Le langage de Salvatore Sciarrino et celui de Brian Ferneyhough sembleraient aux antipodes : l’un doté d’une ligne épurée de tout excès, l’autre avec une notation surchargée de détails. La structure temporelle de leurs langages pourraient toutefois trouver un point de contact dans deux pièces pour flûte seule : L’orologio di Bergson de Sciarrino et Carceri d’Invenzione IIb de Ferneyhough. La pièce de Sciarrino est structurée sur la périodicité de certains éléments qui, par leur récurrence, créent une sensation de temps circulaire. Celle de Ferneyhough, bien que plus complexe à la surface, emploie la même idée de récurrence du matériau. La simplicité des éléments sonores de Sciarrino laisse la place à des unités de matériau incandescentes. Cette thèse a comme but de montrer une certaine similarité quant à la gestion du temps, et quant à son déroulement. L’analyse de plusieurs interprétations montrera aussi comment les interprètes s’approprient cette conception temporelle. / At first impression, the language of Salvatore Sciarrino and that of Brian Ferneyhough seem to be antipodes, two extremes exactly opposite to each other: one simple, pure, deprived of any unnecessary excess, while the other rich, complex, decorated with all the possible details. However, in these two pieces for flute solo, there is a common ground that can be found: L’orologio di Bergson of Salvatore Sciarrino and Carceri d’Invenzione IIb of Brian Ferneyhough. The piece of Sciarrino is structured on the periodicity of certain elements, by their recurrence, which create a sensation of circular time. While the piece of Ferneyhough, although, seemingly much more complex, employs the same idea of recurrence of the material. The simplicity of the sonic elements of Sciarrino gives the space to the unity of the incandescent materials. The objective of this thesis is to demonstrate some certain similarity, concerning the time management and its development. The analysis of several interpretation also shows how the interpreters adapt themselves to this time conception.

Les principaux modèles et représentations du changement organisationnel ont en commun de le considérer, de façon plus ou moins explicite, comme un phénomène dynamique fait de forces ou comme un flux, un mouvement. Mais dans les deux cas, le changement n’est pas directement observé. Il est simplement déduit d’une série d’observations portant (i) soit sur une ‘entité’ qui change - des formes d’organisations ou un ensemble de pratiques - (ii) soit sur une succession de phases, d’étapes ou d’évènements. Ce qui revient, paradoxalement, à observer une série d’immobilités. Notre propos dans cette thèse est d’observer le changement lui-même. Et comme un flux émergent, un mouvement substantiel et absolument indivisible, en référence à la philosophie d’Henri Bergson. / The main models of organizational change have in common that they see change, more or less explicitly, either as a dynamic phenomenon due to forces or as a flow, a movement. But change itself is not directly observed. It is simply inferred from a series of observations that focus on either (i) an entity, or (ii) a sequence of events - phases or steps of an on-going process. So, research in organizational change faces a paradox : understanding change processes leads to representations and explanations that reify the processes in fixed forms (words or diagrams). The aim of this dissertation is to observe change itself and show how it can be thought of as a flow, a movement. The conditions of understanding change as a movement are based on Henri Bergson’s philosophy.

La philosophie biologique de la technique s'est progressivement constituée depuis un débat d'idées à la fois tributaire des questions du XIXe siècle et d'un fonds philosophique antique. Il en émerge une thèse sur l'action qui fait l'homme civilisé ainsi que sur les sources et attributs de sa mainmise sur le monde à travers les progrès de la technique et l'effet d'agrandissement qui peut en résulter pour le corps individuel et collectif. C'était un programme revendicatif, car il défendait le principe d'une nouvelle pratique de la philosophie et s'installait en position de juge et de substitut de la religion. Contre de tels enjeux, où se croisent originairement des influences allemandes, anglaises et françaises, la philosophie de la technique est entrée en résistance, au risque de perdre de vue plusieurs choses : le sens de sa légitimité philosophique naturelle ; celui de sa vocation à l'interdisciplinarité ; l'accès à un objet latent en elle, le champ définitionnel de l'homme et la question de l'image. reconnaître ce qu'elle est à partir de ce qu'elle fut, demande à la philosophie de la technique : un effort de remise à plat de l'étude des sources dont elle s'est officiellement dotée ; l'élargissement du cercle des autorités ; de se détourner du concordisme ; de résister par l'analyse au préjugé défavorable dont l'accable la critique du naturalisme. C'est à ce prix qu'elle pourra restaurer en elle le sens d'une transition qui devait l'éloigner sans rupture d'un évolutionnisme trop prégnant, tout en préservant son intérêt pour la question de l'homme. En France, une telle mutation se dessine à travers le triangle d'auteurs Bergson, Simondon, Leroi-Gourhan. / Biological philosophy of technics progressively developped rom a debate of ideas depending both on the 19th century's issues and on antique philosophical information holdings. What emerges is a thesis about actions that make a civilized man and about the origins and attributes of his control over the world through technical progress and the magnifying effect that arises as a result for individual or collective systems. it was a ground-breaking program as it was in favour of the principle of a new practice of philosophy and it portayed itself as a judge and a substitute for religion. The philosophy of technics started resisting such challenges which, originally were under German, English and French influence. By doing so it risked losing sight of several aspects : the meaning of its natural philosophical legitimity, that of its vocation for interdisciplinarity, the access to a latent potential inside it, Man's definitional field and the subject of image. Recognizing what the philosophy of technics is from what it used to be requires some conditions : an effort to clarify the study of its official sources, an enlargement of the circle of competent authorities, turning away from concordism, resisting, through analysis, the negative bias poured out over it by the criticism of naturalism. This is the cost at which the philosophy of technics will be able to retsore, in its bosom, a sense of a transition that should move it away, but not cut it from, a too prevalent evolutionism, as well as it should keep its interest for the subject of Man. In France, such a mutation can be observed in a trio of authors : Bergson, Simondon and Leroi-Gourhan.

This study uses Bergson's concepts of duration and spontaneous (now termed episodic) memory to reveal how musical material in Rachmaninoff's Prelude Op. 32 No. 10 in B Minor (1910) turns back on itself in recurring remembrances of its own past, bringing the listener out of ordinary time; a process that mirrors themes both from Rachmaninoff's life, and Arnold Böcklin's Die Heimkehr, the painting that inspired this piece. Time perception slows or even suspends when one reflects on the past, either a personal past or the historical past. Musical material in the Prelude undergoes analogous time warps. In conversation with Bergson's ideas, this study illustrates the unique temporal qualities in the musical language of the Prelude, for which standard forms of analysis fail to completely capture the essence. The overall aim is to demonstrate Rachmaninoff's idiosyncratic approach to piano writing, which many have discredited as anachronistic. This study suggests a new methodology – Bergsonian musical analysis – with which to understand the concealed innovations in Rachmaninoff's piano idiom. This study of Rachmaninoff's B Minor Prelude builds on publications concerning other Bergsonian interpretations of music in pursuing a thorough investigation of one work and its relationship with broader issues in philosophy and visual art. The result is a theoretical engagement with the Prelude that establishes a new methodology to deal with Rachmaninoff's piano idiom in general. A Bergsonian analytical technique reveals the real artistry behind Rachmaninoff's compositions – not just remnants of some past romantic idiom, but an idiosyncratic musical grappling with the nature of time and memory.

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.

Denna uppsats analyserar det litterära temat känslighet i Sigfrid Siwertz’ roman En flanör. Begreppet känslighet definieras i relation till perceptioner och känslor och därefter belyses känslighetens uttrycksformer tematiskt i en närläsning av romanen. Analysen relaterar vidare till andra valda litterära gestaltningar, som kan sättas i sammanhang med verket. Speciellt fokus läggs vid att kontextualisera känsligheten med hjälp av litterära såväl som filosofiska jämförelsepunkter. Uppsatsen argumenterar för att känsligheten fungerar som en central narrativ drivkraft och samtidigt som en funktion som upplöser det ”flanörideal” som inledningsvis gestaltas hos huvudpersonen Torsten Gjörloff. Detta mynnar ut i ett intressant motiv där ”hyperkänslighet” måste överfinnas för att det ska vara möjligt att relatera till och sympatisera med andra människor. För att belysa detta tema på djupet lånar denna uppsats in begrepp från Henri Bergson vars filosofi influerade Siwertz, och genom denna explikation blir känsligheten och överskridandet av den möjlig att begripa på ett nytt sätt. Uppsatsen avslutas med en reflektion över hur känsligheten kan relateras till vår samtid.

In this dissertation I examine a variety of modern and postmodern texts by applying the theories of French philosopher Henri Bergson. Specifically, I apply Bergson's theories of time, memory, and evolution to the texts in order to analyze the meaning of the poem and novels. I assert that all of the works disrupt conventional structure in order to question the linear nature of time. They do this because each must deal with the pressures of external chaos, and, as a result, they find timeless moments can create an internal resolution to the external chaos. I set out to create connections between British, Irish, and American literature, and I examine the influence each author has on others. The modern authors I examine include T. S. Eliot, James Joyce, Virginia Woolf, and William Faulkner. I then show the ways this application can elucidate the works of postmodern authors Toni Morrison and Michael Cunningham.

¿Es posible abordar cuestiones pictóricas en Kandinsky en función del tiempo más bien que del espacio?, ¿cómo puede el tiempo ser la medida de un trabajo de Kandinsky cuando lo pictórico se manifiesta básicamente por una extensión sobre un soporte material?En Cours du Bauhaus, una recopilación de anotaciones de Kandinsky, aparecen términos como origen, transformación, adaptación, movimiento, evolución, etc. Son conceptos extraídos de estudios y experimentos vinculados con las ciencias de la naturaleza. Kandinsky traslada los resultados de la experimentación sobre las transformaciones que se dan en los organismos vivos al trabajo pictórico. Manuscritos de Kandinsky publicados recientemente confirman su interés por las teorías evolucionistas. Kandinsky conocía los principios postulados por Darwin. Si bien parece que acepta la idea darwiniana de un antepasado común, en un texto de Punkt und Linie afirmará que las leyes que rigen las semejanzas formales en los seres vivos no son directamente aplicables al trabajo artístico.En una anotación de Cours du Bauhaus destaca la importancia del vitalismo, una doctrina que sostiene que los fenómenos vitales poseen un carácter singular y específico que les aleja de toda concepción que los reduce a fenómenos mecánicos o físico-químicos. La referencia bibliográfica de este apunte es Die Kultur der Gegenwart, la misma publicación de la que extrae algunos de los esquemas que aparecen en Punkt und Linie. Es la única vez que aparece el nombre de Henri Bergson en un texto de Kandinsky.Kandinsky elabora un sistema de representación a partir de unos escritos teóricos que ven en el cambio la realidad más profunda de las cosas, una gramática formal en la que la evolución de la forma sustituya a cada una de las formas realizadas una a continuación de otra, y en la que en el movimiento haya más que en las sucesivas posiciones de un móvil. La teoría darwiniana de la selección natural intentaba explicar la adaptación de las especies al medio. Kandinsky definirá unas leyes que regulen la adaptación de los elementos formales entre sí. Una forma es el resultado de una mutua adaptación entre lo material y lo psicológico. Kandinsky introduce en algunos de sus trabajos un artificio que suscita movimiento: el péndulo, un aparato que se adapta perfectamente a los mecanismos que nuestro intelecto usa para reproducir el movimiento. El péndulo se adecua al yo interior del observador, lugar donde se da el tiempo verdadero, nunca fuera de éste. El péndulo es, en el sistema kandinskyano, el elemento formal paradigmático del movimiento.La gramática kandinskyana no se basa en unas leyes que requieran un conocimiento previo. Los contornos de los elementos formales son lo suficientemente permeables para que nuestro yo inserte su acción y los modifique según sus necesidades. Kandinsky no pretende mostrarnos unos acontecimientos, sino que asistamos a ellos; no debemos observar algo que acontece delante nuestro, porque lo que acontece ante nosotros somos nosotros mismos. Presenciamos un balanceo entre dos extremos aparentemente opuestos; a continuación presenciamos el cambio, nos instalamos en el movimiento. Es el momento de la adaptación recíproca entre nuestro tiempo y el de la composición. El lenguaje kandinskyano, basado en la acción, se conjuga en presente.Concluiremos que dibujo de Kandinsky no es la representación de algo estable, sino una sucesión de vistas: el resultado de un esfuerzo para situarse en el devenir. Aunque estamos sobre un soporte material, las formas todavía no han perdido su contacto con el movimiento. Los elementos formales que percibimos se dan en el devenir. Son dibujos que se hunden más en una dimensión temporal que espacial: duran porque los hacemos durar en nuestra duración. Concluiremos, también, que Essai sur les données immédiates de la conscience, "Introduction à la métaphysique" y L'Évolution créatrice, escritos de Bergson, son fuentes primarias que configuran el trabajo de Kandinsky. / It is possible to raise pictorial questions in Kandinsky depending on the time rather than the space? How can time be the measure of a Kandinsky work when the pictorial becomes basically apparent by an extension on a material support?In Cours du Bauhaus, a compilation of Kandinsky notes, appear terms such origin, transformation, adaptation, movement, evolution, etc. There are concepts extracted from studies and experiments linked with natural sciences. Kandisnky transfers the results of the experimentation about transformations that arise in alive organisms in pictorial work. Kandinsky manuscripts recently published, confirm his interest about evolutionist theories. Kandinsky knew the principles proposed by Darwin. Although seems that he accepts the Darwinian idea of a common ancestor, in a text of Punkt und Linie will assert that laws that govern the formal similarities between living beings, are not directly applicable in artistic work. In a Cours du Bauhaus note emphasizes the importance of the vitalism, a doctrine that supports that vital phenomenons have a singular and specific character that moves away every conception that reduces to mechanical or physic-chemical phenomenons. The bibliographic reference of this note is Die Kultur der Gegenwart, the same publication of which he extracts some of the outlines that appear in Punkt und Linie. It is the only time that appears the name of Herni Bergson in a Kandinsky text.Kandinsky develops a representation system from a theoretical writings that see in the change the deeper reality of things, a formal grammar in which evolution form will substitute each forms made one following the other, and in which the movement has more than in the successive positions of a mobile. Darwinian natural selection theory, tried to explain species adaptation to environment. Kandisnky will define laws which will regulate adaptation between formal elements. One shape is the result of a mutual adaptation between the material and the psychological. Kandinsky introduces in some of his works a device that causes movement: the pendulum, a device that fits perfectly to the mechanisms that our intellect uses to reproduce movement. The pendulum is adapted to the observer's interior self, a place where the given time is true, never outside this one. The pendulum is in the Kandinskyan system, the paradigmatic formal element of the movement.Kandinskyan grammar is not based in laws that require a previous knowledge. The outlines of the formal elements are enough permeable to make one self insert its action and modify it according to his needs. Kandinsky does not pretend to show us some events but to attend them; we do not have to observe something that happens in front of us, because what happens in front of us is ourselves. We witness a swing between two ends apparently opposites, then we witness the change, we are in the movement. Is the moment of the reciprocal adaptation between our and the composition time. Kandinskyan language, based on the action, combines in present.We will conclude saying that a Kandinsky drawing is not a representation of something steady but a views succession: the result of an effort placed in the future. Although we are on a material support, the shapes had not lost their contact with movement yet. The formal elements we perceive are given in the future. Are drawings that sink in a temporal dimension rather than a space dimension: they last because we make them last in our duration. We will end also saying: Essai sur les données immédiates de la conscience, "Introduction à la métaphysisque" and L'Évolution créatice, Bergson documents, are primary sources that configure Kandinsky work.

Lo studio effettuato sulle carte di Ungaretti critico e docente universitario ha permesso di evidenziare l'evoluzione dei concetti di memoria e di innocenza e di far emergere alcune basi teoriche della nozione di memoria, elaborate nel corso degli anni Trenta. L’approfondimento della conoscenza di Bergson, Agostino e Vico, infatti, rendono il concetto di memoria sempre più articolato, ampliandone i confini. L’indagine ha inoltre portato alla luce il debito che l’attività critica di Ungaretti ha con le teorie di Giambattista Vico, conosciuto quasi certamente tramite gli animatori de «La Voce», ma poi studiato quale fonte, indiretta, della poetica leopardiana. Sono le teorie vichiane ha suggerire a Ungaretti il ruolo fondamentale della fantasia nella creazione artistica, ruolo che svolge coadiuvando la memoria. Nella Scienza Nuova infatti fantasia e memoria sono sempre associate. Anche in Ungaretti questa associazione, una volta istituita, resiste nel tempo e, nel periodo in cui la suggestione vichiana è più intensa, la fantasia sembra sostituire l’innocenza. Ungaretti si interessa di Vico anche perché il filosofo che pone grande attenzione alla questione delle origini dell’umanità. Un tema imprescindibile per chi, come Ungaretti, fa dell’innocenza primigenia un obiettivo artistico ed umano da raggiungere, tramite la memoria. / The aim of this essay is investigate the evolution of ideas like memory and innocence in Ungaretti's critical writings. These ideas were influenced from studies on Bergson, Agostino e Vico' philosophical teories during the Thirties in Brazil. Thanks to these investigations Ungaretti can wide the bounds of those concepts. Particularly important was Vico's influence and the association introduced between memory and imagination by the neapolitan philosopher in his most important work, the Scienza Nuova. Furthermore, Ungaretti is interested in Vico's humankind origins theory, a fundamental topic for who, like the italian poet, set the idea of archetypical innocence as a human and artistic target attainable by memory.

This MA thesis seeks to apply Henri Bergson’s theory of time to a reading of F. Scott Fitzgerald’s “The Curious Case of Benjamin Button,” and David Fincher’s film adaptation of the text, The Curious Case of Benjamin Button. By applying Bergson’s notions of durée and simultaneity, timeless moments will be seen to emerge in the text and the film. I place Fitzgerald’s text in context with other seminal modernist works in order to provide a study of the importance of the story within its time period. Through Deleuze’s application of Bergson to cinema, I analyze the evolution of the time-image within Fincher’s film, and place it within the context of a cinema of time. Ultimately, this thesis begins a discussion of the importance of how F. Scott Fitzgerald and Fincher’s works contribute meditations on time in their respective time periods and media.