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Carl R. Hausman [57]Carl Hausman [14]Carl Ransdell Hausman [1]Carl B. Hausman [1]
  1.  48
    Charles S. Peirce's Evolutionary Philosophy.Carl R. Hausman - 1993 - 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. Charles S. Peirce's Evolutionary Philosophy.Carl R. Hausman - 1998 - Journal of Speculative Philosophy 12 (1):74-76.
     
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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. Classical American Pragmatism: Its Contemporary Vitality.Sandra Rosenthal, Carl R. Hausman & Douglas R. Anderson (eds.) - 1999 - University of Illinois Press.
     
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  5.  11
    A Review of Prominent Theories of Metaphor and Metaphorical Reference Revisited. [REVIEW]Carl Hausman - 2006 - Semiotica 2006 (161):213-230.
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  6.  11
    The Creative Imagination: Enlightenment to Romanticism.Carl B. Hausman - 1982 - Journal of Aesthetics and Art Criticism 40 (4):437-439.
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  7.  38
    Eros and Agape in Creative Evolution: A Peircean Insight.Carl R. Hausman - 1974 - Process Studies 4 (1):11-25.
  8.  7
    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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  9. Metaphors, Referents, and Individuality.Carl R. Hausman - 1983 - Journal of Aesthetics and Art Criticism 42 (2):181-195.
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  10. Intradiction: An Interpretation of Aesthetic Understanding.Carl R. Hausman - 1964 - Journal of Aesthetics and Art Criticism 22 (3):249-261.
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  11. 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.
     
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  12. Charles S. Peirce's Evolutionary Philosophy.Carl R. Hausman - 1997 - 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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  13.  17
    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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  14.  16
    In and Out of Peirce's Percepts.Carl R. Hausman - 1990 - Transactions of the Charles S. Peirce Society 26 (3):271 - 308.
  15. Metaphor and Art: Interactionism and Reference in the Verbal and Nonverbal Arts.Carl R. Hausman - 1989 - Cambridge University Press.
     
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  16.  91
    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.
  17.  10
    The Creativity Question.Albert Rothenberg & Carl Hausman - 1977 - Journal of Aesthetics and Art Criticism 36 (1):100-101.
  18.  84
    Mechanism or Teleology in the Creative Process.Carl R. Hausman - 1961 - Journal of Philosophy 58 (20):577-584.
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  19.  79
    Criteria of Creativity.Carl R. Hausman - 1979 - Philosophy and Phenomenological Research 40 (2):237-249.
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  20.  14
    Metaphorical Reference and Peirce's Dynamical Object.Carl R. Hausman - 1987 - Transactions of the Charles S. Peirce Society 23 (3):381 - 409.
  21.  34
    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.
  22.  11
    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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  23.  81
    Metaphorical Semeiotic Referents: Dyadic Objects.Carl R. Hausman - 2007 - 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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  24.  29
    Countertheses: The Phenomenon of Originative Speech.Carl Hausman - 1969 - World Futures 7 (4):43-55.
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  25.  30
    Fourthness: Carl Vaught on Peirce's Categories.Carl R. Hausman - 1988 - Transactions of the Charles S. Peirce Society 24 (2):265 - 278.
  26. 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.Carl Hausman - 2006 - Cognitio 7 (2).
     
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  27.  40
    Creativity and Self-Deception.Carl R. Hausman - 1967 - Journal of Existentialism 7:295-308.
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  28.  13
    Value and the Peircean Categories.Carl R. Hausman - 1979 - Transactions of the Charles S. Peirce Society 15 (3):203 - 223.
  29.  17
    Spontaneity.Carl R. Hausman - 1964 - International Philosophical Quarterly 4 (1):20-47.
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  30.  27
    Language and Metaphysics: The Ontology of Metaphor.Carl R. Hausman - 1991 - Philosophy and Rhetoric 24 (1):25 - 42.
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  31.  27
    The Existence of Novelty.Carl Hausman - 1966 - World Futures 4 (3):3-60.
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  32.  15
    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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  33.  17
    Metaphor: Review and Reflections.Carl Hausman - 2010 - Semiotics:31-42.
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  34.  13
    Art and Contextually Implied Truths.Carl R. Hausman - 1967 - Southern Journal of Philosophy 5 (1):9-25.
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  35.  24
    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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  36.  22
    Bergson, Peirce, and Reflective Intuition.Carl R. Hausman - 1999 - Process Studies 28 (3/4):289-300.
  37.  9
    Metaphorical Semeiotic Referents: Dyadic Objects.Carl R. Hausman - 2007 - 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 account (...)
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  38.  23
    Ii Mystery, Paradox, and the Creative Act.Carl R. Hausman - 1969 - Southern Journal of Philosophy 7 (3):289-296.
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  39.  15
    The Telos of Peirce's Realism: Some Comments on Margolis's "The Passing of Peirce's Realism".Carl Hausman & Douglas R. Anderson - 1994 - Transactions of the Charles S. Peirce Society 30 (4):825 - 838.
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  40.  26
    Göetz on Creativity.Carl R. Hausman - 1981 - Journal of Aesthetics and Art Criticism 40 (1):81.
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  41.  26
    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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  42.  23
    Creativity Studies: Where Can They Go?Carl R. Hausman - 1986 - Journal of Aesthetics and Art Criticism 45 (1):87-88.
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  43.  23
    Insight in the Arts.Carl R. Hausman - 1986 - Journal of Aesthetics and Art Criticism 45 (2):163-173.
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  44.  11
    Religion as Art.Carl R. Hausman - 1985 - Idealistic Studies 15 (2):170-171.
    Martland’s purpose in this book is to show how religion and art share a common function rather than to show how they are distinct. They both reveal and create the significance of our lives and our world. In order to explain how they do this, Martland devotes a relatively substantial amount of space to a discussion of his approach. He makes it clear that he is not concerned with attempting an objective description of the achievements of art and religion and (...)
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  45.  11
    Obituary Salim Kemal.Carl Hausman & Paul Gorner - 2000 - Kantian Review 4:162-163.
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  46.  9
    Creativity in Henry Nelson Wieman.Carl R. Hausman - 1977 - Process Studies 7 (4):274-275.
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  47.  14
    Understanding and the Act of Creation.The Act of Creation.Carl R. Hausman - 1966 - Review of Metaphysics 20 (1):88 - 112.
    The first issue concerns what can be meant by the "newness" or "originality" which Koestler attributes to the products of creative acts. One of the purposes of this paper will be to discriminate several distinct but incompatible meanings which Koestler associates with the newness in created objects. The second issue concerns whether Koestler's thesis commits him to a form of determinism or indeterminism with respect to human creative activity. The third issue raises the question whether his thesis is intended as (...)
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  48.  16
    Some Further Suggestions on Novelty and Creation.Carl R. Hausman - 1976 - Journal of Aesthetics and Art Criticism 35 (2):222-225.
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  49.  13
    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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  50.  16
    Aaron Ridley's Defense of Collingwood Pursued.Carl R. Hausman - 1998 - Journal of Aesthetics and Art Criticism 56 (4):391-393.
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