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1

PAMÄŤ A MOZOG: BERGSONOV OMYL

100%
Petit J.-L.
Filozofia (Philosophy)
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2019
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vol. 74
|
issue 7
530 – 542
EN
This article is dedicated to the area at the interface of philosophy and neuroscience and it focuses on the critical examination of some of Bergsonʼs ideas. Neuroscience in its effort to strengthen the role of body in relation to mental processes and especially memory, cannot avoid discussing Bergson, namely his classic work Matter and Memory, in which he leaves the research of habitual memory to psychologists, while privileging the “pure memoryˮ that surpasses psychophysical and psychocerebral parallelism, since it does not need any material substrate or location in space. However, new research in neuroscience puts this thesis into doubt, even denying it. The author takes into account research both in neuro-science (especially A. Berthoz) and in phenomenology and refers to works in this field that prove that the individualization of events, the subject of “episodic memoryˮ, on the contrary, is a matter of space – and admits that Bergson was wrong, albeit not entirely, as confirmed by recent discoveries about the neural bases of memory. Moreover, neuroscience has so far read Bergson selectively, so the author intends to return to him and examine in particular the hippocampal function in the light of the cited work.
2

PHILOSOPHICAL-AESTHETIC SOURCES AND PREMISE OF JAN SMREK'S 'SUNNY BOOKS' (Filozoficko-esteticke zdroje a vychodiska 'knih slnecnych' Jana Smreka)

86%
Habaj M.
Slovenská literatúra (Slovak Literature)
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2011
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vol. 58
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issue 3
259-271
EN
The goal of the study is to place the poetry of Jan Smrek's 'sunny books' into the wider philosophical, artistic and cultural-aesthetic context of the early 20th century. The influence of Bergson's philosophy on the artistic thinking, culture and sensibility of modernist literature of the time proves to be more and more significant. In the context of the philosophy of life (Bergson, Dilthey, etc.) and related artistic-aesthetic, philosophical and psychological concepts (Husserl, Jung, Steiner, Guardini, etc.) it can be seen revitalisation of religion, mythology and spirituality, whose sources can be traced back to German idealistic philosophy, romanticism and the tradition of hermetic-esoteric sciences. With the intention of reconstructing culture, values and meaning, several modernist artistic-aesthetic manifestos (Anglo-American modernism, Russian acmeism etc.) turn to the principle of cultural memory and the tradition, which they reformed by modern means. Those attempts are developed within the intentions of Bergsonism. The identical dynamic understanding of a tradition can be found in Jan Smrek's artistic-aesthetic manifestos. In a narrower context, the influence of the vitalism-oriented Czech thinking (the artistic branch - Neumann, Sramek and the theoretical-aesthetic branch - K. Capek, J. Capek, Salda, Cerny) on then forming Smrek's poetics and aesthetic beliefs is also interesting. The gain of the study can be clear with regard to the fact that the influence of Bergsonism and vitalism on Smrek's poetry has not yet been analysed or researched. The most important is to grasp Smrek's aesthetic gesture in a wider context of artistic and theoretical thinking of the time.
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