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¾Ó¸®-·çÀÌ º£¸£±×¼Û, Henri-Louis Bergson
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(1889) Çѱ¹¾î¿ª <ÀǽĿ¡ Á÷Á¢ ÁÖ¾îÁø °Íµé¿¡ °üÇÑ ½Ã·Ð>, ÃÖ È ¿Å±è, ¾ÆÄ«³Ý, 2001.
¹°Áú°ú ±â¾ï (1896) : ¹ÚÁ¾¿ø ¿Å±è, ¾ÆÄ«³Ý, 2005. ¶Ç ´Ù¸¥ öÇÐÀÚÀÎ Áú µé·ÚÁîÀÇ »ç»óÀ» ÀÌÇØÇÏ´Â µ¥ ²À ÇÊ¿äÇÑ Ã¥
(1900) Çѱ¹¾î¿ª <¿ôÀ½>, ±èÁø¼º ¿Å±è, Á¾·Î¼Àû, 1983.
(1907) Çѱ¹¾î¿ª <âÁ¶Àû ÁøÈ>, Á¤ÇÑÅà ¿Å±è, ¹Ú¿µ»ç, 1980. <âÁ¶Àû ÁøÈ>, Ȳ¼ö¿µ ¿Å±è, ¾ÆÄ«³Ý, 2004.
(1932) Çѱ¹¾î¿ª <µµ´ö°ú Á¾±³ÀÇ µÎ ¿øõ>, ¼Û¿µÁø ¿Å±è, ¼±¤»ç, 1998. ±èÀçÈñ ¿ª, Áö¸¸Áö, 2009.
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Çѱ¹¾î¿ª <»çÀ¯¿Í ¿îµ¿>, À̱¤·¡ ¿Å±è, ¹®¿¹ÃâÆÇ»ç, 1993.
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Henri Bergson
[Born] 18 October 1859 Paris, France [Died] 4 January 1941 (aged 81) Paris, France [Awards] Nobel Prize in Literature (1927) [Era] 20th-century philosophy [Region] Western Philosophy [School] Continental philosophy French Spiritualism [Main interests] Metaphysics, epistemology, philosophy of language, philosophy of mathematics [Notable ideas] Duration, intuition, elan vital, open society Henri-Louis Bergson (18 October 1859 – 4 January 1941) was a major French philosopher, influential especially in the first half of the 20th century. Bergson convinced many thinkers that the processes of immediate experience and intuition are more significant than abstract rationalism and science for understanding reality. He was awarded the 1927 Nobel Prize in Literature "in recognition of his rich and vitalizing ideas and the brilliant skill with which they have been presented". In 1930 France awarded him its highest honour, the Grand-Croix de la Legion d'honneur.
[Biography] [Overview] Bergson was born in the Rue Lamartine in Paris, not far from the Palais Garnier (the old Paris opera house) in 1859. His father, the pianist Micha Bergson, was of a Polish Jewish family background (originally bearing the name Bereksohn). His mother, Katherine Levison, daughter of a Yorkshire doctor, was from an English and Irish Jewish background. The Bereksohns were a famous Jewish entrepreneurial family of Polish descent. Henri Bergson's great-great-grandfather, Szmul Jakubowicz Sonnenberg, called Zbytkower, was a prominent banker and a protege of Stanislaw August Poniatowski, King of Poland from 1764 to 1795. Henri Bergson's family lived in London for a few years after his birth, and he obtained an early familiarity with the English language from his mother. Before he was nine, his parents settled in France, Henri becoming a naturalized French citizen. Henri Bergson married Louise Neuberger, a cousin of Marcel Proust (1871–1922), in 1891. (The novelist served as best man at Bergson's wedding.) Henri and Louise Bergson had a daughter, Jeanne, born deaf in 1896. Bergson's sister, Mina Bergson (also known as Moina Mathers), married the English occult author Samuel Liddell MacGregor Mathers, a founder of the Hermetic Order of the Golden Dawn, and the couple later relocated to Paris as well.
Bergson lived the quiet life of a French professor, marked by the publication of his four principal works: 1.in 1889, Time and Free Will (Essai sur les donnees immediates de la conscience) 2.in 1896, Matter and Memory (Matiere et memoire) 3.in 1907, Creative Evolution (L'Evolution creatrice) 4.in 1932, The Two Sources of Morality and Religion (Les deux sources de la morale et de la religion) In 1900 the College of France selected Bergson to a Chair of Greek and Latin Philosophy, which he held until 1904. He then replaced Gabriel Tarde in the Chair of Modern Philosophy, which he held until 1920. The public attended his open courses in large numbers. [Philosophy] Bergson rejected what he saw as the overly mechanistic predominant view of causality (as expressed in, say, finalism). He argued that we must allow space for free will to unfold in an autonomous and unpredictable fashion. While Kant saw free will as something beyond time and space and therefore ultimately a matter of faith, Bergson attempted to redefine the modern conceptions of time, space, and causality in his concept of Duration, making room for a tangible marriage of free will with causality. Seeing Duration as a mobile and fluid concept, Bergson argued that one cannot understand Duration through "immobile" analysis, but only through experiential, first-person intuition. [Creativity] Bergson considers the appearance of novelty as a result of pure undetermined creation, instead of as the predetermined result of mechanistic forces. His philosophy emphasises pure mobility, unforeseeable novelty, creativity and freedom; thus one can characterize his system as a process philosophy. It touches upon such topics as time and identity, free will, perception, change, memory, consciousness, language, the foundation of mathematics and the limits of reason. Criticizing Kant's theory of knowledge exposed in the Critique of Pure Reason and his conception of truth — which he compares to Plato's conception of truth as its symmetrical inversion (order of nature/order of thought) — Bergson attempted to redefine the relations between science and metaphysics, intelligence and intuition, and insisted on the necessity of increasing thought's possibility through the use of intuition, which, according to him, alone approached a knowledge of the absolute and of real life, understood as pure duration. Because of his (relative) criticism of intelligence, he makes a frequent use of images and metaphors in his writings in order to avoid the use of concepts, which (he considers) fail to touch the whole of reality, being only a sort of abstract net thrown on things. For instance, he says in The Creative Evolution (chap.III) that thought in itself would never have thought it possible for the human being to swim, as it cannot deduce swimming from walking. For swimming to be possible, man must throw itself in water, and only then can thought consider swimming as possible. Intelligence, for Bergson, is a practical faculty rather than a pure speculative faculty, a product of evolution used by man to survive. If metaphysics is to avoid "false problems", it should not extend to pure speculation the abstract concepts of intelligence, but rather use intuition. The Creative Evolution in particular attempted to think through the continuous creation of life, and explicitly pitted itself against Herbert Spencer's evolutionary philosophy. Spencer had attempted to transpose Charles Darwin's theory of evolution in philosophy and to construct a cosmology based on this theory (Spencer also coined the expression "survival of the fittest"). Bergson disputed what he saw as Spencer's mechanistic philosophy. Henri Bergson¡¯s Lebensphilosophie (Philosophy of Life) can be seen as a response to the mechanistic philosophies of his time, but also to the failure of finalism. Indeed, he considers that finalism is unable to explain "duration" and the "continuous creation of life", as it only explains life as the progressive development of an initially determined program — a notion which remains, for example, in the expression of a "genetic program"; such a description of finalism was adopted, for instance, by Leibniz. It clearly announces Alfred North Whitehead's. Bergson regarded planning beforehand for the future as impossible, since time itself unravels unforeseen possibilities. Indeed, one could always explain a historical event retrospectively by its conditions of possibility. But, in the introduction to the Pensee et le mouvant, he explains that such an event created retrospectively its causes, taking the example of the creation of a work of art, for example a symphony: it was impossible to predict what would be the symphony of the future, as if the musician knew what symphony would be the best for his time, he would realize it. In his words, the effect created its cause. Henceforth, he attempted to find a third way between mechanism and finalism, through the notion of an original impulse, the elan vital, in life, which dispersed itself through evolution into contradictory tendencies (he substituted to the finalist notion of a teleological aim a notion of an original impulse). [Duration] The foundation of Henri Bergson¡¯s philosophy, his theory of Duration, he discovered when trying to improve the inadequacies of Herbert Spencer¡¯s philosophy. Bergson introduced Duration as a theory of time and consciousness in his doctoral thesis Time and Free Will: An Essay on the Immediate Data of Consciousness as a response to another of his influences: Immanuel Kant. Kant believed that free will could only exist outside of time and space, that we could therefore not know whether or not it exists, and that it is nothing but a pragmatic faith. Bergson responded that Kant, along with many other philosophers, had confused time with its spatial representation. In reality, Bergson argued, Duration is unextended yet heterogeneous, and so its parts cannot be juxtaposed as a succession of distinct parts, with one causing the other. Based on this he concluded that determinism is an impossibility and free will pure mobility, which is what Bergson identified as being the Duration. [Intuition] Duration, as defined by Bergson, then is a unity and a multiplicity, but, being mobile, it cannot be grasped through immobile concepts. Bergson hence argues that one can grasp it only through his method of intuition. Two images from Henri Bergson¡¯s An Introduction to Metaphysics may help one to grasp Bergson's term intuition, the limits of concepts, and the ability of intuition to grasp the absolute. The first image is that of a city. Analysis, or the creation of concepts through the divisions of points of view, can only ever give us a model of the city through a construction of photographs taken from every possible point of view, yet it can never give us the dimensional value of walking in the city itself. One can only grasp this through intuition; likewise the experience of reading a line of Homer. One may translate the line and pile commentary upon commentary, but this commentary too shall never grasp the simple dimensional value of experiencing the poem in its originality itself. The method of intuition, then, is that of getting back to the things themselves. [Elan vital] Elan vital ranks as Bergson's third essential concept, after Duration and intuition. An idea with the goal of explaining evolution, the Elan vital first appeared in 1907¡¯s Creative Evolution. Bergson portrays Elan vital as a kind of vital impetus which explains evolution in a less mechanical and more lively manner, as well as accounting for the creative impulse of mankind. This concept led several authors to characterize Bergson as a supporter of vitalism—although he criticized it explicitly in The Creative Evolution, as he thought, against Driesch and Johannes Reinke (whom he cited) that there is neither "purely internal finality nor clearly cut individuality in nature": Hereby lies the stumbling block of vitalist theories (...) It is thus in vain that one pretends to reduce finality to the individuality of the living being. If there is finality in the world of life, it encompasses the whole of life in one indivisible embrace. [Laughter] In Laughter: An Essay on the Meaning of the Comic, Bergson develops a theory not of laughter itself but of how laughter can be provoked (see his objection to Delage, published in the 23rd edition of the essay). He describes the process of laughter (refusing to give a conceptual definition which would not approach its reality), used in particular by comics and clowns, as the caricature of the mechanism nature of humans (habits, automatic acts, etc.), one of the two tendencies of life (degradation towards inert matter and mechanism, and continual creation of new forms). However, Bergson warns us that laughter¡¯s criterion of what should be laughed at is not a moral criterion and that it can in fact cause serious damage to a person¡¯s self-esteem. This essay made his opposition to the Cartesian theory of the animal-machine obvious. (from naver.com wikipedia.org ³×À̹ö Áö½Ä¹é°ú ³ª¹«À§Å° µî, Ãßõ À¯Æ©ºê µ¿¿µ»ó, ** Selected & Recommended Youtube Videos are shown. **)
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