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This is a major phenomenological work in which real learning works in graceful tandem with genuine and important insight.

Drawing on phenomenology and everyday affective encounters of grieving, befriending, rearing, and bonding, Flakne warns against the disorientation and division implicit in what we think we mean by common sense. Instead, she invites us to relearn sensing together as key to an inevitable ethics of interembodiment.

In The Crisis of Meaning and the Life-World, Lubica Ucnik examines the existential conflict that formed the focus of Edmund Husserl's final work, which she argues is very much with us today: how to reconcile scientific rationality with the meaning of human existence. To investigate this conundrum, she places Husserl in dialogue with three of his most important successors: Martin Heidegger, Hannah Arendt, and Jan Patocka.For Husserl, 1930s Europe was characterized by a growing irrationalism that threatened to undermine its legacy of rational inquiry. Technological advancement in the sciences, Husserl argued, had led science to forget its own foundations in the primary "e;life-world"e;: the world of lived experience. Renewing Husserl's concerns in today's context, UA nk first provides an original and compelling reading of his oeuvre through the lens of the formalization of the sciences, then traces the unfolding of this problem through the work of Heidegger, Arendt, and PatoA ka.Although many scholars have written on Arendt, none until now has connected her philosophical thought with that of Czech phenomenologist Jan PatoA ka. UA nk provides invaluable access to the work of the latter, who remains understudied in the English language. She shows that together, these four thinkers offer new challenges to the way we approach key issues confronting us today, providing us with ways to reconsider truth, freedom, and human responsibility in the face of the postmodern critique of metanarratives and a growing philosophical interest in new forms of materialism.

Phenomenology has played a decisive role in the emergence of the discourse of place, and the contribution of Merleau-Ponty to architectural theory and practice is well established. This collection of essays by 12 eminent scholars is the first devoted specifically to developing his contribution to our understanding of place and architecture.

These original essays focus on the introduction of phenomenology to the United States by the community of scholars who taught and studied at the New School for Social Research in New York City between 1954 and 1973. The collection powerfully traces the lineage and development of phenomenology in the North American context.

In The Madness of Vision, Buci-Glucksmann asserts the important of embodied vision in nine studies of paintings, sculptures, and images. She integrates the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics to make the case for the pervasive influence of the baroque.

In The Tenets of Cognitive Existentialism, Dimitri Ginev draws on developments in hermeneutic phenomenology and other programs in hermeneutic philosophy to inform an interpretative approach to scientific practices.

World-renowned analytic philosophers John McDowell and Robert Brandom, dubbed "Pittsburgh Neo-Hegelians," recently engaged in an intriguing debate about perception.

Classical phenomenology has suffered from an individualist bias and a neglect of the communicative structure of experience, especially the phenomenological importance of the addressee, the inseparability of I and You, and the nature of the alternation between them. This title remedies this neglect.

The World Unclaimed argues that Heidegger's critique of modern epistemology in Being and Time is seriously flawed. Heidegger believes he has done away with epistemological problems concerning the external world by showing that the world is an existential structure of Dasein.

Examining select high points in the speculative tradition from Plato and Aristotle through the Middle Ages and German tradition to Dewey and Heidegger, this book seeks to locate the aesthetic concern within the larger framework of each thinker's philosophy.

Theory of Objective Mind is the first book of the important German social philosopher Hans Freyer to appear in English.

Martin Heidegger's Being and Time can be broadly termed a transcendental inquiry into the structures that make human experience possible. Such an inquiry reveals the conditions that render human experience intelligible.

Edwin Jones sets out to show that a phenomenological analysis of meaning can contribute to a theory of creativity in several ways. It can clarify the concept of creative expression and resolve its paradoxical appearance. Creativity must have its roots in already existing meanings and at the same time has to generate new meanings.To

In search of the origins of some of the most fundamental problems that have beset philosophers in English-speaking countries in the past century, Claire Ortiz Hill maintains that philosophers are treating symptoms of ills whose causes lie buried in history.

The great American thinker Ralph Waldo Emerson and the influential German philosopher Friedrich Nietzsche, though writing in different eras and ultimately developing significantly different philosophies, both praised the individual's wish to be transformed, to be fully created for the first time.

The concept of "flesh" in philosophical terms derives from the writings of Maurice Merleau-Ponty. This was the word he used to name the concrete realm of sentient bodies and life processes that has been eclipsed by the abstractions of science, technology, and modern culture.

Kant scholars since the early nineteenth century have disaxadgreed about how to interpret his theory of moral motivation. Kant tells us that the feeling of respect is the incentive to moral action, but he is notoriously ambiguous on the question of what exactly this means.

Rational Animals: The Teleological Roots of Intentionality offers an original account of the intentionality of human mental states, such as beliefs and desires.

A contribution to ongoing debates in the philosophy of science, aiming to reconceptualize the orientation of the subject. Mobilizing the literature, the authors seek to transform their insights into a new epistemological and ontological basis for studying the enterprise of science.

Whether history or anthropology is the most fundamental social science remains still a controversial and undecided issue. For a proper understanding of this instructive controversy, the presuppositions of these two disciplines need to be critically and philosophically reviewed.

"This book is indeed a fine one, intelligent, balanced well argued, challenging. It does what it proposes to do: 'enrich' our understanding of emotional life."&mdashThomas; W. Busch, Journal of Phenomenological Psychology

Heidegger's lectures delivered at the University of Freiburg in 1936 on Schelling's Treatise On Human Freedom came at a crucial turning point in Heidegger's development. He had just begun his study to work out the term "Ereignis."

From the frozen landscapes of the Antarctic to the haunted houses of childhood, the memory of places we experience is fundamental to a sense of self. Drawing on influences as diverse as Merleau-Ponty, Freud, and J. G. Ballard, The Memory of Place charts the memorial landscape that is written into the body and its experience of the world.

M. C. Dillon (1938-2005) was widely regarded as a world-leading Merleau-Ponty scholar. His book Merleau-Ponty's Ontology (1988) is recognized as a classic text that revolutionized the philosophical conversation about the great French phenomenologist.

This is the first investigation of the relation between time and memory in Maurice Merleau-Ponty's thought as a whole and the first to explore in depth the significance of his concept of institution. It brings his views on the self and ontology into contemporary focus, arguing that the self is not a self-contained or self-determining identity.

In these studies Roman Ingarden investigates the nature and mode of being of four kinds of art works: the musical work, the picture, the architectural work, and the film. He establishes that the work of art is a purely intentional object but considers also its connections to the real world.