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" . . . die Augen hat mir Husserl eingesetzt. ,,1 he aim of Twentieth century phenomenology is to provide a non T psychologistic interpretation of subjectivity. Husserl agrees with Frege; to adopt psychologism is to give up truth. But this should not prevent us from investigating the subjective perspective. On the contrary, Husserl thinks that an appropriate rejection of psychologism must be able to show how propositions are correlated to and grounded in subjective intuitions without thereby reducing them to psychological phenomena. Obviously this calls for an interpretation of subjectivity that makes a sharp distinction between the subjective perspective and the psychological realm. Phenomenology is devoted to the development of a notion of subjectivity that is in accordance with our experience of the world. A fundamental tenet of phenomenology is that philosophy should not dispute this experience but rather account for it. Hence, phenomenology must avoid a notion of subjectivity in which it becomes a problem to account for how a subject can ever hook up with the world. In other words, a phenomenological interpretation of subjectivity must radically disassociate itself from what is often referred to as a worldless, Cartesian subject, a res cogitans. But neither can an interpretation of SUbjectivity consistently advocate a position according to which the human order is described only in the categories appropriate to the physical order. Such an interpretation is obviously not compatible with the phenomenal basis for undertaking this very interpretation, that is, our experience of the world.
Thine Own Self investigates Stein's account of human individuality and her mature philosophical positions on being and essence. Sarah Borden Sharkey shows how Stein's account of individual form adapts and updates the Aristotelian-Thomistic tradition in order to account for evolution and more contemporary insights in personality and individual distinctiveness.
A singularly powerful and rigorous argument in favor of modern substance dualism In The Substance of Consciousness: A Comprehensive Defense of Contemporary Substance Dualism, two distinguished philosophers deliver a unique and powerful defense of contemporary substance dualism, which makes the claim that the human person is an embodied fundamental, immaterial, and unifying substance. Multidisciplinary in scope, the book explores areas of philosophy, cognitive science, neuroscience, and the sociology of mind-body beliefs. The authors present the most comprehensive, up-to-date, and rigorous non-edited work on substance dualism in the field, as well as a detailed history of how property and substance dualism have been presented and evaluated over the last 150 years. Alongside developing new and updated positive arguments for substance dualism, they also discuss key metaphysical notions and distinctions that inform the examination of substance dualism and its alternatives. Readers will also find: A thorough examination of the recent shift away from standard physicalism and the renaissance of substance dualism Comprehensive explorations of the likely future of substance dualism in the twenty-first century, including an exhaustive list of proposed research projects for substance dualists Practical discussion of new and rigorous critiques of significant physicality alternatives, including emergentism and panpsychism. Extensive treatments of philosophy of mind debates about the roles played by staunch/faint-hearted naturalism and theism in establishing or presuming methodology, epistemic priorities, and prior metaphysical commitments Perfect for professional philosophers, The Substance of Consciousness will also earn a place in the libraries of consciousness researchers, philosophical theologians, and religious studies scholars.
Based on 20 years in the industry as an actor, producer, writer and director, Know Small Parts is real life advice from someone who's lived it. The Foreword is written by Academy and Golden Globe Award winner Richard Dreyfuss and the book contains behind-the-scenes stories of Quentin Tarantino, Leonardo DiCaprio, Shirley MacLaine, David Carradine and Tony Scott, among many others. This clear-eyed, realistic step-by-step guide offers wisdom on breaking down a scene, standing out at an audition, talking to celebrities, how to work without representation, developing marketing materials, landing commercials, creating your own momentum, what to do when it all goes wrong, working outside Los Angeles, surviving rejection, how to get clothing for the red carpet and much, much more. With information for beginners and pros alike, it's not just invaluable insight for actors looking to mark their mark in the industry, it's great advice for anyone looking to take control of their destiny. Filled with specific examples from movies and television, the book also reveals personal, often funny, stories from the author's own journey through successes and blunders turning minutes into moments and moments into a career. "She is a role model... and a true leading lady. Enjoy what she has to say and see if you can see yourself in her journey." Kevin Costner (Academy and Golden Globe Award Winner) "She's nailed the daily life of an actor in LA about as perfectly detailed as it gets." Richard Dreyfuss (Academy and Golden Globe Award Winner) "She has literally figured out a way to bottle lightning. I'm sure that her observations and guidance will be invaluable to the actor who is looking to make his or her mark in the film world and to build a career, moment by moment." Lou Diamond Phillips (Golden Globe Nominee) "She knows what a director wants and what an editor needs to tell the story. She's the real deal." Dennis Christopher (Golden Globe Nominee) "Laura has strength, courage and the conviction and - pardon my French but, the balls - to hold on to her place in this business. Read her book and you'll find out how." Joanna Cassidy (Golden Globe Winner) "After 30 years in casting....I feel like Laura was sitting on my shoulder all these years. She has expertly explained key notes for an actor to know and understand pursuing their career. An Actor is in "SHOW" and 'BUSINESS." This book helps the Know How!" Victoria Burrows (Casting Director: Lord of the Rings and Hobbit trilogies, Cast Away) "Laura Cayouette is a working actress that also has a happy, well-balanced life. Figuring out how she manages this feat is certainly worth a read." Reginald Hudlin (Producer: Django Unchained; Director: Boomerang) "I write off most of these books. But this one I can't. It stands far above most giving smart, logical, realistic and poignant advice." George W. Perkins (Executive Producer: Desperate Housewives, 3-time Emmy Nominee) "Laura's smart, sensible and no nonsense step by step approach to achieving a career as an actor is certain to be the new bible for everyone yearning to break into the biz." Adam Rifkin (Writer/Director. Showtime's Reality Show, Detroit Rock City, Mousehunt) "A must read gift for actors. Laura Cayouette, a successful actor and renowned journalist thoroughly lays out a path to artistic fulfillment and success. Bravo! The Dude Abides." Jeff "The Dude" Dowd (Producer, movie marketing maven) "A clear eyed, detailed, no nonsense guide to the often mysterious world of TV/Film auditioning and performing. Laura's experience as an actor and producer gives her a 360 view of the process which she shares in the voice of your audition guru; she's been to the mountain and returned with all the wisdom you'll ever need." Alicia Ruskin (Agency Partner: Kazarian/Spencer/Ruskin & Assoc.)
Contemporaryphilosophyseems a great swirling almost chaos. Every situation must seem so at the time, probably because philosophy itself resists structura tion and because personal and political factors within as well as without the discipline must fade in order for the genuinely philosophical merits of performances to be assessed. Nevertheless, some remarks can still be made to situate the present volume. For example, at least half of philosophy on planet Earth is today pursued in North America (which is not to say that this portion is any less internally incoherent than the whole of which it thus becomes the largest part) and the present volume is North American. (Incidentally, the recognition of culturally geographic traditions and tendencies nowise implies that striving for cross-culturalif not trans-cultural philosophical validity has failed or ceased. Rather, it merely recognizes a significant aspect relevant from the historical point of view.) Episte- Aesthetics Ethics Etc. mology Analytic Philosophy Marxism Existentialism Etc. Figure 1. There are two main ways in which philosophical developments are classified. One is in terms of tendencies, movements, and schools of thought and the other is in terms of traditional sub-disciplines. When there is little contention among schools, the predominant way is in terms of sub-disciplines, such as aesthetics, ethics, politics, etc. Today this mode of classification can be seen to intersect with that in terms of movements and tendencies, both of which are represented in the above chart.
ways of doing it, but it is wrong to project it far into the past: it did not exist at the turn of the century and only became clearly apparent after the Second World War. I recently taught at an American university on the his tory of philosophy from Balzano to Husserl. The course title had to come from a fixed pool and gave trouble. Was it philosophical logic, the nine teenth century, or phenomenology? A logic title would connote over this period Frege, Russell, Carnap, perhaps a mention of Boole: not continental enough. The nineteenth century? The century of Kant's successors: Fichte, Hegel, Schopenhauer, Feuer bach, Marx, Nietzsche? What have they to do with Balzano, Lotze, Brentano, Meinong, Husserl and Twardowski? Even tually 'Phenomenology' was chosen, misdescribing more than half of the course. That illustrates the problems one faces in trying to work against the picture of the period which is ingrained in minds and syllabuses. This book arises from my efforts to combat that picture. I backed into writing about the history of recent philosophy rather than setting out to do so. The beginning was chance. In Manchester in the early seventies, at a time when most English philosophy departments breathed re cycled Oxford air, the intellectual atmosphere derived from Cambridge and Warsaw, spiced with a breath of Freiburg and Paris.
I Edmund Husserl's Logische Untersuchungen is, by any standard and also by nearly common consent, a great philosophical work. Within the phenom enological movement, it is generally recognised that the breakthrough to pure phenomenology - not merely to eidetic phenomenology, but also to transcendental phenomenology - was first made in these investiga tions. But in the context of philosophy of logic and also of theory of know ledge in general, these investigations took decisive steps forward. Amongst their major achievements generally recognised are of course: the final death-blow to psychologism as a theory of logic in the Prolegomena, a new conception of analyticity which vastly improves upon Kant's, a theory of meaning which is many-sided in scope and widely ramified in its appli cations, a conception of pure logical grammar that eventually became epoch-making, a powerful restatement of the conception of truth in terms of 'evidence' and a theory of knowledge in terms of the dynamic movement from empty intention to graduated fulfillment. There are many other detailed arguments, counter-arguments, conceptual distinctions and phenomenolo gical descriptions which deserve the utmost attention, examination and assimilation on the part of any serious investigator. With the publication of J. N. Findlay's English translation of the Untersuchungen, it is expected that this work will find its proper place in the curriculum of the graduate programs in philosophy in the English speaking world.