olsen i Kristeligt Dagblad .

Henri Bergsons essay om intuition blev skrevet i 1903 medtitlen Introduktion til metafysikken . Det er i dette veloplagte ogkomprimerede lille skrift, at han udvikler sin filosofiske metode: denintuitive erkendelse. ”At filosofere”, skriver Bergson, ”består netop i vedhjælp af intuitionen at placere sig indvendigt i den konkrete virkelighed”. Menfør man kan opnå den intuitive erkendelse, må man blive fortrolig ogvenskabelig med virkelighedens overfladiske fremtrædelser. Vejen til metafysikbegynder i videnskabelig viden. Bergsons filosofiske intuition er ikke blot enerkendelsesteori om virkelighedens interne forbindelser, i deres egen ret, bagved vores sprog og symboler, men er også en økologisk bevidst etik. Intuition er en del af bogserien AFTRYK, der samler korte ogvedkommende filosofiske tekster med væsentlig virkningshistorie. MartinHauberg-Lund Laugesen har skrevet introduktionen til teksten, der gør denrelevant for studerende såvel som andre læsere med interesse for intuitiverkendelse, erindring, tid og metafysik. @font-face {font-family:"Cambria Math"; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:roman; mso-font-pitch:variable; mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face {font-family:"Arial Unicode MS"; panose-1:2 11 6 4 2 2 2 2 2 4; mso-font-charset:128; mso-generic-font-family:swiss; mso-font-pitch:variable; mso-font-signature:-134238209 -371195905 63 0 4129279 0;}@font-face {font-family:"Adobe Caslon Pro"; panose-1:2 5 5 2 5 5 10 2 4 3; mso-font-charset:77; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:variable; mso-font-signature:7 1 0 0 147 0;}@font-face {font-family:"\@Arial Unicode MS"; panose-1:2 11 6 4 2 2 2 2 2 4; mso-font-charset:128; mso-generic-font-family:swiss; mso-font-pitch:variable; mso-font-signature:-134238209 -371195905 63 0 4129279 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-parent:""; margin:0cm; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman",serif; mso-fareast-font-family:"Arial Unicode MS"; border:none; mso-ansi-language:EN-US; mso-fareast-language:EN-US;}.MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-size:10.0pt; mso-ansi-font-size:10.0pt; mso-bidi-font-size:10.0pt; mso-fareast-font-family:"Arial Unicode MS"; border:none; mso-font-kerning:0pt; mso-ligatures:none; mso-ansi-language:EN-US; mso-fareast-language:EN-US;}.MsoPapDefault {mso-style-type:export-only;}div.WordSection1 {page:WordSection1;}

What does laughter mean? What is the basal element in the laughable? What common ground can we find between the grimace of a merry-andrew, a play upon words, an equivocal situation in a burlesque and a scene of high comedy? The essay on Laughter originally appeared in a series of three articles in one of the leading magazines in France, the Revue de Paris. The book has been highly successful in France. It has been translated into Russian, Polish, and Swedish. German and Hungarian translations are under preparation. Its success is due partly to the novelty of the explanation offered of the comic, and partly also to the fact that the author incidentally discusses questions of still greater interest and importance. Thus, one of the best known and most frequently quoted passages of the book is that portion of the last chapter in which the author outlines a general theory of art.

Bergson was a pre-eminent European philosopher of the early twentieth century and his work covers all major branches of philosophy. This volume of essays is the first collection in twenty years in English to address the whole of Bergson's philosophy, including his metaphysics, epistemology, philosophy of science, philosophy of life, aesthetics, ethics, social and political thought, and religion. The essays explore Bergson's influence on a number of different fields, and also extend his thought to pressing issues of our time, including philosophy as a way of life, inclusion and exclusion in politics, ecology, the philosophy of race and discrimination, and religion and its enduring appeal. The volume will be valuable for all who are interested in this important thinker and his continuing relevance.

"Le Rire" de Henri Bergson. Philosophe francais, prix Nobel de litterature (1859-1941)."

The twentieth century with its unprecedented advances in technology and scientific understanding saw the birth of a distinctively new and 'modern' age. Henri Bergson stood as one of the most important philosophical voices of that tumultuous time. An intellectual celebrity in his own life time, his work was widely discussed by such thinkers as William James, Alfred North Whitehead and Bertrand Russell, as well as having a profound influence on modernist writers such as Wallace Stevens, Willa Cather and Wyndham Lewis and later thinkers, most notably Gilles Deleuze.Key Writings brings together Bergson's most essential writings in a single volume, including crucial passages from such major work as Time and Free Will, Matter and Memory, Creative Evolution, Mind-Energy, The Creative Mind, The Two Sources of Morality and Religion and Laughter. The book also includes Bergson's correspondences with William James and a chronology of his life and work.

The twentieth century – with its unprecedented advances in technology and scientific understanding – saw the birth of a distinctively new and ‘modern’ age. Henri Bergson stood as one of the most important philosophical voices of that tumultuous time. An intellectual celebrity in his own life time, his work was widely discussed by such thinkers as William James, Alfred North Whitehead and Bertrand Russell, as well as having a profound influence on modernist writers such as Wallace Stevens, Willa Cather and Wyndham Lewis and later thinkers, most notably Gilles Deleuze. Key Writings brings together Bergson’s most essential writings in a single volume, including crucial passages from such major work as Time and Free Will , Matter and Memory , Creative Evolution , Mind-Energy , The Creative Mind , The Two Sources of Morality and Religion and Laughter . The book also includes Bergson’s correspondences with William James and a chronology of his life and work.

Creative Evolution is a 1907 book by French philosopher Henri Bergson. Its English translation appeared in 1911. The book provides an alternate explanation for Darwin's mechanism of evolution, suggesting that evolution is motivated by an lan vital, a "vital impetus" that can also be understood as humanity's natural creative impulse. The book was very popular in the early decades of the twentieth century, before the Neodarwinian synthesis was developed.The book also develops concepts of time (offered in Bergson's earlier work) which significantly influenced modernist writers and thinkers such as Marcel Proust. For example, Bergson's term "duration" refers to a more individual, subjective experience of time, as opposed to mathematical, objectively measurable "clock time." In Creative Evolution, Bergson suggests that the experience of time as "duration" can best be understood through creative intuition, not through intellect.

Dur?e et Simultan?it? est un livre du philosophe fran?ais Henri Bergson, publi? en 1922 chez F?lix Alcan, repris ensuite aux Presses universitaires de France. Il a ?t? publi? peu apr?s la rencontre de Bergson et Einstein ? la Soci?t? fran?aise de philosophie en avril 1922. Une seconde ?dition, remani?e, a ?t? publi?e l'ann?e suivante, apr?s quoi Bergson s'est refus? a toute reprise du texte. La rencontre de Bergson et Einstein: La discussion ? la Soci?t? Fran?aise de Philosophie a ?t? publi?e en int?gralit?, et il appara?t que Bergson n'est intervenu que bri?vement vers la fin des d?bats. Einstein lui r?pond en quelques phrases. N?anmoins avec la distance du temps l'?pisode a fascin? les historiens qui ont vu l'occasion d'?laborer leurs constructions ? partir de cette rencontre. " Dans la lettre du 29 septembre 1953 ? Mme Rose-Marie Moss?-Bastide, qui sert de pr?face au recueil ?crits et paroles, ?douard Le Roy ?crivait: Il est clair que nous devons respecter l'interdiction de Bergson quant ? la publication d'in?dits; mais ne rentrent pas dans ce cas les textes qu'il a publi?s lui-m?me. ? cet ?gard, la question de la relativit? soul?ve une difficult? je pense toujours que la solution s'en trouve dans les remarques concernant la double notion du r?el. Je r?pondrais volontiers ? Einstein que lui-m?me ne comprend pas bien la position de Bergson. Mais il faut conna?tre enti?rement celle-ci; j'en ai longuement caus? avec Bergson, il n'a pas fait d'objection ? ma remarque, mais il a ajout? avec insistance que le d?faut de ses connaissances math?matiques ne lui permettait pas de suivre avec le d?tail n?cessaire le d?veloppement de la relativit? g?n?ralis?e et qu'en cons?quence il estimait plus sage, pour sa part, de laisser tomber la question. De l? son refus de laisser r?imprimer Dur?e et simultan?it?.

First published in French in 1907, Henri Bergson’s L’évolution créatrice is a scintillating and radical work by one of the great French philosophers of the nineteenth and twentieth centuries. This outstanding new translation, the first for over a hundred years, brings one of Bergson’s most important and ambitious works to a new generation of readers. A sympathetic though critical reader of Darwin, Bergson argues in Creative Evolution against a mechanistic, reductionist view of evolution. For Bergson, all life emerges from a creative, shared impulse, which he famously terms élan vital and which passes like a current through different organisms and generations over time . Whilst this impulse remains as forms of life diverge and multiply, human life is characterized by a distinctive form of consciousness or intellect. Yet as Bergson brilliantly shows, the intellect’s fragmentary and action- oriented nature, which he likens to the cinematograph, means it alone cannot grasp nature’s creativity and invention over time. A major task of Creative Evolution is to reconcile these two elements. For Bergson, the answer famously lies in intuition, which brings instinct and intellect together and takes us “into the very interior of life.” A work of great rigour and imaginative richness that contributed to Bergson winning the Nobel Prize for Literature in 1927, Creative Evolution played an important and controversial role in the trajectory of twentieth-century philosophy and continues to create significant discussion and debate. The philosopher and psychologist William James, who admired Bergson’s work, was writing an introduction to the first English translation of the book before his death in 1910. This new translation includes a foreword by Elizabeth Grosz and a helpful translator’s introduction by Donald Landes. Also translated for the first time are additional notes, articles, reviews and letters on the reception of Creative Evolution in biology, mathematics, and theology. This edition includes fascinating commentaries by philosophers Maurice Merleau-Ponty, Georges Canguilhem, and Gilles Deleuze.

"Since the end of the last century," Walter Benjamin wrote, "philosophy has made a series of attempts to lay hold of the 'true' experience as opposed to the kind that manifests itself in the standardized, denatured life of the civilized masses. It is customary to classify these efforts under the heading of a philosophy of life. Towering above this literature is Henri Bergson's early monumental work, Matter and Memory."Along with Husserl's Ideas and Heidegger's Being and Time, Bergson's work represents one of the great twentieth-century investigations into perception and memory, movement and time, matter and mind. Arguably Bergson's most significant book, Matter and Memory is essential to an understanding of his philosophy and its legacy.This new edition includes an annotated bibliography prepared by Bruno Paradis.

"Time and Free Will" is Henri Bergson's doctoral thesis, which was first published in French in 1889. In the work French philosopher Bergson introduces us to his theory of duration, a response to Immanuel Kant's ideas regarding free will as something only possible outside of time and space. Bergson argues that the traditional concept of free will is merely confusion among philosophers caused by an illegitimate translation of the unextended into the extended and a lack of understanding of mechanics. He contends instead that free will is bound to causality and could only be understood in reference to first-person experience and perception. Duration was a way of understanding free will as it referred to each individual person's experience of time, not as a linear mathematical progression, but as something that slows down or speeds up as the person experiences and reflects upon life events. Bergson was one of the most influential philosophers of his day and his ideas, beginning with the publication of "Time and Free Will", profoundly changed the direction of modern European philosophy in the late nineteenth and early twentieth century. This edition is printed on premium acid-free paper and follows the translation of F. L. Pogson.

Philosophers on Film from Bergson to Badiou is an anthology of writings on cinema and film by many of the major thinkers in continental philosophy. The book presents a selection of fundamental texts, each accompanied by an introduction and exposition by the editor, Christopher Kul-Want, that places the philosophers within a historical and intellectual framework of aesthetic and social thought. Encompassing a range of intellectual traditions—Marxism, phenomenology, psychoanalysis, poststructuralism, gender and affect theories—this critical reader features writings by Bergson, Benjamin, Adorno and Horkheimer, Merleau-Ponty, Baudrillard, Irigaray, Lyotard, Deleuze, Kristeva, Agamben, Žižek, Nancy, Cavell, Rancière, Badiou, Stiegler, and Silverman. Many of the texts discuss cinema as a mass medium; others develop phenomenological analyses of particular films. Reflecting upon the potential of films to challenge dominant forms of ideology, the anthology considers the ways in which they can disrupt the clichés of capitalist images and offer radical possibilities for creating new worlds of visceral experience outside the grasp of habitual forms of knowledge and subjectivity. Ranging from the early silent period of cinema through the classics of European and Hollywood cinema to the early twenty-first century, the films discussed offer a vivid sense of these philosophers’ concepts and ideas, casting new light on the history of cinema. This reader is an essential and valuable resource for a wide range of courses in film and philosophy.

On April 6, 1922, in Paris, Albert Einstein and Henri Bergson publicly debated the nature of time. Einstein considered Bergson's theory of time to be a soft, psychological notion, irreconcilable with the quantitative realities of physics. Bergson, who gained fame as a philosopher by arguing that time should not be understood exclusively through the lens of science, criticized Einstein's theory of time for being a metaphysics grafted on to science, one that ignored the intuitive aspects of time. The Physicist and the Philosopher tells the remarkable story of how this explosive debate transformed our understanding of time and drove a rift between science and the humanities that persists today. Jimena Canales introduces readers to the revolutionary ideas of Einstein and Bergson, describes how they dramatically collided in Paris, and traces how this clash of worldviews reverberated across the twentieth century. She shows how it provoked responses from figures such as Bertrand Russell and Martin Heidegger, and carried repercussions for American pragmatism, logical positivism, phenomenology, and quantum mechanics. Canales explains how the new technologies of the period--such as wristwatches, radio, and film--helped to shape people's conceptions of time and further polarized the public debate. She also discusses how Bergson and Einstein, toward the end of their lives, each reflected on his rival's legacy--Bergson during the Nazi occupation of Paris and Einstein in the context of the first hydrogen bomb explosion. The Physicist and the Philosopher is a magisterial and revealing account that shows how scientific truth was placed on trial in a divided century marked by a new sense of time.

In The Dialectic of Duration Gaston Bachelard addresses the nature of time in response to the writings of his great contemporary, Henri Bergson. The work is motivated by a refutation of Bergson's notion of duration – 'lived time', experienced as continuous. For Bachelard, experienced time is irreducibly fractured and interrupted, as indeed are material events. At stake is an entire conception of the physical world, an entire approach to the philosophy of science. It was in this work that Bachelard first marshalled all the components of his visionary philosophy of science, with its steady insistence on the human context and subtle encompassing of the irrational within the rational. The Dialectic of Duration reaches far beyond local arguments over the nature of the physical world to gesture toward the building of an entirely new form of philosophy.

Den franske filosof Gilles Deleuze (1925-95) havde blik for mere end sin egen tænkning, det være sig Spinoza, Nietzsche, Bergson, Kafka, Foucault eller som her Proust og hans store værk På sporet af den tabte tid . Det er nemlig ikke blot litteratur af format, men et univers af tilstande og betydninger, der som en maskine skaber tegn, som læseren må tage til sig og sætte i sammenhæng for nærmere at komme ind på livet af – ja, livets mening. Den filosofi eller tilværelsestolkning, som Marcel Proust benyttede sig af og måske først rigtig fik hold på gennem sit romanværk, kommer i Proust og tegnene (1964) i spil med Gilles Deleuzes egen tænkning, ikke mindst hans sans for at generere begreber og betydninger langs såkaldte flugtlinjer, ruter i tid, sind og fortolkning. Og som sådan bliver Proust og tegnene , der står centralt i den nyere Proust-forskning, også en indføring i den deleuzianske filosofi, som nu melder sig med fornyet kraft. Her oversat og introduceret af mag.art. Søren Frank. Bogen udkom første gang på dansk i 2003 og genudgives nu i Hans Reitzels Forlags serie Klassikere. Fil størrelse: 527 KB

`For the first time, perhaps, since that land emerged from the waters of geologic ages, a human face was set toward it with love and yearning. It seemed beautiful to her, rich and strong and glorious.' Willa Cather's second novel, O Pioneers! (1913) tells the story of Alexandra Bergson and her determination to save her immigrant family's Nebraska farm. Clear-headed and fiercely independent, Alexandra's passionate faith in the prairie makes her a wealthy landowner. By placing a strong, self-reliant woman at the centre of her tale, Cather gives the quintessentially American novel of the soil a radical cast. Yet, although influenced by the democratic utopianism of Walt Whitman and the serene regionalism of Sarah Orne Jewett, O Pioneers! is more than merely an elegy for the lost glories of America's pioneer past. In its rage for order and efficiency, the novel testifies to the cultural politics of the Progressive Era, the period of massive social and economic transformations that helped to modernize the United States in the years between the Civil War and World War. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

This book newly articulates the international and interdisciplinary reach of Whitehead's organic process cosmology for a variety of topics across science and philosophy, and in dialogue with a variety historical and contemporary voices. Integrating Whitehead's thought with the insights of Bergson, James, Pierce, Merleau-Ponty, Descola, Fuchs, Hofmann, Grof and many others, contributors from around the world reveal the relevance of process philosophy to physics, cosmology, astrobiology, ecology, metaphysics, aesthetics, psychedelics, and religion. A global collection, this book expresses multivocal possibilities for the development of process cosmology after Whitehead.

Matter and Memory is a book of cognitive philosophy by Henri Bergson which discusses the classic problem of how the human mind and its memories are related to the spirit. Bergson uses the phenomena of memory to construct arguments in favor of the spirit's existence. The various types of memory, and how they are related to the physical world, are discussed. Bergson analyses how memories are formed, what bearing they have on the world, and how they ultimately come to constitute their possessor's innate spirit. This book was originally written by Bergson in response to an essay by Théodule Ribot, who held that all memory could be traced back to the brain's nervous system. Thus, the essence of human memory could be reduced to mere matter, rather than containing a higher, spiritual element. Bergson fervently disagreed with this opinion, and strove to write this thesis as a counter to the notion that the spirit can be reduced to only molecular activity.