Na estrada, pegadas sugerem passos e descompassos de andarilhos de diferentes tribos. Por toda parte, pisadas: rastejantes, superficiais, firmes, a-fundadas, dançarinas, crianceiras e até rasuradas. A diagramação é a máquina que captura as relações de forças e ressalta, no percurso e no percorrido, linhas, fluxos e composições. Da vida, lampejos de pensamentos desgarram-se. Dos pensamentos, possibilidades de vida desprendem-se. É nesse ponto que a experimentação suscita outros modos de pensamento e desencadeia novas maneiras de viver. É por essa conjugação com a vida que os signos se dão à sensibilidade e coagem-na a sentir. A agressão inicial repercute: leva a memória a aprender um imemorial, a fabular um por vir e a resistir ao presente; introduz o tempo no pensamento e o desafia a pensar o impensado. À vista disso, a aprendizagem conduz as faculdades ao exercício transcendente e requer uma educação voltada para a emissão e a exploração dos signos. Da conexão entre educação, crianceiria e filosofia, forças são duplicadas e devires precipitados.

Orientador: Luiz Benedicto Lacerda Orlandi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T08:02:24Z (GMT). No. of bitstreams: 1 Santos_MariaFernandados_M.pdf: 943589 bytes, checksum: 30ddff20cfe0342b4d86cdede4bbc224 (MD5) Previous issue date: 2014 / Resumo: Esta dissertação pretende apresentar um estudo de conceitos bergsonianos distribuídos ao longo do Ensaio e Matéria e Memória observando seus campos problemáticos expressos nas próprias obras. Campos que oscilam entre epistemologia e metafísica e que recorrem a um método problematizante. Ao mesmo tempo este estudo explora a perspectiva deleuziana em seu trabalho monográfico sobre Bergson. Perspectiva esta que oferece uma visão privilegiada no exame de um bergsonismo em expansão. Multiplicidade, movimento e matéria são noções que aparecem sucessivamente na passagem do Ensaio o livro seguinte, e que muito embora procuremos respeitar a ordem de aparição dessas noções não pretendemos estabelecer uma sequência logicamente definida. Observamos simplesmente que essa tríade poderá facilitar a compreensão de cada um dos termos / Abstract: This dissertation aims to present a study of bergsonian concepts distributed over Essay and Matter and Memory observing their problematic fields expressed in the works themselves. Fields ranging from metaphysics and epistemology, and resorting to a problematizing method. While this study explores the Deleuzian perspective in his monograph on Bergson. This perspective offers an insider's view on the examination of a bergsonism expanding. Multiplicity, movement and matter are notions that appear successively in Essay for next book and although we seek to respect the order of appearance of these notions we do not intend establish a logically defined sequence. We note simply that this triad may facilitate the understanding of each of the terms / Mestrado / Filosofia / Mestra em Filosofia

This dissertation applies philosopher Henri Bergson's methodology and his ideas of duration and creativity to the definitional problem of art, particularly as formulated within analytic aesthetics. In mid-20th century, analytic aesthetics rejected essentialist definitions of art, but within a decade, two predominant definitions of art emerged as answers to the anti-essentialism of the decade prior: functionalism and proceduralism. These two definitions define art, respectively, in terms of the purpose that art serves and in terms of the conventions in place that confer the status of art onto artifacts. Despite other important definitions (including historical and intentionalist definitions), much of the literature in the analytic field of aesthetics center on the functional/procedural dichotomy, and this dichotomy is an exclusive one insofar as the two definitions appear incompatible with each other when it comes to art. I use Bergson's methodology to demonstrate that the tension between functionalism and proceduralism is an artificial one. In turn, abandoning the strict dichotomy between these two definitions of art opens the way for a more fluid conception of art. Using Bergson's application of duration and creativity to problems of laughter and morality, I draw parallels to what a Bergsonian characterization would entail.

No description available.

Les difficultés métaphysiques soulevées par le dualisme d'une réalité présentant deux aspects spirituel et matériel, de même que le problème de !'Evolution universelle qui implique l'existence d'une force créatrice et d'une mémoire, trouvent dans la philosophie d'Henri Bergson des solutions qui s'élaborent à partir du concept fondamental de cette philosophie à savoir, l'intuition de la durée. C'est en effet par ce regard métaphysique de la durée que nous sommes en mesure d'établir la modalité des rapports entre l'intuition et l'analyse; entre l'âme et le corps; et enfin entre l'évolution et ses phénomènes dans la nature.

Ce travail porte sur le concept de création chez Bergson appliqué à l'art. Pour comprendre véritablement de quoi il s'agit, on explique l'avènement de ce thème à travers d'abord l'acte libre qui est abordé dès le premier livre de Bergson. L'ensemble de la démarche théorique de Bergson s'appuie sur une conception du temps différente de l'espace, soit un temps vécu, qualitatif que l'on exprime par le concept de durée. C'est la durée qui nous fait repenser l'acte libre en soulignant le danger d'une représentation spatiale d'une décision à venir, comme s'il fallait cristalliser toute décision dans un instant après une délibération précise. L'acte libre prend bien racine dans le passé, mais elle apporte du nouveau, de l'inédit qui nous change et nous transforme. L'individu après l'acte libre n'est plus le même, un nouveau mouvement s'y est intégré : il s'est créé au passage. De l'acte libre on passe à la création comme telle avec l'apport de nouveaux développements chez Bergson, notamment par une précision entre la direction de la matière qu'on associe aux mécanismes et la direction de la vie qui exprime la spontanéité, l'activité et la création. Le terme de direction est bien choisi, car on tente moins de voir deux choses que deux tendances opposées dans la vie, l'une appuyant sur l'endormissement et la sécurité, l'autre appuyant sur l'activité et ultimement. la création. On applique ces développements à l'art en se figurant deux tendances : l'une menant vers un art technique qui se résume à une recette impersonnelle, l'autre menant vers l'art du génie personnel, empreint d'une émotion vivante et créatrice. Finalement, on examine chacun des arts en partant de celui dont le médium est de part en part temporel, la musique, à l'art solide de grande échelle qu'est l'architecture. Les médiums de chaque art ont des caractéristiques qui en orientent la création. La notion de rythme, qui rappelle la durée, est fondamentale en musique, en poésie, au théâtre et à la littérature et même, jusqu'à un certain point dans l'architecture. Certains arts ont en outre la capacité de dire, de développer des idées. Ce n'est point un détail insignifiant, car le message a l'avantage d'être plus accessible, mais on y perd un peu la capacité à répéter, à rythmer en répétant. Dans tous les cas. l'art semble bien être inépuisable tout comme la vie.

Most research into Bergson's influence to date has failed to take enough account of the philosopher's interest in the spiritual of meta-physical dimension of life. In seeking to interpret Bergson's thought many have focused upon 'la durée réelle' or 'l'élan vital' as the key concepts in his whole philosophy. If, instead, one were to begin with Bergson's main continuing preoccupation at first inchoate and only later more fully developed with spiritual activity in life, then the whole philosophy hangs together as a tapestry of one harmonious piece. Not only can it be clearly seen why Bergson opposes Kant and the positivists so vehemently, but it can also be understood why he eventually set his sights upon The two sources of morality and religion. In the eyes of many critics this work, far from completing a natural progression of thought, stands outside the main body of work as something ill-fitting and almost cavalier. This thesis attempts to redress the balance by demonstrating how the spiritual and religious interpretation of life is central to Bergson's thought. Having established this, I have assumed it likely that a lively Catholic interest in Bergson is something quite logical and natural. This proved to be the case. After all, the Catholics in France stood to gain or lose most by the introduction in intellectural circles of a new philosophical 'spiritualism'. They would obviously themselves have a vested interest in the discrediting of materialist and positivist philosophies. However, scholars have not seen the connection between Bergson and Christian thought very clearly and no detailed research into this particular field has been undertaken. I have consequently attempted to review both the general field of Catholic reactions in a largely chronological way and also the detailed ways in which Bergson's thought had on impact upon Catholic writers. My main conclusion from this research is that Bergson's work lent itself to adaptation and alteration to something more orthodox in Catholic terms. However it was some time before it was viewed in a favourable enough light for anything like this to be attempted. Much prejudice and misinterpretation surrounded Bergson for some years. Eventually, however, his theories made deep inroads into the mainstream of Catholic thought. His theories of perception and intuition, of movement and change, of static and dynamic religion, helped bring about a significant change in the development of twentieth century religious thought.

A partir de uma de uma atividade denominada “Dinâmica das Cartas”, o autor convidou seus estudantes do Ensino Médio a escreverem cartas para si mesmos a serem recebidas cinco anos depois. Após esse período, conforme o combinado, tais cartas foram remetidas de volta aos seus autores pelo correio e houve um reencontro com todos os participantes. Trinta e oito voluntários aceitaram o convite do autor e continuaram um processo de aprofundamento de reflexões sobre a Dinâmica das Cartas por meio de e-mails, cartas e encontros presenciais. O produto desse processo foi analisado pelo autor a partir da obra de Henri Bergson, de maneira especial, por meio dos conceitos de intuição, memória, duração e experiência integral. Constatou-se que, sustentada pela amizade, as experiências escolares podem envolver a inteligência e a intuição, mediante um misto de processos da mente e da memória, que podem se entrelaçar em experiências integrais. Por fim, ao verificarmos que a intuição é o fio metodológico capaz de, em complemento à inteligência, transformar as vivências educativas em experiências integrais, apontamos a necessidade de se organizar pressupostos mais consistentes para uma Pedagogia da Intuição. / From an activity called a "Dynamics of Letters", the author invited his high school students to write letters to themselves to be received five years later. After this period, as agreed, such letters were sent back to their authors by mail and there was a meeting with all participants. Thirty-eight volunteers accepted the invitation of the author and continued a process of deepening reflection on the dynamics of letters through e-mails, letters and meetings. The product of this process was analyzed by the author based on work of Henri Bergson, especially, through the concepts of intuition, memory, duration and integral experience. Thus, we conclude that through friendship, the dynamics of the Letters was formed as an integral experience. We see through this dynamic that the school experiences may involve intelligence and intuition, through a combination of processes of the mind and memory, which can be interwoven through the integral experiences. Finally, to verify that intuition is the thread methodological able to, in addition to intelligence, transform the educational experiences in integral experiences, highlighting the need to organize more consistent fundamentals for a Pedagogy of Intuition.

A dissertação apresenta rastros de um percurso filosófico e suas crises. Crises entendidas no sentido de um gesto criador, que leva o filósofo, no caso Henri Bergson, a passar de um conceito a outro. Da memória à fabulação é todo um plano de pensamento original que se insinua, suscitando uma nova modalidade de cálculo dos problemas filosóficos envolvidos no encontro radical entre a teoria do conhecimento, a metafísica e a experiência. Situada diante deste novo cálculo como um aluno que postado em frente a um quadro negro com alguns rabiscos começa a explorar o mundo estranho que se abre, a escrita da dissertação procura realizar aproximações problemáticas, entradas e saídas sinuosas, cujo objetivo é tensionar os limites éticos e estéticos da discursividade atual do ensino de História. Procura, ainda, ler Bergson ao modo de Deleuze, descolando a história da filosofia da sua mortalha museológica para apresentar-lhe de modo contemporâneo, intempestivo. Do ponto de vista de um virtualismo bergsoniano, postula um ensino menos afeito às estruturas significantes atuais e mais próximo de uma política expressiva aberta à expansão dos limites da significação. / This dissertation presents a trail of traces from a philosofical path and its crisis. Crisis interpreted as a 'gesture of creation', that takes the philosopher, in this case Henri Bergson, from one concept to another. From memory to fabulation it is a whole new plan of original thought that insinuates itself, bringing about a new modality of calculation to philosophical problems involved in the radical encounter of the Theory of Knowledge, the Metaphysics and the experience. Situated before this new modality of calculation like a student who stands in front of a blackboard drawing scribbles starts to explore and open up a new world, the writing of this dissertation aims to acomplish problematic approaches, winding inputs and outputs, whose objectives are to tension the ethical and aesthetical limits of the current historical discursivity used in the teaching of history. Furthermore, it intends to show and read Bergson through Deleuzes way, separating the history of philosophy from its museological shroud to present it in a sudden contemporary manner. From a bergsonian virtualism point of view, it postulates an education less wonted to current significant structures and closer to an expressive policy open to the expansion of signification limits.

A partir de uma de uma atividade denominada “Dinâmica das Cartas”, o autor convidou seus estudantes do Ensino Médio a escreverem cartas para si mesmos a serem recebidas cinco anos depois. Após esse período, conforme o combinado, tais cartas foram remetidas de volta aos seus autores pelo correio e houve um reencontro com todos os participantes. Trinta e oito voluntários aceitaram o convite do autor e continuaram um processo de aprofundamento de reflexões sobre a Dinâmica das Cartas por meio de e-mails, cartas e encontros presenciais. O produto desse processo foi analisado pelo autor a partir da obra de Henri Bergson, de maneira especial, por meio dos conceitos de intuição, memória, duração e experiência integral. Constatou-se que, sustentada pela amizade, as experiências escolares podem envolver a inteligência e a intuição, mediante um misto de processos da mente e da memória, que podem se entrelaçar em experiências integrais. Por fim, ao verificarmos que a intuição é o fio metodológico capaz de, em complemento à inteligência, transformar as vivências educativas em experiências integrais, apontamos a necessidade de se organizar pressupostos mais consistentes para uma Pedagogia da Intuição. / From an activity called a "Dynamics of Letters", the author invited his high school students to write letters to themselves to be received five years later. After this period, as agreed, such letters were sent back to their authors by mail and there was a meeting with all participants. Thirty-eight volunteers accepted the invitation of the author and continued a process of deepening reflection on the dynamics of letters through e-mails, letters and meetings. The product of this process was analyzed by the author based on work of Henri Bergson, especially, through the concepts of intuition, memory, duration and integral experience. Thus, we conclude that through friendship, the dynamics of the Letters was formed as an integral experience. We see through this dynamic that the school experiences may involve intelligence and intuition, through a combination of processes of the mind and memory, which can be interwoven through the integral experiences. Finally, to verify that intuition is the thread methodological able to, in addition to intelligence, transform the educational experiences in integral experiences, highlighting the need to organize more consistent fundamentals for a Pedagogy of Intuition.