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Carl R. Hausman [53]Carl Ransdell Hausman [1]
  1.  17
    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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  2. Carl R. Hausman (1983). Metaphors, Referents, and Individuality. Journal of Aesthetics and Art Criticism 42 (2):181-195.
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  3. 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.  11
    Carl R. Hausman (1964). Spontaneity. International Philosophical Quarterly 4 (1):20-47.
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  5.  77
    Carl R. Hausman (1961). Mechanism or Teleology in the Creative Process. Journal of Philosophy 58 (20):577-584.
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  6.  68
    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.
  7.  14
    Carl R. Hausman (1974). Eros and Agape in Creative Evolution. Process Studies 4 (1):11-25.
  8.  3
    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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  9.  27
    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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  10.  6
    Carl R. Hausman (1967). Art and Contextually Implied Truths. Southern Journal of Philosophy 5 (1):9-25.
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  11.  50
    Carl R. Hausman (1979). Criteria of Creativity. Philosophy and Phenomenological Research 40 (2):237-249.
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  12.  7
    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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  13. Sandra Rosenthal, Carl R. Hausman & Douglas R. Anderson (eds.) (1999). Classical American Pragmatism: Its Contemporary Vitality. University of Illinois Press.
     
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  14.  45
    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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  15.  6
    Carl R. Hausman (1996). Charles Peirce's Pragmatic Pluralism. 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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  16.  5
    Carl R. Hausman (1977). Creativity in Henry Nelson Wieman. Process Studies 7 (4):274-275.
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  17.  32
    Carl R. Hausman (1967). Creativity and Self-Deception. Journal of Existentialism 7:295-308.
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  18.  15
    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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  19.  3
    Carl R. Hausman (1964). The Artistic Transaction and Essays on Theory of Literature. International Philosophical Quarterly 4 (2):297-316.
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  20.  19
    Carl R. Hausman (1986). Insight in the Arts. Journal of Aesthetics and Art Criticism 45 (2):163-173.
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  21.  11
    Carl R. Hausman (1999). Bergson, Peirce, and Reflective Intuition. Process Studies 28 (3/4):289-300.
  22.  18
    Carl R. Hausman (1986). Creativity Studies: Where Can They Go? Journal of Aesthetics and Art Criticism 45 (1):87-88.
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  23.  11
    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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  24.  12
    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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  25.  9
    Carl R. Hausman (1966). Understanding and the Act of Creation. Review of Metaphysics 20 (1):88 - 112.
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  26.  9
    Carl R. Hausman (1991). Language and Metaphysics: The Ontology of Metaphor. Philosophy and Rhetoric 24 (1):25 - 42.
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  27.  13
    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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  28.  7
    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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  29.  11
    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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  30.  3
    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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  31.  6
    Carl R. Hausman (1969). Ii Mystery, Paradox, and the Creative Act. Southern Journal of Philosophy 7 (3):289-296.
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  32.  5
    Carl R. Hausman (1961). Art and Symbol. Review of Metaphysics 15 (2):256 - 270.
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  33.  5
    Carl R. Hausman (1981). Philosophical Creativity and Metaphorical Philosophy. Philosophical Topics 12 (3):193-211.
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  34.  5
    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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  35.  2
    Carl R. Hausman (1998). Charles Peirce and the Future of Philosophy. Journal of Speculative Philosophy 12 (2):83 - 97.
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  36.  2
    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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  37.  4
    Carl R. Hausman (1979). Value and the Peircean Categories. Transactions of the Charles S. Peirce Society 15 (3):203 - 223.
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  38.  4
    Carl R. Hausman (1991). Peirce's Evolutionary Realism. Transactions of the Charles S. Peirce Society 27 (4):475 - 500.
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  39.  6
    Carl R. Hausman (1981). Göetz on Creativity. Journal of Aesthetics and Art Criticism 40 (1):81.
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  40.  1
    Carl R. Hausman (1985). Religion as Art. Idealistic Studies 15 (2):170-171.
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  41.  1
    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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  42.  1
    Carl R. Hausman (1981). Philosophical Style (Review). Philosophy and Literature 5 (2):238-239.
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  43. Carl R. Hausman (1997). Charles Peirce and the Origin of Interpretation. In Paul Forster & Jacqueline Brunning (eds.), The Rule of Reason: The Philosophy of C.S. Peirce. University of Toronto Press 185-200.
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  44. Carl R. Hausman (2010). 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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  45. Carl R. Hausman (2011). 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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  46. 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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  47. Carl R. Hausman (1984). Patrick L. Bourgeois and Sandra B. Rosenthal, "Thematic Studies in Phenomenology and Pragmatism". [REVIEW] Transactions of the Charles S. Peirce Society 20 (4):473.
     
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  48. Carl R. Hausman (1979). Philosophy of Creativity. Ultimate Reality and Meaning 2 (2):143-162.
     
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  49. Carl R. Hausman (1966). Sophocles and the Metaphysical Question of Tragedy. Pacific Philosophical Quarterly 47 (4):509.
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  50. 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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