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Historically, phenomenology began in Edmund Husserl’s theory of mathematics and logic, went on to focus for him on transcendental rst philosophy and for others on metaphysics, philosophical anthropology, and theory of interpretation. The c- tinuing focus has thus been on knowledge and being. But if one began without those interests and with an understanding of the phenomenological style of approach, one might well see that art and aesthetics make up the most natural eld to be approached phenomenologically. Contributions to this eld have continually been made in the phenomenological tradition from very early on, but, so to speak, along the side. (The situation has been similar with phenomen...
Emilio Sala uses rare documents and images to re-examine Verdi's La traviata in the cultural context of mid-nineteenth-century Paris.
This book presents a historiographical and theorical analysis of how Husserlian Phenomenology arrived and developed in North America. The chapters analyze the different phases of the reception of Edmund Husserl’s thought in the USA and Canada. The volume discusses the authors and universities that played a fundamental role in promoting Husserlian Phenomenology and clarifies their connection with American Philosophy, Pragmatism, and with Analytic Philosophy. Starting from the analysis of how the first American Scholars of Edmund Husserl's thought opened the door to the reception of his texts, the book explores the first encounters between Pragmatism and Husserlian Phenomenology in American ...
What is artificial intelligence to us today? This book tackles this question from a somewhat unique perspective, that of art. The starting hypothesis is that art can provide an example of how we can engage with artificial intelligence without being subjugated by it. The Art of Artificial Intelligence: Philosophical Keywords guides the reader through a theoretical journey that begins, each time, with a particular work of art: visual artworks, but also literary texts and theatrical performances. Each chapter is anchored by a philosophical keyword: "work," "author," "time," "memory," "human." What meanings do these words take on in light of these new practices? The book is aimed at a broad audience, including anyone who feels the need to reflect on these new questions. It will also be an essential resource for students and university faculty in various disciplines, from philosophy to media studies, from art history to visual culture.
-Selected papers on Renaissance philosophy and on Thomas Hobbes offers the best work in these fields by the acclaimed historian of philosophy, Karl Schuhmann (1941-2003), displaying the extraordinary range and depth of his unique scholarship, -Topics covered include Renaissance philosophy of nature; the development of the notion of time in early modern philosophy; Telesio's concept of space; Hermetic influences on Pico, Patrizi and Hobbes; Hobbes's Short Tract; Spinoza and Hobbes; Hobbes's political philosophy, -This book brings together, in chronological arrangement, twelve papers. Though these were published before in some form, several were not easily accessible so far, -All articles have been edited in accordance with the author's wishes, and incorporate his later additions and corrections
Bringing together writers, translators, poets, and leading scholars of cultural theory, literary theory, comparative literature, philosophy, history, political science, music studies, and education, The Wounds of Possibility aims to offer an in-depth and wide-ranging study of George Steiner’s imposing body of work. This book is a timely volume of important essays on one of the most provocative thinkers, critics, and philosophers now writing. During an era in which the question of the ethical and of the status of the work of art, and its relation to the theological dimension, has returned with renewed urgency, Steiner’s work provides rich resources for reflection and it is hoped that the volume will stand on its own as a rich, nuanced accompaniment to the reading of Steiner’s work. With their broad range of thematic foci, theoretical approaches, and stunning constellations of quoted material from different backgrounds, all the essays in the book try to reflect upon the relation between human identity and language, ethics and literature, philosophy and art, and they all offer what we regard as being the most comprehensive engagement with Steiner’s work to date.
-Selected papers on phenomenology offers the best work in this field by the acclaimed historian of philosophy, Karl Schuhmann (1941-2003), displaying the extraordinary range and depth of his unique scholarship, -Topics covered include the development of Husserl's concept of intentionality, Husserl and Indian philosophy, the origins of speech act theory in Munich phenomenology, the historical background of the notion of "phenomenology", and Johannes Daubert's critique of Martin Heidegger, -This book brings together, in chronological arrangement, fourteen papers. Though thirteen of these were published before in some form, several were not easily accessible so far. In addition, a substantial piece of research, Schuhmann's chronicle of Johannes Daubert, appears here for the first time, -All articles have been edited in accordance with the author's wishes, and incorporate his later additions and corrections.
The volume describes a virtual tour of the cities in which Franz Brentano and his pupils worked and lived, with a reconstruction of the intellectual climate of their time. After the Introduction, the intellectual life of Würzburg, Munich, Vienna, Prag, Lvov, Warsaw, Cambridge, Florence and Milan is presented and analyzed. The papers collected in this volume propose several answers to the following question: to what do we refer when we speak of Central European philosophy?. Interpretations of Central European philosophy have developed in at least two broad directions. An interpretation fashionable during the 1970s lumps specific philosophical achievements, especially those of Mach and Wittge...
While Plato extols inspired poetry (as opposed to poetry produced by means of technique), Aristotle conceives of poetry only in terms of technê. Underlying the opposition between inspiration and technique are two different approaches to 'form': inspiration is concerned with the impression of ideas or forms within the poet's psyche (the author's forma mentis), whereas technique deals with the transposition of the artist's idea into the material form of the work (the forma operis). This dual view of form, and of its complex relation to matter, may be said to lie at the basis of a dual approach to aesthetic issues - a psychological and a textual one. Taking their cue from this opposition, the ...