Henri Bergson

Translators' Preface 4 Chapter I 6 THE COMIC IN GENERAL-THE COMIC ELEMENT IN FORMS AND MOVEMENTS-EXPANSIVE FORCE OF THE COMIC Chapter II 71 THE COMIC ELEMENT IN SITUATIONS AND THE COMIC ELEMENT IN WORDS Chapter III 135 THE COMIC IN CHARACTER RANSLATORS' PREFACE This work, by Professor Bergson, has been revised in detail by the author himself, and the present translation is the only authorised one. For this ungrudging labour of revision, for the thoroughness with which it has been carried out, and for personal sympathy in many a difficulty of word and phrase, we desire to offer our grateful acknowledgment to Professor Bergson. It may be pointed out that the essay on Laughter originally appeared in a series of three articles in one of the leading magazines in France, the Revue de Paris. This will account for the relatively simple form of the work and the comparative absence of technical terms. It will also explain why the author has confined himself to exposing and illustrating his novel theory of the comic without entering into a detailed discussion of other explanations already in the field. He none the less indicates, when discussing sundry examples, why the principal theories, to which they have given rise, appear to him inadequate. To quote only a few, one may mention those based on contrast, exaggeration, and degradation. The book has been highly successful in France, where it is in its seventh edition. It has been translated into Russian, Polish, and Swedish. German and Hungarian translations are under preparation. Its success is due partly to the novelty of the explanation offered of the comic, and partly also to the fact that the author incidentally discusses questions of still greater interest and importance. Thus, one of the best known and most frequently quoted passages of the book is that portion of the last chapter in which the author outlines a general theory of art. C. B. F. R.

Bergson's essay Dreams, was originally published in 1914. It was a conference given by Bergson, a year after Freud's Interpretation of Dreams. The lecture describes dreaming and outlines Bergson's own inbetween position betwixt materialism and idealism.

Pourquoi rions-nous de voir quelqu'un tr bucher ? Pour quelles raisons Moli re continue-t-il de nous amuser ? Comment expliquer qu'un jeu de mots ou un trait d'esprit pr tent sourire ? Dans Le Rire, qu'il publie en 1900, Bergson apporte ces questions des r ponses d cisives. S'appuyant sur des exemples quotidiens et de nombreuses r f rences litt raires, il d crypte les formes du comique pour y d celer un ressort commun: l'"interf rence de deux s ries", c'est- -dire la pr sence simultan e de deux l ments distincts ou incompatibles. Au passage, il ne manque pas d'analyser le r le social ambivalent d'un r flexe qui tout la fois manifeste l' lan vital et brime les comportements hors normes. Si cette oeuvre, qui doit beaucoup une tradition classique, m conna t les manifestations transgressives, sombres, ludiques ou absurdes, du rire, elle n'en demeure pas moins capitale pour qui veut comprendre le "propre de l'homme".

The Dictionary of Dreams provides the necessary tools to interpret almost every dream object and its hidden meaning to better understand what your subconscious is telling you. Dreams can be fun and adventurous, but also frightening and distorted, and still again, they can be an endless combination of both. From spitting teeth out (a sign of aging), to creepy, crawly spiders (a sign that one feels like an outsider), dreams can mean much more to us once we learn how to decipher their hidden meanings. Whether positive or negative, The Dictionary of Dreams gives you all the tools, symbols, and their true meanings to translate our cryptic nightly images. Starting with selections from classic texts like Interpretation of Dreams by Sigmund Freud, the father of psychoanalysis, and 10,000 Dreams Interpreted by Gustavus Hindman Miller, one of the first authors to complete a thorough study of all the symbols that appear in our dream-scape, this updated edition features revisions (such as the addition of cell phones, computers, televisions, and more) of Miller’s original interpretations to bring the book up to speed with our modern life. Elegantly designed and beautifully illustrated, the Complete Illustrated Encyclopedia series offers comprehensive, display-worthy references on a range of intriguing topics, including birthday astrology, techniques for harnessing the power of dreams, flower meanings, and the stories behind signs and symbols.

Henri Bergson (1859-1941), fransk filosof og forfatter, modtog nobelprisen i litteratur 1927. Beskæftigede sig med begrebet intuition. Har haft betydning for bl.a. Gaston Bachelard, Bertrand Russell, Merleau-Ponty, Levinas og senere Gilles Deleuze.“Udkommet i Frankrig i 47 oplag i forfatterens levetid ... Der kan ikke herske tvivl om at Bergson er en fortræffelig skribent som - uden at ville vække hverken latter eller gråd - formår læseren til at glemme tiden.” - Kasper Nefer Olsen i Kristeligt Dagblad.

Materie und Ged chtnis (franz sisch Mati re et M moire) ist ein Werk des franz sischen Philosophen Henri Bergson. Es handelt von den unterschiedlichen Funktionen und Formen des Ged chtnisses und gibt auf dieser Grundlage auch eine Antwort auf das K rper-Geist-Problem. Die auf Bergsons Zeitkonzeption (1889) aufbauende Abhandlung erschien 1896 und z hlt zu den vier Hauptwerken des Philosophen. Henri-Louis Bergson (1859/1941) war ein franz sischer Philosoph und Nobelpreistr ger f r Literatur 1927. Er gilt neben Friedrich Nietzsche und Wilhelm Dilthey als bedeutendster Vertreter der Lebensphilosophie. Inhalt: - I. Von der Auswahl der Bilder bei der Vorstellung. Die Funktion des Leibes - II. Vom Wiedererkennen der Bilder. Ged chtnis und Gehirn - III. Allm hlicher bergang von den Erinnerungen zu den Bewegungen. Wiedererkennung und Aufmerksamkeit. - IV. Von der Abgrenzung und Fixierung der Bilder. Wahrnehmung und Materie. Seele und Leib - Zusammenfassung und Schlu

Pourquoi rions-nous de voir quelqu'un tr bucher ? Pour quelles raisons Moli re continue-t-il de nous amuser ? Comment expliquer qu'un jeu de mots ou un trait d'esprit pr tent sourire ? Dans Le Rire, qu'il publie en 1900, Bergson apporte ces questions des r ponses d cisives. S'appuyant sur des exemples quotidiens et de nombreuses r f rences litt raires, il d crypte les formes du comique pour y d celer un ressort commun: l'"interf rence de deux s ries", c'est- -dire la pr sence simultan e de deux l ments distincts ou incompatibles. Au passage, il ne manque pas d'analyser le r le social ambivalent d'un r flexe qui tout la fois manifeste l' lan vital et brime les comportements hors normes. Si cette oeuvre, qui doit beaucoup une tradition classique, m conna t les manifestations transgressives, sombres, ludiques ou absurdes, du rire, elle n'en demeure pas moins capitale pour qui veut comprendre le "propre de l'homme".

Le Rire: essai sur la signification du comique est un ouvrage du philosophe Henri Bergson paru le 1er mai 1900. Le livre est compos de trois articles (les trois chapitres) qui avaient pr c demment t publi s dans la Revue de Paris. Comme Bergson le dit dans sa pr face de 1924, son essai se concentre plus exactement sur le rire sp cialement provoqu par le comique. La th se d fendue dans l'ouvrage est que ce qui provoque le rire est le placage de la m canique sur du vivant. Le rire y est consid r comme une punition de la soci t envers les tres qui s' cartent de la norme.

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Le Rire: essai sur la signification du comique est un ouvrage du philosophe Henri Bergson paru le 1er mai 1900. Le livre est compos de trois articles qui avaient pr c demment t publi s dans la Revue de Paris. Comme Bergson le dit dans sa pr face de 1924, son essai se concentre plus exactement sur le rire sp cialement provoqu par le comique. La th se d fendue dans l'ouvrage est que ce qui provoque le rire est le placage de la m canique sur du vivant. Le rire y est consid r comme une punition de la soci t envers les tres qui s' cartent de la norme.