I den här uppsatsen, vilken är skriven som en vetenskaplig essä, undersöker jag konstnärens praktiska kunskap med utgångspunkt i en situation där jag målar. Vad jag intresserar mig för är hur tänkandet påverkar den kroppsliga handlingen. Henri Bergson, Erich Fromm och japansk zenbuddhism är perspektiv jag använt mig av för att titta närmare på temat. Fromm har synliggjort att kärlek är en attityd som innebär att jag är koncentrerad i mötet med andra. Att kunna vara koncentrerad och att kunna älska ändamålsenligt är liktydigt. För att undvika plagiera mina tidigare arbeten behöver jag älska att arbeta. Bergson har visat att intuition och intellekt är två medvetandeformer jag kan agera utifrån och erfara verkligheten på. Två former av kunskap. Om jag planerar vad jag ska måla utgår jag från intellektet och hämmar mitt arbete. Utgår jag istället från intuition låter jag nuet tillföra arbetet något nytt. Vad zen påvisat och betonat, är att mitt beteende indikerar huruvida jag är närvarande eller inte. Att praktiskt öva på att vara närvarande i nuet möjliggör att du kan reagera spontant på verkligheten istället för att planera ditt agerande. De teoretiska perspektiven enas kring vikten av närvaro i nuet. Men också att det viktiga inte är att välja det ena eller andra. Vad som är väsentligt är både och. Mötet mellan mig och andra. Intuition och intellekt. Samt ett beteende som reagerar spontant och planerar. Vad som framkommit genom essän är att det råder en obalans mellan kunskapsformerna intellekt och intuition i en västerländsk kontext. En summerande fråga essän ställer är: vad innebär det för människan som biologisk varelse om ett naturligt sätt att erfara verkligheten på, inte bejakas? / In this essay, which is written as a scientific essay, I examine the artist's practical knowledge based on a situation where I paint. What I am interested in is how thinking affects bodily action. Henri Bergson, Erich Fromm and Japanese Zen Buddhism are perspectives I use to survey the theme. Fromm has made clear, that love is an attitude that means I am concentrated in the meeting with others. Being able to concentrate and the ability to make love an end in itself, is synonymous. To avoid plagiarizing previous work, I need to love working. Bergson has shown that intuition and intellect are two forms of consciousness and fundamental in the experience of reality. Two forms of knowledge. If I plan what I am going to paint, my point of departure is the intellect which inhibit the work. If I instead start from intuition, I let the present time add something new to the work. What Zen has shown and emphasized, is that my behavior indicate whether I am present or not. Practically practicing being present enables you to react spontaneously on reality instead of planning your actions. The theoretical perspectives agree on the importance of being present. And also, what is important is not to choose one or the other. What is essential is both. The meeting between me and others. Intuition and intellect. As well as a behavior that reacts spontaneously and plans. What the essay has shown is that there is an imbalance between the two forms of knowledge, intellect and intuition, in a Western context. A summary question the essay asks is: what impact does it have on man as a biological being if a natural way of experiencing life, is not affirmed?

This thesis re-examines Shakespeare’s creation of tragic character through the concept of ‘arrivals’. What arrives is not an ‘individual’ but what I call a ‘subject’, which is a diffused dramatic process of arriving, rather than a self-contained entity that arrives in a final form. Not all characters are ‘subjects’. A subject only arrives through dramatic ‘events’ that rupture the existing structures of the play-world and the play-text. The generators of these irruptions are found equally in the happenings of plot and in changes of poetic intensity and form. The ‘subject’ is thus a supra- individual irruption that configures new forms of language, structure, and action. Accordingly, I explain why scrupulous historicism’s need for nameable continuums is incommensurate to the irruptive quality of Shakespearean character. The concepts of ‘process’, ‘subject’ and ‘event’ are informed by a variety of thinkers, most notably the contemporary French philosopher Alain Badiou. Badiou develops an ‘evental’ model of subjectivity in which the subject emerges in fidelity to a ‘truth- event’, which breaks into a situation from its ‘void’. Also important is the process- orientated philosophy of Bergson and Whitehead, which stresses that an entity is not a stable substance but a process of becoming. The underlying connection between the philosophers I embrace – also including the likes of Žižek, Kierkegaard, Latour, Benjamin, and Christian thinkers such as Saint Paul and Luther – is that they establish a creative alternative to the deadlock between treating the subject as either a stable substance (humanism) or a decentred product of its place in the world (postmodernism). The subject is not a pre-existing entity but something that comes to be. It is not reducible to its cultural and linguistic circumstances but is precisely what exceeds those circumstances. Such an excessive creativity is what gives rise to Shakespeare’s subjects and, I argue, underpins the continuing force of his drama. But it also produces profound dangers. In Shakespeare, ‘events’ consistently expose subjects to uncertainty, catastrophe, and horror. And these dangers imperil both the subject and the relationship between Shakespeare and the affirmative philosophy of the event.

Made available in DSpace on 2016-04-27T17:27:30Z (GMT). No. of bitstreams: 1 Estela Sahm.pdf: 529209 bytes, checksum: 94115dcf24afc4d0312db41ac8c9ca92 (MD5) Previous issue date: 2009-10-21 / The purpose of this work is to bring, face to face, some of the main theories of Bergson s philosophy and Proust s novel Remembrance of things past . Therefore, we will resort to remarks made by some of their researchers, with whom we shall establish some dialogue. Considering that philosophy and literature are two different forms of expressing idea, this work also try to research for their sources, and for the distance that was suposelly established between them. In philosophy prevails the language of concepts, as well as in literature prevails the language of metaphor. We shall verify how different forms of expressing idea can get close and at the same time be enlightened, one by the other. Chapter I will be dedicated to explore some of Bergson s main concepts, followed by some supporting comments of his researchers. Chapter II analyses Proust s novel, specially considering the possible contacts with Bergson s ideas, such as memory, time, intuition, just to name some of them. Also in this case, followed by comments from some of Proust s researchers. Finally chapter III, where we shall observe the historical reasons that brought to the distinction between writen texts of different purposes, and also where we shall find what in fact can be considered the smallest distance between the ideas of both Bergson and Proust / O trabalho tem por intuito fazer o confronto entre algumas teorias da filosofia de Bergson e a obra literária de Proust Em busca do tempo perdido . Para tanto, recorre a alguns comentadores de ambas as obras, com os quais estabelece diálogos. Por se tratar de discursos de finalidades e gêneros distintos, a saber, o filosófico e o literário, o trabalho pesquisa também as origens de cada um deles, e a suposta distância que se estabeleceu entre os mesmos. No discurso filosófico, prevalece uma linguagem conceitual, enquanto que no discurso literário prevalece a linguagem metafórica, pautada pelas imagens; teremos a oportunidade de verificar de que maneira estas diferentes formas de expressar pensamento podem se aproximar e se iluminarem mutuamente. Assim, no capítulo I, o trabalho se detém sobre algumas idéias fundamentais do pensamento de Bergson, acompanhadas de alguns de seus comentadores; no capítulo II, analisa e comenta passagens significativas do romance proustiano, sobretudo tendo em vista a aproximação com alguns conceitos de Bergson, a saber, memória, duração e intuição; também neste caso, as observações serão acompanhadas dos comentários de alguns estudiosos da obra de Proust. E finalmente, no capítulo III, o trabalho busca aprofundar as questões relativas às separações estabelecidas historicamente entre os discursos ditos filosófico e literário, onde encontra as aproximações que julga possíveis entre as obras de Bergson e de Proust

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Thesis (MPhil)--Stellenbosch University, 2005. / ENGLISH ABSTRACT: The focus in this thesis is on sensemaking in organisations and the aim was to offer an interpretation of the thought of Karl E. Weick. The interpretation subsequently consists of a description and discussion of concepts, underlying theories and paradigmatic perspectives that are integrated into and deployed in Weick's sensemaking framework. After a description and definition of sensemaking terms and concepts, it is argued that a process cosmology forms the ground theory in Weick's sensemaking framework. In order to elucidate this interpretation, the organic model of the world of Bergson and Whitehead is introduced. Special attention is given to pragmatism's underlying process ontology and themes which social consructionism, symbolic interactionism and ethnomethodology share in common with pragmatism. The aim is to show how these perspectives and themes are taken up in Weick's sensemaking in organisations and organisational theory. A failure to make sense is both consequential and existential. This aspect of Weick's thought is discussed in the context of Bergson's process cosmology. It is followed by a description and discussion of Weick's use of systems theory with special attention given to Weick's concept of 'enactment' . How and why does an organisation becomes what it becomes? This question is addressed in the context of a description and discussion of complexity theory. A core concept in both complexity theory and Weick's thought is self-organisation. The aim is to show how sense making appears on systems level. Finally, this thesis attempts to addresses the question of the relationship between organisation and organising and how both terms is to be understood in terms of Weick's ontological view of the world. This aim is to show that Weick's understanding of "the" organisation (noun) can be conceived of as an abstraction and organisation (verb - 'organising') in terms of relating and as process in becoming and how he thereby gives social construction an ontological twist. The conclusion reached is that, in the type of world Weick describes, it makes sense to make sense. / AFRIKAANSE OPSOMMING: Hierdie tesis fokus op 'sensemaking' in organisasies - om die dubbelsinnige, onduidelike en onverwagse meer duidelik, begryplik and redelik te maak vir persone om te weet wat besig is om te gebeur en gepaste aksies te neem. Die doel was derhalwe 'n interpretasie van die denke van Karl E. Weick. Die interpretasie omvat gevolglik 'n beskrywing en bespreking van konsepte, teorieë en paradigmatiese perspektiewe wat Weick in sy sensemaking raamwerk integreer en ontplooi. Ná 'n definiëring en beskrywing van terme en konsepte word geargumenteer dat 'n proses beskouing van die werklikheid Weick se sensemaking raamwerk onderlê. Hierdie interpretasie word toegelig met 'n bespreking en beskrywing van die organiese model van Bergson en Whitehead, sowel as die proses ontologie onderliggend aan pragmatisme. Gevolglik kom pragmatisme, sosiale konstruksionisme, simboliese interaksionisme en etnometodologie aan die orde. Verskeie temas word beskryf en bespreek in die konteks van sensemaking en organisasie-teorie. 'n Mislukking in sensemaking het newe gevolge en is dit ook eksistensieël van aard. Hierdie aspek van Weick se denke word beskryf en bespreek in die konteks van Bergson se proses kosmologie en word die interpretasie opgevolg met 'n bespreking van sisteem-teorie. Hoe en waarom verander organisasies wanneer hulle verander? Die antwoord op hierdie vraag kom aan die orde in die konteks van 'n bespreking van kompleksiteits-teorie. 'n Kern konsep in beide Weick se sensemaking en kompleksiteits-teorie is self-organisasie. 'n Baie belangrike doel is om aan te dui hoe sensemaking voorkom en plaasvind op sisteem-vlak. Ten slotte poog die tesis om die verband tussen organisasie en organisering in Weick se denke meer verstaanbaar te maak. Die argument hier is dat Weick se verstaan van "die" organisasie (selfstandige naamwoord) as 'n abstraksie en organisasie (werkwoord) in terme van relasies en proses in wording geïnterpreteer kan word, en Weick sodoende 'n ontologiese kinkel in die verstaan van sosiale konstruksionisme teweeg bring. Die slotsom tot waartoe in hierdie studie gekom word is dat, in die wêreld wat Weick beskryf, maak dit 'sense' om 'sense' te maak.

Concept éminemment polysémique, le sens commun a été déprécié par un vaste pan de la philosophie occidentale, qui y a vu au mieux l’expression de croyances infondées, au pire la manifestation de croyances erronées et naïves. Là où bon nombre de commentateurs ont repéré dans les pensées mêmes d’Henri Bergson, Stanley Cavell et Gilles Deleuze, trois grandes figures de la philosophie du cinéma, des critiques adressées au sens commun, nous nous efforçons ici de tirer au clair la conception positive qu’ils développent de cette notion, en dépit des soupçons occasionnels qu’ils font peser sur elle. Plus précisément, nous tâchons d’expliquer jusqu’à quel point certaines acceptions du sens commun permettent de satisfaire l’ambition de connaître le réel lui-même. En premier lieu, nous passons en revue l’argumentation élaborée par certains réalistes spéculatifs (en particulier Quentin Meillassoux et Graham Harman) afin de clarifier d’une part des réflexions qui feront l’objet de discussions et de répliques dans les chapitres subséquents et, d’autre part, de montrer que la dépréciation philosophique du sens commun se prolonge jusque dans les débats les plus actuels sur l’objectivité. Nous faisons ressortir par la suite les angles sous lesquels le sens commun est susceptible de nous rapprocher du réel d’après Bergson, Cavell et Deleuze. En second lieu, nous entrons de plain-pied dans le domaine du cinéma et examinons en quoi différentes œuvres du renouveau du cinéma québécois (Denis Côté, Stéphane Lafleur, Sébastien Pilote, Rafaël Ouellet, Xavier Dolan, Anne Émond, Rodrigue Jean, le collectif Épopée, Mathieu Denis et Simon Lavoie) viennent à leur manière compléter, radicaliser ou critiquer les réflexions développées dans la première partie autour du sens commun et du réel. À l’encontre de ceux qui qualifient ces œuvres de « mimétiques », « peu songées » et « esthétisantes », nous mettons donc en évidence la façon dont ces films, attentifs à la profondeur de l’expérience ordinaire et à l’exigence de trouver un certain équilibre entre le devenir incessant et la stabilité constante, parviennent à nuancer et à raffiner la philosophie. / The eminently polysemic concept of common sense was depreciated by a vast segment of Western philosophy, which saw at best in it the expression of unwarranted beliefs, at worst the manifestation of erroneous and naïve beliefs. Where many commentators have pinpointed critiques of common sense in the thoughts of Henri Bergson, Stanley Cavell and Gilles Deleuze, three prominent figures of the philosophy of cinema, we strive here to bring out the positive conception they develop of that concept, notwithstanding the occasional suspicion they may cast on it. To put it in more precise terms, we seek to explain to what extent certain meanings of common sense are apt to satisfy the ambition of knowing reality itself. In the first place, we review the argument elaborated by certain speculative realists (specifically Quentin Meillassoux and Graham Harman) in order to clarify, on the one hand, reflections which will be the object of discussions and replies in the subsequent chapters, and, on the other hand, to show that the philosophical depreciation of common sense goes on even in the most contemporary debates on objectivity. We then bring out the angles under which, according to Bergson, Cavell and Deleuze, common sense is apt to bring us closer to reality itself. In the second place, we enter fully into the field of cinema and examine in what way different works associated with the revival of Quebec cinema (Denis Côté, Stéphane Lafleur, Sébastien Pilote, Rafaël Ouellet, Xavier Dolan, Anne Émond, Rodrigue Jean, the collective Épopée, Mathieu Denis and Simon Lavoie) end up completing, radicalizing or criticizing in their way the reflections developed in the first part around common sense and the real. In opposition to those who characterize those works as « mimetic », « thoughtless » and « aestheticizing », we thus bring to the fore the way in which those films, paying attention to the depth of ordinary experience and to the requirement of finding a certain balance between incessant becoming and constant stability, do succeed in nuancing and refining philosophy.

Made available in DSpace on 2016-06-02T20:12:19Z (GMT). No. of bitstreams: 1 5828.pdf: 2496406 bytes, checksum: 9143ce3438ab9e77458138567c457e11 (MD5) Previous issue date: 2013-12-20 / Universidade Federal de Minas Gerais / Nous proposons une lecture de certains aspects des deux pensées de Deleuze et de Bergson, ainsi que de leur rapport, à la lumière du problème de l instauration philosophie. Il s agit de dramatiser une dispute entre les deux philosophes qui s exprime à travers une divergence entre deux problèmes. D un côté, le problème principiel par lequel Bergson aurait entreprit la restauration de l ontologie, en substituant au principe figé, éternel et transcendant de la metaphysique grecque, le principe mouvant, temporel et immanent d une métaphysique renouvellée. D un autre côté, le problème pratique par lequel Deleuze rend à la philosophie sa puissance instaurative, en ressonance avec d autres pratiques (art, sciences, droit, etc.). Il en découle deux performances ou deux modes de fonctionnement divers de la machine à penser : la spéculation et l instauration. Si nous comprénons la pensée dans son rapport de tension avec le chaos, sa performance spéculative cherche à s‟en protéger à travers un principe. La performance instaurative exige la plongée de la pensée dans le chaos pour y tracer plan qui se tient dans une station athlétique, irréductible aux opinions, inattribuable à un principe. Ce n est qu à cette condition que la pensée fait oeuvre. Finallement, en impliquant des rapports non seulement avec les champs physique, organique et psycho-sociaux, mas avec la Terre, notre analyse devient géophilosophique et opère un décentrement qui doit la conduire, par delà les deux marges de la philosophie, la Grèce (forme du passé) et l Occident (forme du présent), à une troisième marge : instauration de l Île-Brésil (forme du futur). / Propomos uma leitura de certos aspectos dos pensamentos de G. Deleuze e de H. Bergson, assim como de sua relação, a partir da noção de instauração filosófica. Trata-se de dramatizar uma disputa, entre os dois filósofos, capaz de se exprimir através da divergência entre dois problemas. De um lado, o problema principial pelo qual Bergson teria empreendido a restauração da ontologia, substituindo ao princípio fixo, eterno e transcendente, da metafísica grega, o princípio movente, temporal e imanente de uma metafísica renovada. De outro lado, o problema prático pelo qual Deleuze devolve à filosofia sua potência instauradora, em ressonância com outras práticas (arte, ciências, direito, etc.). Deles decorrem duas performances ou dois modos de funcionamento da máquina de pensar: a especulação e a instauração. Se compreendermos o pensamento em sua relação de tensão com o caos, sua performance especulativa procura protegê-lo deste último através de um princípio. A performance instauradora exige o mergulho no caos para nele traçar um plano que se mantenha numa estação atlética, irredutível às opiniões, inatribuível a um princípio. Não é senão sob essa última condição que o pensamento faz obra. Finalmente, implicando relações não somente com os campos físico, biológico e psicossocial, mas com a Terra, nossa análise torna-se geo-filosófica e opera um de-centramento que deve conduzí-la, para além das duas margens da filosofia, ou seja, a Grécia (forma do passado) e o Ocidente (forma do presente), à uma terceira margem : a instauração da Ilha-Brasil (forma do futuro).

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The research called Snapshots Fragments; a study of Bergsonian cinematographic mechanism in the Marcel Duchamp´s painting Nude Descending a Staircase, is based in arts and reflections in which paint is performed a study of the cinematic mechanism concept from the philosopher, Henri Bergson. The research starts from the questions about wich intersection point can exist between an art work and a philosophical concept, that were deeply relevant and fruitful in modernity with contemporary developments in both discussions: arts and philosophy. In other words, this work was done intending to find similarities and differences between Duchamp\'s painting and Bergson´s concept. The research was developed aiming to enable the dialogue establishment between art and philosophy, given through an element that would be the embrace of both: the movie. / A pesquisa intitulada Fragmentos instantâneos, um estudo do mecanismo cinematográfico bergsoniano na pintura Nu descendo uma escada de Marcel Duchamp, trata-se de uma pesquisa em fundamentos e reflexões em artes, no qual são realizados estudos da pintura Nu descendo uma escada , de Marcel Duchamp, e do conceito de mecanismo cinematográfico, do filósofo Henri Bergson. A pesquisa inicia-se a partir dos questionamentos sobre a possibilidade de haver um ponto de intersecção entre um trabalho em arte e um conceito filosófico, os quais foram profundamente relevantes na modernidade e profícuos de desdobramentos na contemporaneidade e, nas discussões tanto no campo das artes, quanto na filosofia. Em outras palavras este trabalho foi realizado objetivando-se verificar em quais aspectos há convergências e divergências entre a pintura de Duchamp e o conceito de Bergson. A pesquisa foi realizada visando possibilitar a instauração de um diálogo entre arte e filosofia, dado através de um elemento que seria o amplexo de ambos, o cinema. / Mestre em Artes

フランスの音楽美学者であるジゼル・ブルレ(Gisèle Brelet, 1915-1973)の研究を行った。本論文の第一部においてはブルレの著作Le temps musical - essai d’une esthétique nouvelle de la musique(Paris, 1949)を中心に内在的考察を行い、第二部においては、フーゴー・リーマン (Hugo Riemann, 1849 - 1919)とエドゥアルト・ハンスリック(Eduard Hanslick, 1825-1904)との比較を通じてブルレ美学の歴史的な位置づけについて考察している。 / 博士(芸術学) / Doctor of Philosophy in Art Theory / 同志社大学 / Doshisha University