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Carl R. Hausman [49]Carl Hausman [13]Carl Ransdell Hausman [1]
  1.  61 DLs
    Douglas R. Anderson & Carl R. Hausman (1992). The Role of Aesthetic Emotion in R. G. Collingwood's Conception of Creative Activity. Journal of Aesthetics and Art Criticism 50 (4):299-305.
  2.  57 DLs
    Carl R. Hausman (1983). Metaphors, Referents, and Individuality. Journal of Aesthetics and Art Criticism 42 (2):181-195.
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  3.  55 DLs
    Carl R. Hausman (1964). Intradiction: An Interpretation of Aesthetic Understanding. Journal of Aesthetics and Art Criticism 22 (3):249-261.
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  4.  44 DLs
    Carl R. Hausman (1979). Criteria of Creativity. Philosophy and Phenomenological Research 40 (2):237-249.
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  5.  31 DLs
    Carl R. Hausman (1967). Creativity and Self-Deception. Journal of Existentialism 7:295-308.
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  6.  31 DLs
    Carl R. Hausman (2007). Metaphorical Semeiotic Referents: Dyadic Objects. Transactions of the Charles S. Peirce Society 43 (2):276-287.
    : When language is expressed metaphorically, metaphors seem to "say" something that has never seen said before. Some of them seem to express insights. What then are the constraints on their interpretations? Charles Peirce's semeiotic suggests a way to answer the question. Crucial to the answer is Peirce's account of semeiotic objects as two-fold, one side, the dynamic or "real" object to be interpreted, the other side, the immediate object, which is the dynamic object that has been interpreted. The interaction (...)
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  7.  24 DLs
    Carl R. Hausman (1961). Mechanism or Teleology in the Creative Process. Journal of Philosophy 58 (20):577-584.
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  8.  20 DLs
    Steven Skaggs & Carl R. Hausman (2012). Toward a New Elitism. Journal of Aesthetic Education 46 (3):83-106.
    The rise of popular culture programs in universities is to a significant degree a consequence of the rejection of a particular theory of aesthetics. According to this older, rejected view, the classical, “fine” arts were considered—largely on the basis of complexity of form—higher, more refined, more admirable, and of greater value than other kinds of “popular” creative activities. While the former were the subject of intense critical study, the latter were neglected, seen as unworthy of serious attention. Ultimately, the sociological (...)
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  9.  18 DLs
    Carl R. Hausman (1986). Creativity Studies: Where Can They Go? Journal of Aesthetics and Art Criticism 45 (1):87-88.
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  10.  17 DLs
    Carl R. Hausman (1986). Insight in the Arts. Journal of Aesthetics and Art Criticism 45 (2):163-173.
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  11.  13 DLs
    Carl R. Hausman (1960). Maritain's Interpretation of Creativity in Art. Journal of Aesthetics and Art Criticism 19 (2):215-219.
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  12.  12 DLs
    Carl R. Hausman (2002). Charles Peirce's Evolutionary Realism as a Process Philosophy. Transactions of the Charles S. Peirce Society 38 (1/2):13 - 27.
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  13.  11 DLs
    Carl R. Hausman (1998). Aaron Ridley's Defense of Collingwood Pursued. Journal of Aesthetics and Art Criticism 56 (4):391-393.
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  14.  10 DLs
    Carl R. Hausman (1993). Charles S. Peirce's Evolutionary Philosophy. Cambridge University Press.
    In this systematic introduction to the philosophy of Charles S. Peirce, the author focuses on four of Peirce's fundamental conceptions: pragmatism and Peirce's development of it into what he called 'pragmaticism'; his theory of signs; his phenomenology; and his theory that continuity is of prime importance for philosophy. He argues that at the centre of Peirce's philosophical project is a unique form of metaphysical realism, whereby continuity and evolutionary change are both necessary for our understanding of experience. In his final (...)
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  15.  10 DLs
    Carl R. Hausman (1974). Eros and Agape in Creative Evolution. Process Studies 4 (1):11-25.
  16.  9 DLs
    Carl R. Hausman (1988). Fourthness: Carl Vaught on Peirce's Categories. Transactions of the Charles S. Peirce Society 24 (2):265 - 278.
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  17.  8 DLs
    Carl R. Hausman (1999). Bergson, Peirce, and Reflective Intuition. Process Studies 28 (3/4):289-300.
  18.  7 DLs
    Carl Hausman (1998). Infinitesimals as Origins of Evolution: Comments Prompted by Timothy Herron and Hilary Putnam on Peirce's Synechism and Infinitesimals. Transactions of the Charles S. Peirce Society 34 (3):627 - 640.
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  19.  7 DLs
    Carl R. Hausman (1991). Language and Metaphysics: The Ontology of Metaphor. Philosophy and Rhetoric 24 (1):25 - 42.
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  20.  6 DLs
    Carl R. Hausman (1976). Some Further Suggestions on Novelty and Creation. Journal of Aesthetics and Art Criticism 35 (2):222-225.
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  21.  6 DLs
    Carl R. Hausman (1969). Ii Mystery, Paradox, and the Creative Act. Southern Journal of Philosophy 7 (3):289-296.
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  22.  6 DLs
    Robert S. Corrington, Carl Hausman & Thomas M. Seebohm (eds.) (1987). Pragmatism Considers Phenomenology. University Press of America.
    A collection of papers from a conference held in 1984.
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  23.  6 DLs
    Carl R. Hausman (1971). Freedom, Indeterminism, and Necessity in the Origination of Novelty. Southern Journal of Philosophy 9 (2):163-178.
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  24.  6 DLs
    Carl R. Hausman (1966). Understanding and the Act of Creation. Review of Metaphysics 20 (1):88 - 112.
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  25.  6 DLs
    Carl R. Hausman (1996). Charles Peirce's Pragmatic Pluralism (Review). Journal of the History of Philosophy 34 (3):472-473.
    479 JOURNAL OF THE HISTORY OF PHILOSOPHY 34:3 JULY 1996 Sandra B. Rosenthal. Charles Peirce's Pragmatic Pluralism. Albany: State University of New York Press, 1994. Pp. xi + 177. Board, $16.95. Sandra Rosenthal's Charles Peirce's Pragmatic Pluralism represents a sustained discus- sion of those aspects of Peirce's philosophy that suggest that he was a philosophical pluralist. The book contains a complex, intricate, and extremely well documented exhibition of how the uniqueness of Peirce's thought places him beyond traditional views labeled as (...)
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  26.  6 DLs
    Carl R. Hausman (1981). Göetz on Creativity. Journal of Aesthetics and Art Criticism 40 (1):81.
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  27.  5 DLs
    Carl Hausman (1994). Information Age Ethics: Privacy Ground Rules for Navigating in Cyberspace. Journal of Mass Media Ethics 9 (3):135 – 144.
    This article examines implications of computer-sifted information: What happens when that information is reshuffled and used for other purposes than originally intended? Historical concepts of the philosophy of privacy are examined, essentially to demonstrate that a lack of clear precedent further confuses a fast-changing situation. The author argues that, a 100-odd years ago, advancing media technology prompted Louis Brandeis to proclaim a right to be let alone - but in the intervening years we have not been particularly effective in developing (...)
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  28.  5 DLs
    Carl R. Hausman (1981). Philosophical Creativity and Metaphorical Philosophy. Philosophical Topics 12 (3):193-211.
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  29.  5 DLs
    Carl R. Hausman (1990). In and Out of Peirce's Percepts. Transactions of the Charles S. Peirce Society 26 (3):271 - 308.
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  30.  4 DLs
    Carl Hausman & Douglas R. Anderson (1994). The Telos of Peirce's Realism: Some Comments on Margolis's "The Passing of Peirce's Realism". Transactions of the Charles S. Peirce Society 30 (4):825 - 838.
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  31.  4 DLs
    Carl Hausman (1966). The Existence of Novelty. World Futures 4 (3):3-60.
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  32.  4 DLs
    Carl Hausman (2010). Metaphor. Semiotics:31-42.
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  33.  4 DLs
    Carl R. Hausman (1964). Spontaneity. International Philosophical Quarterly 4 (1):20-47.
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  34.  3 DLs
    Carl R. Hausman (1964). The Artistic Transaction and Essays on Theory of Literature. International Philosophical Quarterly 4 (2):297-316.
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  35.  3 DLs
    Carl Hausman & Paul Gorner (2000). Obituary Salim Kemal. Kantian Review 4:162-163.
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  36.  3 DLs
    Carl R. Hausman (1961). Art and Symbol. Review of Metaphysics 15 (2):256 - 270.
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  37.  2 DLs
    Carl R. Hausman (1971). Symposium on Determinismfreedom, Indeterminism, and Necessity in the Origination of Novelty. Southern Journal of Philosophy 9 (2):163-178.
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  38.  2 DLs
    Carl R. Hausman (1979). Value and the Peircean Categories. Transactions of the Charles S. Peirce Society 15 (3):203 - 223.
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  39.  2 DLs
    Carl R. Hausman (1998). Charles Peirce and the Future of Philosophy. Journal of Speculative Philosophy 12 (2):83 - 97.
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  40.  2 DLs
    Carl R. Hausman (1991). Peirce's Evolutionary Realism. Transactions of the Charles S. Peirce Society 27 (4):475 - 500.
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  41.  2 DLs
    Carl Hausman (2006). A Review of Prominent Theories of Metaphor and Metaphorical Reference Revisited. [REVIEW] Semiotica 2006 (161):213-230.
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  42.  2 DLs
    Carl R. Hausman (1987). Metaphorical Reference and Peirce's Dynamical Object. Transactions of the Charles S. Peirce Society 23 (3):381 - 409.
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  43.  1 DLs
    Carl R. Hausman (1985). Religion as Art. Idealistic Studies 15 (2):170-171.
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  44.  1 DLs
    Carl R. Hausman (2008). Charles Peirce's Categories and the Growth of Reason. International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 21 (3):209-222.
    Charles Peirce’s semeiotic is inseparable from his account of the three categories of experience and his metaphysics. The discussion summarizes his account of the categories and considers the way they have ontological implications. These implications are then focused on Peirce’s Apapism, which is his way of referring to a theory of evolution. Finally, some suggestions are offered for a way the semeiotic with the metaphysical implications, especially their relevance for a theory of evolution, propose how Peirce might apply them for (...)
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  45.  1 DLs
    Carl R. Hausman (1981). Philosophical Style (Review). Philosophy and Literature 5 (2):238-239.
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  46.  1 DLs
    Carl R. Hausman (2006). A Semiótica de Peirce Aplicada à Percepção–O Papel dos Objetos Dinâmicos e dos Perceptos na Interpretação Perceptiva. Cognitio: Revista de Filosofia 7 (2):231-246.
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  47.  1 DLs
    Carl R. Hausman (1977). Creativity in Henry Nelson Wieman. Process Studies 7 (4):274-275.
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  48.  1 DLs
    Carl R. Hausman (1991). Metaphor and Art: Interactionism and Reference in the Verbal and Nonverbal Arts. Journal of Aesthetics and Art Criticism 49 (1):90-92.
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  49.  0 DLs
    Carl Hausman (1985). A Discourse on Novelty and Creation. State University of New York Press.
    Carl Hausman presents here a sustained and systematic examination of the problems of constructing a framework for understanding the concept of creativity. His discussion is unique in focusing systematically on problems of understanding creativity, examining our assumptions about what we take to be creative, and the possibility of seeing how creativity fits into a world that we expect to behave in rational patterns. In a careful examination of this complex phenomena, Hausman suggests a way of approaching creativity in terms of (...)
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  50.  0 DLs
    Carl Hausman (2006). Peirce’s Semeiotic Applied to Perception – The Role of Dynamic Objects and Percepts in Perceptual Interpretation: A Semiótica de Peirce Aplicada À Percepção – O Papel Dos Objetos Din'micos E Dos Perceptos Na Interpretação Perceptiva. Cognitio 7 (2).
     
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