We no longer believe in a numinous life force, an élan vital.
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It also drew on Henri Bergson's concept of élan vital — vital force — which Gilles Deleuze elegantly explains in his book Bergsonism.
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Her suggestion that couples seeking to sustain their élan vital would do well to cultivate a little distance and mystery was not original, or particularly radical, but it inspired wariness and even hostility among some of her colleagues, who felt that she approached the solemn project of saving American marriages with insufficient reverence.
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Yet one has the sense that he is honored less for his prose than for his extraordinary élan vital, which somehow persisted even to the day of his suicide, in 1980, when he lunched complacently with his publisher and only then went back to his apartment on the Rue du Bac to shoot himself, having first composed, quickly, a mordantly witty suicide note.
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Linda R. Williams. London: Bloomsbury, 1992, pp. 108-9. Also important in Bergson's philosophy was the idea of élan vital, the life force, which "brings about the creative evolution of everything."Collinson, 132.
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16 The French army incorporated the doctrine of élan vital into its thinking during the leadup to the First World War by arguing that the spirit of individual soldiers was more important for victory than weapons.
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The notion of élan vital had considerable influence on the psychiatrist and phenomenologist Eugène Minkowski and his own concept of a personal élanH. Spiegelberg, Phenomenology in Psychology and Psychiatry (1972) p. 244 – the element which keeps us in touch with a feeling of life.J. Picchione, The New Avant-Garde in Italy (2004) p.
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This change, Shaw predicts, will happen through Creative Evolution (evolutionary change that occurs because it is needed or wanted--the Lamarckian view-- and not as a result of natural selection--Darwinism) as influenced by the Life Force (l'élan vital).The Oxford English Dictionary: élan vital: [Fr. (H. Bergson L’Évolution créatrice (1907) Chap. iii, p.
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In his words, the effect created its cause. Henceforth, he attempted to find a third way between mechanism and finalism, through the notion of an original impulse, the élan vital, in life, which dispersed itself through evolution into contradictory tendencies (he substituted to the finalist notion of a teleological aim a notion of an original impulse).
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Gleizes > embarked upon a challenging composition that he masterfully arranged. The > subject has returned to the painting and I’m not in the least proud to have > predicted the return of what constitutes very foundation of pictorial art. > This Élan vital constitutes the subject of Gleizes' canvas. L’Oiseau bleu, > the large poetic composition by Metzinger is the most important work painted > by this much discussed artist.
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Creative Evolution () is a 1907 book by French philosopher Henri Bergson. Its English translation appeared in 1911. The book proposed a version of orthogenesis in place of Darwin's mechanism of evolution, suggesting that evolution is motivated by the élan vital, a "vital impetus" that can also be understood as humanity's natural creative impulse. The book was very popular in the early decades of the twentieth century.
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This series is a powerful simplification of all his styles combined. The repeating image of a figure with arms held high denotes a sense of joyousness or élan vital, just as the broad semi-circle linking two forms is often an abstracted “embrace”. The theme of the female form remains a constant and the paintings are often sculptural and relate to the shapes found in later sculptures.
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In French 19th century literature, evolutionary fantasy was Lamarckian, as seen in Camille Flammarion's 1887 Lumen and his 1894 Omega: The Last Days of the World, J.-H. Rosny's 1887 Les Xipéhuz and his 1910 La mort de la terre, and Jules Verne's 1901 La grande forêt, le village aérien. The philosopher Henri Bergson's creative evolution driven by the supposed élan vital likely inspired J. D. Beresford's English evolutionary fantasy, his 1911 The Hampdenshire Wonder.
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The French philosopher Gilles Deleuze attempted to recoup the novelty of Bergson's idea in his book Bergsonism, though the term itself underwent substantial changes by Deleuze. No longer considered a mystical, elusive force acting on brute matter, as it was in the vitalist debates of the late 19th century, élan vital in Deleuze's hands denotes an internal force,K. Ansell-Pearson, Germinal Life (2012) p. 21 a substance in which the distinction between organic and inorganic matter is indiscernible, and the emergence of life undecidable.
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In fact, through the elegant superimposition of different layers of colour, she honors the proud Chinese tradition enriching it with new nuances that don't conflict with the philosophy of Chinese traditional painting. According to Wáng Yuánqí: "more important than readability is the achievement of perfect aesthetic balance and the visualization of emotions". Living in our digital society, Li Hua reads the contemporary world's necessity of tangent, haptic beauty and gives it to us through works full of Élan vital, melancholic remembrances, ordered elegance and eccentric extravaganza.
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Concepts such as "life force", "Qi" and "élan vital" existed from antiquity and emerged from the debate over vitalism in the 18th and 19th centuries with Mesmer and the magnetism. They continued to be discussed in the 20th century by some thinkers and practitioners in the modern New Age movement. As biologists studied embryology and developmental biology, particularly before the discovery of genes, a variety of organisational forces were posited to account for their observations. German biologist Hans Driesch (1867–1941), proposed entelechy, an energy which he believed controlled organic processes.
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Distant anticipations of Bergson can be found in the work of the pre-Christian Stoic philosopher Posidonius, who postulated a "vital force" emanated by the sun to all living creatures on the Earth's surface, and in that of Zeno of Elea.Eric Benre, A Layman's Guide to Psychiatry and Psychoanalysis (1976) p. 98-9 The concept of élan vital is also similar to Arthur Schopenhauer's concept of the will-to-live L. Vikka, The Intrinsic Value of Nature (1997) p. 56-7 and the Sanskrit āyus or "life principle".
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Around the same time, Henri Bergson (1859–1941), developed the principle of the élan vital, or "vital impulse", which was thought to aid in the evolution of organisms. This concept, which implies a fundamental driving force behind all life, is reminiscent of the conatus principle of Spinoza and others. For Max Scheler, the concept of Drang is the centerpiece of philosophical anthropology and metaphysics. Though his concept has been important throughout his entire philosophical career, it was only developed later in his life when his focus shifted from phenomenology to metaphysics.
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One of his late writings takes the form of a poetic testament, leaving behind to his unnamed child, conceived in a moment of "madness", no fortune other than his élan vital, and asking for forgiveness.C. V. Gerota, "Însemnări. Poetul B. Nemțeanu", in Sburătorul, Nr. 9/1919, pp. 206–207 In fact, he was married to a Tony Bănescu, who organized charities in his name and, responding to his explicit request, refused to accept money from the state. Nemțeanu left numerous translations of Heine, many published in the Jewish community's Lumea Evree, appearing as Melodii ebraice in 1919.
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According to Watts, oil has seven properties that aid in the explanation as to why violence is often found in areas of petroleum extraction. # Oil is money: As a source of immediate wealth, the value of oil brings about an ambition and weakening of moral fiber that has been called the élan vital, vital force, of growth. # Petro-State and Nation: The presence of oil in a nation creates power within a state. This power leads to the segregation of who will and will not have access to the resource and the revenue it generates in global markets.
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Like Bergson's élan vital, Drang (drive or impulsion) is the impetus of all life; however, unlike in Bergson's vitalistic metaphysics, the significance of Drang is that it provides the motivation and driving force even of Spirit (Geist). Spirit, which includes all theoretical intentionality, is powerless without the movement of Drang, the material principle, as well as Eros, the psychological principle. The cultural anthropologist Louis Dumont (1911–1988), described a cultural conatus built directly upon Spinoza's seminal definition in IIIP3 of his Ethics. The principle behind this derivative concept states that any given culture, "tends to persevere in its being, whether by dominating other cultures or by struggling against their domination".
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Louis Loyzeau de Grandmaison (born 21 January 1861 - died 18 February 1915) was a French military theorist who in an atmosphere of revanchism, linked the shattering humiliation of the Franco-Prussian War to the French having ceased to use Napoleonic methods. De Grandmaison argued for rapid maneuver by large formations employing a high tempo attack and the school of thought he subscribed to dominated French army thinking by 1914, but in a degenerated form that melded into the contemporaneous philosophy of Élan vital. and proved no match for modern weapons. He was a member of Nichan Iftikhar (Order of Glory), a Tunisian honorary order.
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The words "mind" and "consciousness" are used by different communities in different ways. Some new age thinkers, for example, use the word "consciousness" to describe something similar to Bergson's "élan vital": an invisible, energetic fluid that permeates life and especially the mind. Science fiction writers use the word to describe some essential property that makes us human: a machine or alien that is "conscious" will be presented as a fully human character, with intelligence, desires, will, insight, pride and so on. (Science fiction writers also use the words "sentience", "sapience," "self-awareness" or "ghost" - as in the Ghost in the Shell manga and anime series - to describe this essential human property).
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The title refers to the daimon of Socrates; as the Latin equivalent of this term is genius, it is often rendered as On the Genius of Socrates. The word genius in this usage pertains to a vital energy (c.f. - élan vital) or spirit (spiritus) or nature of something. De Genio Socratis by Plutarch [Retrieved 2015-04-24](verification)Plutarch, (DA Russell - translator) - On the Daimonion of Socrates: Human Liberation, Divine Guidance and Philosophy Volume 16 of SAPERE. Scripta antiquitatis posterioris ad ethicam religionemque pertinentia Mohr Siebeck, 2010 [Retrieved 2015-04-24](first source)D Summers - The Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics (p.
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Franco-German border, 1914. After the defeat in the Franco-Prussian War, France had been humiliated, forced to pay an indemnity of five billion francs and lost the provinces of Alsace and Lorraine to the new German Empire, so as to permanently put France on the defensive. Though the French did indeed build an extensive amount of fortifications along their border with Germany, after 30 years plans turned offensive, thanks in no small part to Ferdinand Foch. France had a population and birth rate smaller than those of Germany and invented the concept of élan vital and decided on a strategy of "offensive to the limit", making the will to fight the cornerstone of French military planning.
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Rychnowski's plasma spheres Franciszek Rychnowski (1850 - 1929) was a Polish engineer and an inventor, who also lectured at the Lwów Politechnic. In addition to mundane projects (he was involved with electrification, central heating and the tram system in Lwów, which is now Lviv, Ukraine), he also gained fame for his pseudoscientific theories on eteroid, similar to the concepts of élan vital or orgone; involvement with such pseudoscientific theories eventually ruined his career. Rychnowski is a minor character in a series of books by the modern Polish author, Andrzej Pilipiuk. He is also one of the central characters in the 2012 fictional conspiracy thriller The Man With the Devil's Hand by Jarek Garliński.
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Linda R. Williams. London: Bloomsbury, 1992, pp. 108–109. Also important in Bergson's philosophy was the idea of élan vital, the life force, which "brings about the creative evolution of everything." His philosophy also placed a high value on intuition, though without rejecting the importance of the intellect. Important literary precursors of modernism were Fyodor Dostoevsky (1821–1881), who wrote the novels Crime and Punishment (1866) and The Brothers Karamazov (1880);David Denby, New Yorker, 11 June 2012, "Can Dostoevsky Still Kick You in the Gut?" Walt Whitman (1819–1892), who published the poetry collection Leaves of Grass (1855–1891); and August Strindberg (1849–1912), especially his later plays, including the trilogy To Damascus 1898–1901, A Dream Play (1902) and The Ghost Sonata (1907).
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The synthesis of urea in the early 19th century from inorganic compounds was counterevidence for the vitalist hypothesis that only organisms could make the components of living things. Vitalism is the belief that "living organisms are fundamentally different from non-living entities because they contain some non-physical element or are governed by different principles than are inanimate things". Where vitalism explicitly invokes a vital principle, that element is often referred to as the "vital spark", "energy" or "élan vital", which some equate with the soul. In the 18th and 19th centuries vitalism was discussed among biologists, between those who felt that the known mechanics of physics would eventually explain the difference between life and non-life and vitalists who argued that the processes of life could not be reduced to a mechanistic process.
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Henri Bergson, whose lectures at the College de France became major social gatherings among Parisians, criticized scientific rationalism and exalted man's irrational drives, especially what he dubbed élan vital, distinguishing heroic men and nations from the plodding masses. The Symbolist Movement also affected the political climate of the nation: in the syndicalist beliefs of Georges Sorel, in labor activism, and also a resurgent nationalism among French youth in the years immediately preceding World War I. This new spirit brought a revival of belief in the Church and a strong, fervent sense of patriotism. Also a new school of young artists emerged who completely broke with Impressionism and favored a deep, intense subjectivism. Inspired by Cézanne and Gauguin, Georges Braque, Pablo Picasso, Henri Matisse, and Georges Rouault entered the art scene so abruptly that they came to be known as the Fauves (Wild Ones).
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It has been observed that the latter works for the first time sound a note from now on to be the characteristic theme of Łobodowski's oeuvre of tragic pessimism which has been seen by scholars to have its source in the dramatic confrontation between the powers of élan vital and biology on the one hand, and those of culture and ideology on the other. Tymon Terlecki (19052000), one of the most astute Polish critics, wrote in 1937 that inasmuch as Łobodowski was difficult of classification in general he did not fit easily within the cultural parameters of any known literary tradition.Tymon Terlecki (see Bibliography). (See also Tymon Terlecki.) The collection Rozmowa z ojczyzną ("A Conversation with the Fatherland"), like the previous book W przeddzień ("On the Eve") of 1932, contains an engagé poem dealing with the Polish dictator First Marshal Piłsudski.
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Richard Strauss in 1888, the year of Don Juan, which symbolizes the élan vital and "breakaway mood" of modernism In music, modernism is an aesthetic stance underlying the period of change and development in musical language that occurred around the turn of the 20th century, a period of diverse reactions in challenging and reinterpreting older categories of music, innovations that led to new ways of organizing and approaching harmonic, melodic, sonic, and rhythmic aspects of music, and changes in aesthetic worldviews in close relation to the larger identifiable period of modernism in the arts of the time. The operative word most associated with it is "innovation" . Its leading feature is a "linguistic plurality", which is to say that no one music genre ever assumed a dominant position . Examples include the celebration of Arnold Schoenberg's rejection of tonality in chromatic post-tonal and twelve-tone works and Igor Stravinsky's move away from metrical rhythm .
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