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  1. Carl R. Hausman, Henry W. Johnstone & Carl G. Vaught (forthcoming). To The Reader. Journal of Speculative Philosophy.
     
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  2. Penelope Miller, Anoop Gupta, Clint Randles, Carla Carmona Escalera, Arne de Boever, Steven Skaggs, Carl R. Hausman & Andrea Sauchelli (2012). Front Matter Front Matter (Pp. I-Iii). Journal of Aesthetic Education 46 (3).
     
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  3. 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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  4. 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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  5. 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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  6. 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. Issn (Impresso) 1518-7187;(Eletrônico) 2316-5278 7 (2):231-246.
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  7. 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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  8. Carl R. Hausman (1999). Bergson, Peirce, and Reflective Intuition. Process Studies 28 (3/4):289-300.
  9. 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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  10. Carl R. Hausman (1998). Charles Peirce and the Future of Philosophy. Journal of Speculative Philosophy 12 (2):83 - 97.
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  11. Carl R. Hausman, Charlene Haddock Seigfried, Vincent Colapietro, Crispin Sartwell, Patricia Ann Turrisi & Kathleen Hull (1998). Speculative Philosophy. Journal of Speculative Philosophy 12:77.
     
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  12. Carl R. Hausman (1996). Charles Peirce's Pragmatic Pluralism (Review). Journal of the History of Philosophy 34 (3):472-473.
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  13. 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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  14. 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.
  15. Carl R. Hausman (1991). Language and Metaphysics: The Ontology of Metaphor. Philosophy and Rhetoric 24 (1):25 - 42.
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  16. Carl R. Hausman (1991). Peirce's Evolutionary Realism. Transactions of the Charles S. Peirce Society 27 (4):475 - 500.
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  17. 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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  18. 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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  19. 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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  20. Carl R. Hausman (1986). Creativity Studies: Where Can They Go? Journal of Aesthetics and Art Criticism 45 (1):87-88.
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  21. Carl R. Hausman (1986). Insight in the Arts. Journal of Aesthetics and Art Criticism 45 (2):163-173.
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  22. Carl R. Hausman (1985). Originality as a Criterion of Creativity. In Michael H. Mitias (ed.), Creativity in Art, Religion, and Culture. Distributed in the U.S.A. By Humanities Press.
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  23. Carl R. Hausman (1985). Religion as Art. Idealistic Studies 15 (2):170-171.
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  24. Carl R. Hausman (1983). Metaphors, Referents, and Individuality. Journal of Aesthetics and Art Criticism 42 (2):181-195.
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  25. Carl R. Hausman (1981). Göetz on Creativity. Journal of Aesthetics and Art Criticism 40 (1):81.
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  26. Carl R. Hausman (1981). Philosophical Creativity and Metaphorical Philosophy. Philosophical Topics 12 (3):193-211.
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  27. Carl R. Hausman (1981). Philosophical Style (Review). Philosophy and Literature 5 (2):238-239.
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  28. Carl R. Hausman (1979). Criteria of Creativity. Philosophy and Phenomenological Research 40 (2):237-249.
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  29. Carl R. Hausman (1979). Philosophy of Creativity. Ultimate Reality and Meaning 2:143-162.
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  30. Carl R. Hausman (1979). Value and the Peircean Categories. Transactions of the Charles S. Peirce Society 15 (3):203 - 223.
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  31. Carl R. Hausman (1977). Creativity in Henry Nelson Wieman. Process Studies 7 (4):274-275.
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  32. 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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  33. Carl R. Hausman (1974). Eros and Agape in Creative Evolution. Process Studies 4 (1):11-25.
  34. 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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  35. 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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  36. Carl R. Hausman (1969). Ii Mystery, Paradox, and the Creative Act. Southern Journal of Philosophy 7 (3):289-296.
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  37. Carl R. Hausman (1967). Art and Contextually Implied Truths. Southern Journal of Philosophy 5 (1):9-25.
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  38. Carl R. Hausman (1967). Creativity and Self-Deception. Journal of Existentialism 7:295-308.
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  39. Carl R. Hausman (1966). Understanding and the Act of Creation. Review of Metaphysics 20 (1):88 - 112.
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  40. Carl R. Hausman (1964). Intradiction: An Interpretation of Aesthetic Understanding. Journal of Aesthetics and Art Criticism 22 (3):249-261.
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  41. Carl R. Hausman (1964). Spontaneity. International Philosophical Quarterly 4 (1):20-47.
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  42. Carl R. Hausman (1964). The Artistic Transaction and Essays on Theory of Literature. International Philosophical Quarterly 4 (2):297-316.
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  43. Carl R. Hausman (1961). Art and Symbol. Review of Metaphysics 15 (2):256 - 270.
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  44. Carl R. Hausman (1961). Mechanism or Teleology in the Creative Process. Journal of Philosophy 58 (20):577-584.
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  45. 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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