Subject and Reflexivity: Bergson, Whitehead and Benjamin MORINAGA Naomiki Utsunomiya University Abstract Rejecting the European traditional concept of "subject", Henri Bergson has defined it as an arrangement of two multiplicities: qualitative multiplicity/distinct (or quantitative) multiplicity. The Bergsonian "subject" as Duration is a multiple and dynamic process embedded in environment, which drives his way through the reality, pushed by Élan vital, and affords to it a Novelty. In
After reading and discussing Bergson’s theory on why humans laugh in class, the most prevalent shortcoming that emerged to me pertained to his “general formula for everything we laugh at.” Bergson claims that we laugh to punish mechanical behavior because society values the opposite, vital behavior. This seems like a valid statement until one considers the following arguments. Take for example, a situation that was quite common when I was probably in the 5th or 6th grade and every morning me and
Husserl vs. Bergson: Conception and Perception of Time Edmund Husserl holds the notion that time cannot be calculated without bias, meaning that the suggestion of ability to encapsulate time inside a collection of prearranged components such as minutes or seconds, is impractical. The concept of time isn’t intended to be detained, but is something that can’t be summarized in this approach. Despite the fact that Edmund Husserl does not objectify time by means of segmented measures, such as seconds
Modernists in literature, poetry and dance and how they represented the modern ideals founded by the philosophies of Freud, Nietzsche and Bergson. This essay will look at various Modernists and what impact they had on the development of Modernism in their particular fields. These artists and critical thinkers reacted against the Enlightenment thinking, turning away from traditional beliefs, as well as the idea of a compassionate, all-powerful God. "God is dead," said Frederich Nietzche (1844-1900)
contemporary religious movements. Babbitt constantly supported the values of good sense, refinement, tradition and the past, as opposed to the anti-intellectualism of the popular philosophies of the flux-- such as those of William James and Henri Bergson-- which celebrated intuition at the cost of reason. Some of the fundamental concepts of Babbitt’s philosophy continued to be Eliot’s major concerns, such as the value of tradition, the need for the poet and the critic to reconcile the past and present
réaliste, puisqu’il nous montre la réalité même. Intérêt philosophique du texte L’intérêt philosophique de ce texte tient à ce que, par un retournement singulier de l’opinion commune qui voit dans l’art le règne de l’apparence, non de la réalité, Bergson fait de l’art véritable un dévoilement de la réalité même, dévoilement qui lui permet ailleurs d’assimiler l’artiste au philosophe, qui lui aussi s’efforce de voir la réalité »nue et sans voile ». En engageant une réflexion sur cette vue, on pourra
How hard would it be to move to an unknown region and leave everything behind? Willa Cather’s O Pioneers! is a realistic story of the Bergson family who takes that risk to live on the new frontier. In this account, the characters experience many hardships on the Divide. When certain subjects get to the new land, they can’t handle being there or miss their old home. The characters must deal with unexpected deaths and the shortage of medical knowledge and technology. Some are also constantly worried
George Saunders achieves humor in his “I can speak” essay by using the unexpected. Using the unexpected for humor was mentioned by Murray Davis and Henri Bergson in essays they wrote about humor. Davis believes that humor has to do with disrupting a system, such as in a series of events, where something does not fit or belong. Bergson also believes that humor comes from the unexpected, yet he describes it differently, he sees it as the involuntary action in an event, he uses the example of a person
Willa Cather’s O Pioneers!, farmer and land developer Alexandra Bergson feels the land her father, John Bergson, gave her and her brothers, originally belonged to her and her brothers, but has since been divided into separate titles between the three of them. Before Alexandra’s father died, he placed her in charge of the land and she became the lands steward and expanded it beyond the original homestead. The role Lou and Oscar Bergson, Alexandra’s younger brothers, played was that of laborer under
painting perfectly summarizes Henri Bergson’s theory of how we observe motionless objects. Looking at the painting, one would have trouble figuring out what it was. The violin is made up of many different fragments, which in turn abstracts the subject. Bergson says that even if we were observing the same object, at the same angle, in the same light, that the vision of the said object will constantly and infinitely change because of time, which makes the last vision older then the next. These fragments represent