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Carl R. Hausman [60]Carl Hausman [14]C. R. Hausman [1]C. Hausman [1]
Carl Ransdell Hausman [1]Carl B. Hausman [1]
  1.  59
    Charles S. Peirce's evolutionary philosophy.Carl R. Hausman - 1993 - New York: 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.  7
    Charles S. Peirce's Evolutionary Philosophy.Carl R. Hausman - 1993 - New York, NY, USA: 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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  3. Charles S. Peirce's Evolutionary Philosophy.Charles S. Peirce & Carl R. Hausman - 1994 - Transactions of the Charles S. Peirce Society 30 (2):401-413.
     
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  4.  12
    A Discourse on Novelty and Creation.Carl Hausman - 1975 - 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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  5. Charles S. Peirce's Evolutionary Philosophy.Carl R. Hausman - 1998 - Journal of Speculative Philosophy 12 (1):74-76.
  6.  21
    The Creative Imagination: Enlightenment to Romanticism.Carl B. Hausman - 1982 - Journal of Aesthetics and Art Criticism 40 (4):437-439.
  7.  32
    The Creativity Question.Albert Rothenberg & Carl Hausman - 1977 - Journal of Aesthetics and Art Criticism 36 (1):100-101.
  8.  3
    Metaphor and Art: Interactionism and Reference in the Verbal and Nonverbal Arts.Carl R. Hausman - 1989 - Cambridge University Press.
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  9.  46
    Eros and Agape in Creative Evolution.Carl R. Hausman - 1974 - Process Studies 4 (1):11-25.
  10.  11
    Classical American Pragmatism: Its Contemporary Vitality.Sandra B. Rosenthal, Carl R. Hausman & Douglas R. Anderson (eds.) - 1999 - University of Illinois Press.
    This collection provides a thorough grounding in the philosophy of American pragmatism by examining the views of four principal thinkers - Charles S. Peirce, William James, John Dewey, and George Herbert Mead - on issues of central and enduring importance to life in human society. Pragmatism emerged as a characteristically American response to an inheritance of British empiricism. Presenting a radical reconception of the nature of experience, pragmatism represents a belief that ideas are not merely to be contemplated but must (...)
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  11.  21
    In and out of Peirce's Percepts.Carl R. Hausman - 1990 - Transactions of the Charles S. Peirce Society 26 (3):271 - 308.
  12.  32
    Charles Peirce’s Categories and the Growth of Reason.Carl R. Hausman - 2008 - 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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  13. Criteria of creativity.Carl R. Hausman - 1979 - Philosophy and Phenomenological Research 40 (2):237-249.
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  14.  45
    Charles Peirce's Evolutionary Realism as a Process Philosophy.Carl R. Hausman - 2002 - Transactions of the Charles S. Peirce Society 38 (1/2):13 - 27.
  15.  16
    Metaphorical Reference and Peirce's Dynamical Object.Carl R. Hausman - 1987 - Transactions of the Charles S. Peirce Society 23 (3):381 - 409.
  16.  49
    Creativity and self-deception.Carl R. Hausman - 1967 - Journal of Existentialism 7:295-308.
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  17.  19
    Information age ethics: Privacy ground rules for navigating in cyberspace.Carl Hausman - 1994 - 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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  18.  12
    On Wittgenstein’s Extension of the Domain of Aesthetic Education: Intransitive Knowledge and Ethics.Penelope Miller, Anoop Gupta, Clint Randles, Carla Carmona Escalera, Arne de Boever, Steven Skaggs, Carl R. Hausman & Andrea Sauchelli - 2012 - The Journal of Aesthetic Education 46 (3):53-68.
    Ludwig Wittgenstein gave priority to aesthetics over other disciplines due to its invaluable capacities for revealing certain aspects of the nature of human understanding and for guiding our actions toward an ethical life. Although Wittgenstein did not focus on these issues in a systematic way, these worries were present in his philosophy during his lifetime. That is why I use a very wide range of his writings, from the Tractatus to letters and diaries. Aesthetic inquiries can throw light upon the (...)
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  19. Intradiction: An interpretation of aesthetic understanding.Carl R. Hausman - 1964 - Journal of Aesthetics and Art Criticism 22 (3):249-261.
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  20. Metaphors, referents, and individuality.Carl R. Hausman - 1983 - Journal of Aesthetics and Art Criticism 42 (2):181-195.
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  21. Originality as a criterion of creativity.Carl R. Hausman - 1985 - In Michael H. Mitias (ed.), Creativity in Art, Religion, and Culture. Distributed in the U.S.A. By Humanities Press.
  22. The role of aesthetic emotion in R. G. Collingwood's conception of creative activity.Douglas R. Anderson & Carl R. Hausman - 1992 - Journal of Aesthetics and Art Criticism 50 (4):299-305.
  23.  19
    Pragmatism considers phenomenology.Robert S. Corrington, Carl Hausman & Thomas M. Seebohm (eds.) - 1987 - Washington, D.C.: University Press of America.
    A collection of papers from a conference held in 1984.
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  24. Pragmatism Considers Phenomenology.Robert S. Corrington, Carl Hausman & Thomas M. Seebohm - 1989 - Transactions of the Charles S. Peirce Society 25 (2):203-206.
     
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  25.  19
    Art and Contextually Implied Truths.Carl R. Hausman - 1967 - Southern Journal of Philosophy 5 (1):9-25.
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  26.  18
    Art and Symbol.Carl R. Hausman - 1961 - Review of Metaphysics 15 (2):256 - 270.
    Today we discuss in our own special vocabulary the assumption underlying the quarrel between poetry and philosophy. We speak of propositions, implications, signs, icons, symbols, etc., in connection with fine art. But in so far as we dispute over the assumption at all, the central question remains: Does poetry or art reveal something which is also revealed by philosophy?
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  27.  4
    Afterwords Criticism and Countertheses.Carl R. Hausman - 1981 - Journal of Aesthetics and Art Criticism 40 (1):81-84.
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  28.  8
    AFTERWORDS Criticism and Countertheses: Creativity Studies: Where Can They Go?Carl R. Hausman - 1986 - Journal of Aesthetics and Art Criticism 45 (1):87-88.
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  29.  45
    Aaron Ridley's defense of Collingwood pursued.Carl R. Hausman - 1998 - Journal of Aesthetics and Art Criticism 56 (4):391-393.
  30.  14
    A Semiótica de Peirce Aplicada à Percepção–O Papel dos Objetos Dinâmicos e dos Perceptos na Interpretação Perceptiva.Carl R. Hausman - 2006 - Cognitio 7 (2):231-246.
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  31.  42
    Bergson, Peirce, and Reflective Intuition.Carl R. Hausman - 1999 - Process Studies 28 (3):289-300.
  32. Creativity: Conceptual and historical overview.C. Hausman - 1998 - In Michael Kelly (ed.), Encyclopedia of Aesthetics. Oxford University Press.
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  33.  17
    Creativity in Henry Nelson Wieman.Carl R. Hausman - 1977 - Process Studies 7 (4):274-275.
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  34. Criteria of creativity.C. R. Hausman - 1981 - In Denis Dutton & Michael Krausz (eds.), The Concept of creativity in science and art. Hingham, MA: Distributors for the U.S. and Canada, Kluwer Boston.
     
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  35.  15
    Charles Peirce and the Future of Philosophy.Carl R. Hausman - 1998 - Journal of Speculative Philosophy 12 (2):83 - 97.
  36. Charles Peirce and the Origin of Interpretation.Carl R. Hausman - 1997 - In Paul Forster & Jacqueline Brunning (eds.), The Rule of Reason: The Philosophy of C.S. Peirce. University of Toronto Press. pp. 185-200.
     
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  37.  28
    Charles Peirce's Pragmatic Pluralism.Carl R. Hausman - 1996 - 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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  38.  45
    Creativity studies: Where can they go?Carl R. Hausman - 1986 - Journal of Aesthetics and Art Criticism 45 (1):87-88.
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  39.  33
    Countertheses: The phenomenon of originative speech.Carl Hausman - 1969 - World Futures 7 (4):43-55.
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  40.  37
    Fourthness: Carl Vaught on Peirce's Categories.Carl R. Hausman - 1988 - Transactions of the Charles S. Peirce Society 24 (2):265 - 278.
  41.  19
    Symposium on Determinism Freedom, Indeterminism, and Necessity in the Origination of Novelty.Carl R. Hausman - 1971 - Southern Journal of Philosophy 9 (2):163-178.
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  42.  44
    Göetz on creativity.Carl R. Hausman - 1981 - Journal of Aesthetics and Art Criticism 40 (1):81.
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  43.  30
    Infinitesimals as Origins of Evolution: Comments Prompted by Timothy Herron and Hilary Putnam on Peirce's Synechism and Infinitesimals.Carl Hausman - 1998 - Transactions of the Charles S. Peirce Society 34 (3):627 - 640.
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  44.  4
    Introduction: American Philosophy in Transition.Carl R. Hausman - 1997 - In Richard Hart & Douglas R. Anderson (eds.), Philosophy in Experience: American Philosophy in Transition. Fordham University Press. pp. 1-12.
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  45.  38
    Insight in the arts.Carl R. Hausman - 1986 - Journal of Aesthetics and Art Criticism 45 (2):163-173.
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  46.  30
    Ii mystery, paradox, and the creative act.Carl R. Hausman - 1969 - Southern Journal of Philosophy 7 (3):289-296.
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  47.  36
    Language and Metaphysics: The Ontology of Metaphor.Carl R. Hausman - 1991 - Philosophy and Rhetoric 24 (1):25 - 42.
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  48.  20
    Metaphor: Review and Reflections.Carl Hausman - 2010 - Semiotics:31-42.
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  49.  45
    Maritain's interpretation of creativity in art.Carl R. Hausman - 1960 - Journal of Aesthetics and Art Criticism 19 (2):215-219.
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  50.  95
    Mechanism or teleology in the creative process.Carl R. Hausman - 1961 - Journal of Philosophy 58 (20):577-584.
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