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Carl R. Hausman [57]Carl Ransdell Hausman [1]
  1.  47
    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.  38
    Eros and Agape in Creative Evolution: A Peircean Insight.Carl R. Hausman - 1974 - Process Studies 4 (1):11-25.
  5. Metaphors, Referents, and Individuality.Carl R. Hausman - 1983 - Journal of Aesthetics and Art Criticism 42 (2):181-195.
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  6. Intradiction: An Interpretation of Aesthetic Understanding.Carl R. Hausman - 1964 - Journal of Aesthetics and Art Criticism 22 (3):249-261.
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  7. 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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  8. 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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  9.  13
    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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  10.  16
    In and Out of Peirce's Percepts.Carl R. Hausman - 1990 - Transactions of the Charles S. Peirce Society 26 (3):271 - 308.
  11. Metaphor and Art: Interactionism and Reference in the Verbal and Nonverbal Arts.Carl R. Hausman - 1989 - Cambridge University Press.
     
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  12. Classical American Pragmatism: Its Contemporary Vitality.Sandra Rosenthal, Carl R. Hausman & Douglas R. Anderson (eds.) - 1999 - University of Illinois Press.
     
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  13.  90
    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.
  14.  84
    Mechanism or Teleology in the Creative Process.Carl R. Hausman - 1961 - Journal of Philosophy 58 (20):577-584.
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  15.  79
    Criteria of Creativity.Carl R. Hausman - 1979 - Philosophy and Phenomenological Research 40 (2):237-249.
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  16.  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.
  17.  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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  18.  14
    Metaphorical Reference and Peirce's Dynamical Object.Carl R. Hausman - 1987 - Transactions of the Charles S. Peirce Society 23 (3):381 - 409.
  19.  30
    Fourthness: Carl Vaught on Peirce's Categories.Carl R. Hausman - 1988 - Transactions of the Charles S. Peirce Society 24 (2):265 - 278.
  20.  17
    Spontaneity.Carl R. Hausman - 1964 - International Philosophical Quarterly 4 (1):20-47.
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  21.  39
    Creativity and Self-Deception.Carl R. Hausman - 1967 - Journal of Existentialism 7:295-308.
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  22.  13
    Value and the Peircean Categories.Carl R. Hausman - 1979 - Transactions of the Charles S. Peirce Society 15 (3):203 - 223.
  23.  27
    Language and Metaphysics: The Ontology of Metaphor.Carl R. Hausman - 1991 - Philosophy and Rhetoric 24 (1):25 - 42.
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  24.  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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  25.  13
    Art and Contextually Implied Truths.Carl R. Hausman - 1967 - Southern Journal of Philosophy 5 (1):9-25.
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  26.  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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  27.  22
    Bergson, Peirce, and Reflective Intuition.Carl R. Hausman - 1999 - Process Studies 28 (3/4):289-300.
  28.  23
    Ii Mystery, Paradox, and the Creative Act.Carl R. Hausman - 1969 - Southern Journal of Philosophy 7 (3):289-296.
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  29.  26
    Göetz on Creativity.Carl R. Hausman - 1981 - Journal of Aesthetics and Art Criticism 40 (1):81.
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  30.  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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  31.  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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  32.  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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  33.  23
    Insight in the Arts.Carl R. Hausman - 1986 - Journal of Aesthetics and Art Criticism 45 (2):163-173.
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  34.  9
    Creativity in Henry Nelson Wieman.Carl R. Hausman - 1977 - Process Studies 7 (4):274-275.
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  35.  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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  36.  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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  37.  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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  38.  9
    A Semiótica de Peirce Aplicada à Percepção–O Papel dos Objetos Dinâmicos e dos Perceptos na Interpretação Perceptiva.Carl R. Hausman - 2006 - Cognitio: Revista de Filosofia 7 (2):231-246.
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  39.  16
    Aaron Ridley's Defense of Collingwood Pursued.Carl R. Hausman - 1998 - Journal of Aesthetics and Art Criticism 56 (4):391-393.
  40.  12
    Peirce's Evolutionary Realism.Carl R. Hausman - 1991 - Transactions of the Charles S. Peirce Society 27 (4):475 - 500.
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  41.  7
    The Artistic Transaction and Essays on Theory of Literature.Carl R. Hausman - 1964 - International Philosophical Quarterly 4 (2):297-316.
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  42.  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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  43.  8
    Symposium on Determinismfreedom, Indeterminism, and Necessity in the Origination of Novelty.Carl R. Hausman - 1971 - Southern Journal of Philosophy 9 (2):163-178.
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  44.  4
    Mystery, Paradox, and the Creative Act.Carl R. Hausman - 1969 - Southern Journal of Philosophy 7 (3):289-296.
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  45.  7
    Charles Peirce and the Future of Philosophy.Carl R. Hausman - 1998 - Journal of Speculative Philosophy 12 (2):83 - 97.
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  46.  9
    Philosophical Creativity and Metaphorical Philosophy.Carl R. Hausman - 1981 - Philosophical Topics 12 (3):193-211.
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  47.  6
    Philosophical Style (Review).Carl R. Hausman - 1981 - Philosophy and Literature 5 (2):238-239.
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  48.  3
    Spontaneity: Its Arationality and Its Reality.Carl R. Hausman - 1964 - International Philosophical Quarterly 4 (1):20-47.
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  49.  1
    Philosophical Creativity and Metaphorical Philosophy.Carl R. Hausman - 1981 - Philosophical Topics 12 (3):193-211.
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  50. 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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