新文化运动前后柏格森思想传播与中国现代思想思潮的流变

新文化运动前后,柏格森被译介入中国现代哲学、思想领域,由此所掀起的"生命意识"和"生命直觉"思潮给中国现代思想的形成提供了跨文化语境的西方学术资源,在我国思想界、哲学界及文艺理论界都产生了重要影响。回顾梳理柏格森思想传播与中国现代思潮流变之间的互动关系,有助于对中国现代思想发展历程作出深入理解。     

两种情感概念：涂尔干与柏格森的情感理论比较--兼论二者对情感人类学的启示

涂尔干的消极情感理论触及了情感人类学的根本议题,即个体情感和集体情感的关系问题,同时铺陈出情感人类学的核心议题,即个体情感如何对抗集体情感的问题。柏格森的积极情感化解了这类二元论问题,有利于我们重新思考情感人类学理论的进一步发展。     

Propagation of Bergson＇ s Thought before and after the New Culture Movement and China＇s Modern Ideological Trend

新文化运动前后,柏格森被译介入中国现代哲学、思想领域,由此所掀起的“生命意识”和“生命直觉”思潮给中国现代思想的形成提供了跨文化语境的西方学术资源,在我国思想界、哲学界及文艺理论界都产生了重要影响。回顾梳理柏格森思想传播与中国现代思潮流变之间的互动关系,有助于对中国现代思想发展历程作出深入理解。     

Organization as a theatre of performance

In this paper we introduce Bergson's philosophy of "action, process and movement" and its relevance for social science and the study of organizational culture. Bergson's philosophy of change argues against the spatialisation of thought in which phenomena are broken down into discrete components to be numbered, sequenced and manipulated: rather he argues for a view of time as qualitative; intuition as situated within experience rather than about it; the importance of the body in social experience and the importance of morality and religion in social life - in short and embodied conception of culture. Bergson's culture is socialised time actualised in experienced duration or durée - culture is always in motion, and does not need culture clash to drive change, but cultural expression and formulations are not, which runs counter to functionalist and psychoanalytic views of culture. Creativity, or the élan vital , is the human impulse to organise, but to improvise rather than to locate, divide and control. Culture grounded in experienced time and driven by the élan vital is in ceaseless motion - it is duration because its is en-dured as a multiplicity rather than as a unity. Where heroic leaders in treatments of organizational culture invite us the change our place in the world, in Bergson's thought they invite us to change out time - our qualitative experience of duration. We examine these arguments through a review of Bergson's work, concluding that Bergson's resonates with postmodern approaches to culture which shift our attention from signification to implication.     

On being moved

In this paper, drawing on Henri Bergson's writing knowledge is seen as a virtual asset, i.e. , a resource that transgresses the distinction between past, present and future. Knowledge is never solely related to the actual present, but is continuously related to and associated with previous experiences and anticipated futures. By conceptualizing knowledge as a virtual asset, the notion of knowledge is freed from its commonplace metaphor of being a stock of skills and know-how that the organization can make use of. In this perspective, knowledge can never be fully conceived of as a stock, but must always be related to practices and activities. As a consequence, knowledge management theory needs to redirect its attention towards practices, rather than theorizing in terms of the taxonomies of knowledge employed by organizations.     

以直觉体悟生命：老庄道家与西方生命哲学的交融

生命是东西方哲学的共同主题,对生命的解读和诠释是东西方哲学交融会通的一个重要切入点。直觉式体验成为老庄道家与西方生命哲学的共同方法,这种直觉表现为老子＂涤除玄鉴＂式的＂观＂和庄子的无己式＂坐忘＂、＂心斋＂、＂吾丧我＂;柏格森则称其为生命冲动直觉。虽然就主题和方法,老庄道家与西方生命哲学实现了融通,但柏格森将生命理解为冲动,以绵延为生命本质,从进化论的生成角度规定生命无疑与老庄道家有着根本区别。     

浅析柏格森艺术化的直觉思维

柏格森,20世纪西方最伟大的哲学家之一。他开创了生命哲学的先河,从此,生命冲动的激流在整个欧洲漫延开来。他独特的智慧和思想以法国浪漫主义的艺术文风表现出来,使人充分领略到法国浪漫主义的情怀。就其实质来看,柏格森生命冲动哲学的最终结论遵循的是自然辩证法的基本发展规律。     

池田大作与法国文学

池田大作从雨果那里感受到了“民众的真正力量”和对人性与灵魂的追求;在柏格森那里主要吸取了两个重要的元素：一个是世界的存在本质是“生命冲动”,一个是生命的冲动是一种创造性的能量;在大仲马那里池田大作感受到的是“故事的力量”。     

詹姆斯·乔伊斯小说与柏格森的时间观

乔伊斯文学创作受到了现代哲学家柏格森思想的影响。在柏格森时间观的影响之下,乔伊斯在他的四部文学作品当中,一方面保留了小说整体物理时间框架,一方面不断打破时间顺序,按照＂心理时间＂来建构他的一系列意识流小说,使其作品具有鲜明的现代主义特征。     

庄子与柏格森的语言观之比较

柏格森指出了语言符号的局限性,认为它是僵化的、静止的和空间化的,因而无法表达动态的、整体性的和时间性的心理绵延,庄子也论述了言不尽意的语言观。他们都认识到语言不能表达直觉,不能认识实在,而他们的哲学著作都具有文学特质,都采用诗一般的语言,构建了他们独特的诗化哲学。