Creative Evolution (1907) is the text that made Bergson world-famous. It established him as the pre-eminent European philosopher for the next 10 years, influencing the course of intellectual development not only in philosophical circles but also in literature and the arts. For many, it became the central theoretical work for the first half of the twentieth-century, and it is arguable that it established the concept of time and its avatars (freedom, difference, creativity, the new), as the highest philosophical values for the next century of French thought. In this monumental work, Bergson takes the special theory of duration developedin the philosophy of mind in Time and Free Will and Matter and Memory, and generalizes it into a cosmology of life and matter in the field of evolution, of change in biological life. Tackling the concepts of evolution current at the time, Bergson shows how both mechanistic (Neo-Darwinian) and finalist (Neo-Lamarckian) theories of evolution fail to account for the diverse creativity of nature, especially speciation. In response, Bergson argues for a theory of non-teleological, non-gradualist dissociative speciation immanent within all evolutionary change: the famous concept of the elan vital that, far from being an obscure, spiritual substance underlying organic matter, is simply the kind of creative temporality specific to all living entities. This general theory of biological duration is also applied to a theory of knowledge (or evolutionary epistemology), as Bergson shows how even the problems of philosophy (order and disorder, of being and nothingness), have their origins in a theory of creative life. This new, critical edition uses the original, authorized translation by Arthur Mitchell, adding a guide to further reading and a new introduction by Bergson specialist Keith Ansell Pearson. It also has a glossary of biological terms, biographical synopses, and other helpful material.
作者:汤姆·甘宁(Tom Gunning),芝加哥大学艺术史系,电影和媒介研究系杰出教授。 电影动画可以被定义为活动图像的技术性生产。因此所有电影都在某种意义上是动画。随着时代的变迁,电影最初被接受的主要原因——机械运动的新颖性,衰落到了这样的程度,以致动画已成为电影...
评分【整体与偏见】(1) 本原不可知(否定式、自有、无限):I am Who I am 归向本原的方法: 多元多视角(法)互补共存(不可同构-通约-简约-取代-合并、互补-盲人摸象、保持原汁原味:):)、消除元视角)、因为本原-世界可能具有这样一种深奥性质:即对于不同的视角、世界会呈现完全不同...
评分【整体与偏见】(1) 本原不可知(否定式、自有、无限):I am Who I am 归向本原的方法: 多元多视角(法)互补共存(不可同构-通约-简约-取代-合并、互补-盲人摸象、保持原汁原味:):)、消除元视角)、因为本原-世界可能具有这样一种深奥性质:即对于不同的视角、世界会呈现完全不同...
评分生命就是从这个决定论的机械世界中越狱成功的那世界本身的不安分的一面,所谓的“原始冲动”就是代表着从确定到不确定的,从有序到无序,从必然到自由的那种能量传递的倾向。 经历几十亿年的发展,生命得以产生并且以智慧的形态达到巅峰,漫长的过程,宣告生命不是目的论的产...
评分柏格森的进化论,准确地讲,并不是evolution,而是transformism,演变论。他不想在细致地考察生物之演变中夹杂哪怕一丁点的人为设想。 他对前辈们的批评,集中在:用“机械论”“目的论”等观念来分解、描述生命的演变,不能真实地考察生命演变,因为做完分解的工作之后,就只...
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