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  1. Christopher M. Aanstoos (1997). Toward a Phenomenological Psychology of Cultural Artifacts. Journal of Phenomenological Psychology 28 (1):66-81.
    Phenomenological psychology is shown as a means to examine implications of mass-commodity culture, through the presentation of a phenomenological analysis of a TV commercial. This advertisement plays upon the vicissitudes of fathers' experiences of their relationships with their pre-pubescent daughters. The findings disclose an image of a father's ambivalently lived inability to tolerate his daughter's first sexual attraction to another male, and his attempt to continue to control the satisfaction of his daughter's bodily desire through commodities. The significance of and (...)
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  2. AsbjØrn Aarnes (1991). A Poet's Life and Work in the Perspective of Phenomenology. Analecta Husserliana 37:167.
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  3. Carlos Arturo Guevara Amórtegui (2011). Fenomenología y poesía: caminos hacia lo esencial. Logos 20:103-124.
    Phenomenology and the creation of poetry offer ways to understand life different from the one proposed by sciences or conventional knowledge. Phenomenology and poetry send us to a universe of different horizons and layers where it is possible to find and discover essential truths about the being and his existence. This possibility to find transcendental truths that enriches human knowledge over the place and the role of men in life (Lebenswelt) is a primordial event where language establishes new forms of (...)
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  4. Luciano Anceschi (1967). Fenomenologia Della Critica. Philosophy and Phenomenological Research 28 (1):152-153.
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  5. Linda Diane Holler (1981). Value and Moral Discernment: A Phenomenological Inquiry. Dissertation, Vanderbilt University
    This thesis explores the dialogical grounds of our moral being. What is presented is a description of the structures of our being-in-the-world through which value occurs in relation. I propose that the self is a relational being, that reality is relational, and that the dialogue between self, world, and others names the experiential ground or dynamic texture through which value is achieved. The way we are in the world and related to others is such that there is nothing in-itself, and (...)
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  6. Robert Welsh Jordan (1992). (Edmund Husserl's) Vorlesungen Ueber Ethik Und Wertlehre 1908?1914. [REVIEW] Husserl Studies 8 (3):221-232.
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  7. Erazim Kohák (1993). “Knowing Good and Evil...” (Genesis 3:5b). [REVIEW] Husserl Studies 10 (1):31-41.
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  8. Danielle Lories (2006). Remarks on Aesthetic Intentionality: Husserl or Kant. International Journal of Philosophical Studies 14 (1):31 – 49.
    It is sometimes claimed that Husserl's writings provide an inspiration for considering art today. More specifically we ask here whether Husserl's description of aesthetic attitude is rich and original. The comparisons he draws between the aesthetic attitude and the phenomenological attitude always aim to clarify the phenomenological attitude and thus take it for granted that the typical features of the aesthetic attitude are well known. In this way Husserl presupposes and retrieves the teaching of Kant, although in certain working notes (...)
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  9. Ronald McIntyre (2012). "We-Subjectivity": Husserl on Community and Communal Constitution. In Christel Fricke & Dagfinn Føllesdal (eds.), Intersubjectivity and Objectivity in Adam Smith and Edmund Husserl. Ontos Verlag. 8--61.
    I experience the world as comprising not only pluralities of individual persons but also interpersonal communal unities – groups, teams, societies, cultures, etc. The world, as experienced or "constituted", is a social world, a “spiritual” world. How are these social communities experienced as communities and distinguished from one another? What does it mean to be a “community”? And how do I constitute myself as a member of some communities but not of others? Moreover, the world of experience is not constituted (...)
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  10. Tom Nenon (1990). Husserl's Ethics? Research in Phenomenology 20 (1):184-188.
  11. William Hosmer Smith (2012). The Phenomenology of Moral Normativity. Routledge.
    The topic of this book is a fundamental philosophical question: why should I be moral? Philosophers have long been concerned with the legitimacy of morality's claim on us, especially with morality's ostensible aim to motivate certain actions of all persons unconditionally. While the problem of moral normativity - that is, the justification of the binding force of moral claims - has received extensive treatment analytic moral theory, little attention has been paid to the potential contribution that phenomenology might make to (...)
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  12. Detlef Thiel (1998). Der Phänomenologe in der Galerie. Husserl Und Die Malerei. Axiomathes 9 (1-2):35-47.
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  13. Milan Uzelac (1998). Art and Phenomenology in Edmund Husserl. Axiomathes 9 (1-2):7-26.
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