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Carl R. Hausman [59]Carl Ransdell Hausman [1]
  1.  50
    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.  39
    Eros and Agape in Creative Evolution: A Peircean Insight.Carl R. Hausman - 1974 - Process Studies 4 (1):11-25.
  3.  16
    In and Out of Peirce's Percepts.Carl R. Hausman - 1990 - Transactions of the Charles S. Peirce Society 26 (3):271 - 308.
  4.  20
    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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  5.  14
    Metaphorical Reference and Peirce's Dynamical Object.Carl R. Hausman - 1987 - Transactions of the Charles S. Peirce Society 23 (3):381 - 409.
  6.  85
    Criteria of Creativity.Carl R. Hausman - 1979 - Philosophy and Phenomenological Research 40 (2):237-249.
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  7.  37
    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.
  8.  95
    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.
  9.  86
    Mechanism or Teleology in the Creative Process.Carl R. Hausman - 1961 - Journal of Philosophy 58 (20):577-584.
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  10.  30
    Fourthness: Carl Vaught on Peirce's Categories.Carl R. Hausman - 1988 - Transactions of the Charles S. Peirce Society 24 (2):265 - 278.
  11.  23
    Bergson, Peirce, and Reflective Intuition.Carl R. Hausman - 1999 - Process Studies 28 (3/4):289-300.
  12.  13
    Value and the Peircean Categories.Carl R. Hausman - 1979 - Transactions of the Charles S. Peirce Society 15 (3):203 - 223.
  13.  13
    Art and Contextually Implied Truths.Carl R. Hausman - 1967 - Southern Journal of Philosophy 5 (1):9-25.
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  14.  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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  15. Afterwords Criticism and Countertheses.Carl R. Hausman - 1981 - Journal of Aesthetics and Art Criticism 40 (1):81-84.
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  16. 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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  17.  21
    Aaron Ridley's Defense of Collingwood Pursued.Carl R. Hausman - 1998 - Journal of Aesthetics and Art Criticism 56 (4):391-393.
  18.  11
    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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  19.  41
    Creativity and Self-Deception.Carl R. Hausman - 1967 - Journal of Existentialism 7:295-308.
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  20.  10
    Creativity in Henry Nelson Wieman.Carl R. Hausman - 1977 - Process Studies 7 (4):274-275.
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  21.  9
    Charles Peirce and the Future of Philosophy.Carl R. Hausman - 1998 - Journal of Speculative Philosophy 12 (2):83 - 97.
  22. 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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  23.  18
    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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  24. 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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  25. Charles S. Peirce's Evolutionary Philosophy.Carl R. Hausman - 1998 - Journal of Speculative Philosophy 12 (1):74-76.
     
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  26.  24
    Creativity Studies: Where Can They Go?Carl R. Hausman - 1986 - Journal of Aesthetics and Art Criticism 45 (1):87-88.
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  27.  11
    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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  28.  30
    Göetz on Creativity.Carl R. Hausman - 1981 - Journal of Aesthetics and Art Criticism 40 (1):81.
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  29. Intradiction: An Interpretation of Aesthetic Understanding.Carl R. Hausman - 1964 - Journal of Aesthetics and Art Criticism 22 (3):249-261.
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  30.  24
    Insight in the Arts.Carl R. Hausman - 1986 - Journal of Aesthetics and Art Criticism 45 (2):163-173.
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  31.  23
    Ii Mystery, Paradox, and the Creative Act.Carl R. Hausman - 1969 - Southern Journal of Philosophy 7 (3):289-296.
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  32.  27
    Language and Metaphysics: The Ontology of Metaphor.Carl R. Hausman - 1991 - Philosophy and Rhetoric 24 (1):25 - 42.
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  33. Metaphor and Art: Interactionism and Reference in the Verbal and Nonverbal Arts.Carl R. Hausman - 1989 - Cambridge University Press.
     
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  34.  27
    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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  35.  4
    Mystery, Paradox, and the Creative Act.Carl R. Hausman - 1969 - Southern Journal of Philosophy 7 (3):289-296.
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  36. Metaphors, Referents, and Individuality.Carl R. Hausman - 1983 - Journal of Aesthetics and Art Criticism 42 (2):181-195.
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  37.  82
    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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  38.  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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  39. 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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  40.  12
    Philosophical Creativity and Metaphorical Philosophy.Carl R. Hausman - 1981 - Philosophical Topics 12 (3):193-211.
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  41.  1
    Philosophical Creativity and Metaphorical Philosophy.Carl R. Hausman - 1981 - Philosophical Topics 12 (3):193-211.
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  42.  14
    Peirce's Evolutionary Realism.Carl R. Hausman - 1991 - Transactions of the Charles S. Peirce Society 27 (4):475 - 500.
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  43. Patrick L. Bourgeois and Sandra B. Rosenthal, "Thematic Studies in Phenomenology and Pragmatism". [REVIEW]Carl R. Hausman - 1984 - Transactions of the Charles S. Peirce Society 20 (4):473.
     
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  44. Philosophy of Creativity.Carl R. Hausman - 1979 - Ultimate Reality and Meaning 2 (2):143-162.
     
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  45.  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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  46. Religion as Art: An Interpretation. [REVIEW]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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  47.  17
    Spontaneity.Carl R. Hausman - 1964 - International Philosophical Quarterly 4 (1):20-47.
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  48. Sophocles and the Metaphysical Question of Tragedy.Carl R. Hausman - 1966 - Pacific Philosophical Quarterly 47 (4):509.
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  49.  17
    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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  50.  4
    Spontaneity: Its Arationality and Its Reality.Carl R. Hausman - 1964 - International Philosophical Quarterly 4 (1):20-47.
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