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Being Human is the fruit of many years teaching Philosophical
Anthropology, conducting Phenomenological Workshops, and reading
classic texts in the light of a reflective awareness of the field
of experience. Being Human is intended to look to what is typically
assumed but not examined in much of current philosophical
literature. Today what typically appear as philosophical are
textual studies that draw upon wide-ranging scholarship to learn
how past thinkers used to think; or works that tend either to be
"high-flying," operating at levels of abstraction far removed from
experience and written in arcane style, and thus, for both reasons,
difficult to assess (much of Continental thought); or minutely
focused upon particular claims and the arguments that can be
advanced for and against them (Analytical thought); or
deconstructing texts to show how they do not fully work (the
followers of Jacques Derrida). Scholarly study, abstract
constructions, refined arguments, and deconstructive strategies are
each important in their own way; but all take place within the
structure of the field of experience which is typically assumed
without paying explicit attention to it. Especially in philosophy
of mind, the overall field of experience has too often been
ignored, usually in favor of some conjecture as to how our ordinary
categories would have to be changed when neuro-physiology will be
far enough advanced to explain all our behavior. Robert E. Wood
claims that it is best to understand what it is that is supposed to
be explained before conjecturing about possible explanations. But
when you do that, you will have to come to terms with what it means
to seek explanation, what a Who is that seeks it, and why it is
sought.
This book provides a comprehensive view of the aesthetic realm,
placing the various major artforms within the setting of nature and
the built environment as they arise within the field of experience.
Each chapter displays the regional ontology of the form considered:
the comprehensive set of eidetic features that limn the space of
the art. It draws upon artists' statements, writings of key figures
in the history of philosophy--including Plato, Hegel, Dewey, and
Heidegger-and writings from various commentators on art. This
volume is unique in its systematic and phenomenological approach,
and in how it addresses aesthetics writ large.
His resume of roles includes Macbeth, Cyrano de Bergerac, Ebenezer
Scrooge and Oedipus Rex. His career has encompassed theatre and
television in England, Canada and the United States. With a gift
for developing offbeat characters, Barry Morse has had a prolific
acting career, and the story of his life is a veritable history of
20th century theatre from the days before World War II through the
early 21st century. In this memoir, Morse traces his life and
career, including his years at the Royal Academy of Dramatic Art,
his radio jobs with the BBC, his 60-year marriage to actress Sydney
Sturgess and their years together in the Court Players, his roles
on television shows (""The Fugitive"", ""Space: 1999""), and his
acquaintance with literary lights (George Bernard Shaw) and screen
stars (Robert Mitchum and Peter Cushing). Photographs from the
Morse family collection are included.
Robert Wood's aim in Being and Cosmos is to reestablish a
speculative view of the cosmos that goes back to the ancient Greeks
and that corresponds to the holism of contemporary physics. There
are two sets of problems in contemporary thought that militate
against any such attempt. Most widespread is scientific
reductionism in biology and neuroscience that explains awareness in
terms of the mechanisms that underlie it. The second is the
widespread attack in philosophy itself on speculative holism by
deconstruction and anti-foundationalism. In Being and Cosmos, the
tack against both is to make explicit the character of the mind
that sees and thinks, that actively takes up commitment to the
truth available in the disciplines involved. The basic ground of
this position rests upon the functioning of the notion of Being
that opens up the question of the character of the Whole and the
human being's place in it. Thus position the treatment of the
notion of Being as foundation and as orientation toward the Whole
between the attack on reductionism and on deconstruction and
anti-foundationalism. Wood concludes with a multidimensional sketch
of an evolutionary view of the cosmos whose initial phases contain
the potentialities for life, sensibility, and intellect as cosmic
telos. The holism of contemporary physics has to be reconfigured in
terms of this observation. Both reductionists and dualists should
know that matter itself has to be re-minded and that mind itself
matters.
How do we understand the notions of the beautiful, the true, and
the good, and how do they help us to know, to understand?
Philosopher Robert E. Wood considers appeal respectively to the
heart, to the intellect, and to the will. In our minds, their
interplay beckons each of us to assimilate one's past, and look
forward towards further endeavours. They also set up what Wood
calls a ""dialogical imperative"" to speak from where we stand and
to stand in place of the Other, the person facing us, as well. The
order follows Plato's claim that the love of Beauty is the light of
the Good that grounds our pursuit of the True. Human experience,
according to Wood, has a ""magnetically bipolar"" character, rooted
in organically based desires. Yet that experience is aimed, through
the all-encompassing notion of Being, at the absolute totality of
what is. The notion of Being affords a distance that grounds both
understanding and choice. Culture enters in as well. Its
developments, initially empty in relation to the totality, come to
occupy the space of meaning between the here-and-now and the
totality. Each human being's genetic endowments interplay with
one's cultural shaping. Taking them up, each individual sets up a
unique field of attractions and repulsions belonging to the heart
as one's radically individual center. Wood proceeds from this
phenomenological basis to consider key thinkers from Heraclitus and
Parmenides, to Heidegger, Buber, and Marcel. He seeks, in this
collection of essays from the past forty years, to develop a
""fusion of horizons"" with them, as part of an on-going broader
philosophical dialogue that constitutes the history of thought, now
and to come.
This book traces the evolution of concessional financing to Third
World countries from its postwar origins in the Marshall Plan to
the debt crisis that engulfed virtually the entire Third World in
the early 1980s. It documents the evolution of a system of aid
provision, of structured access to concessional external financing.
The central focus is on how this structure of access to aid has
changed over time and shaped development options an choices in the
Third World. From this perspective, the emergence of the debt
crisis is closely connected to the role of aid in the world
economy. Although the debt crisis had other roots as well, this
book elucidates an important set of determinants, generally
overlooked, within the systems of aid provision itself. It further
seeks to show that the debt crisis defines a new era, not simply a
set of discrete and extraordinary events beween, say, Mexico's
request for rescheduling in August 1982 and Argentina's coming to
terms with the International Monetary Fund in September 1984. The
debt crisis has profoundly altered the international environment
tha Third Wold countries face, and the legacy of debt will continue
to be a central focus of international relations and development
choices for years to come. This title is part of UC Press's Voices
Revived program, which commemorates University of California
Press's mission to seek out and cultivate the brightest minds and
give them voice, reach, and impact. Drawing on a backlist dating to
1893, Voices Revived makes high-quality, peer-reviewed scholarship
accessible once again using print-on-demand technology. This title
was originally published in 1987.
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Ratio et Fides (Hardcover)
Robert E Wood; Foreword by Jude P. Dougherty
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This volume presents twenty select scripts from the hit radio
program "A Touch of Greasepaint" starring Barry Morse. The book is
an incredible 547 pages in length and includes a special
introduction written by Barry Morse, prior to his death, detailing
the history and background of these shows. This material was the
genesis for Barry's television series "Presenting Barry Morse" and
his long-running one man show "Merely Players". This volume
contains material on such luminaries as George Bernard Shaw, Ben
Jonson, Charles Macready, Peg Woffington, Moliere, Henry Irving,
William Shakespeare, Oscar Wilde and many, many more luminaries of
the Stage. Additionally, these classic programs featured a wide
range of guest actresses, including Toby Robins, Ruth Springford,
Margaret Griffin, Kate Reid, and a number of others. Drama, tragedy
and comedy combine with tales of actors, actresses, playwrights and
critics to take you on a remarkable theatrical journey!
Music played a central role in the thought of existentialist
philosopher Gabriel Marcel (1889-1973). One of the most tantalizing
claims he made was in a set of conversations with Paul Ricoeur.
Employing a geographic metaphor, he claimed that philosophy was the
continent of his work while his plays formed the off-shore islands;
but what was deepest was music as the water that conjoins the two.
One who wishes to understand how he thought of music will find that
his philosophical writings contain only a few, quasi-aphoristic,
though significantly penetrating things about the nature of music
and its relation to his thought. Disappointingly, neither his short
"An Essay in Autobiography" of 1947 nor his larger autobiography of
1971, Awakenings, adds much to that beyond a few remarks. But the
latter work makes reference to an article, "La musique dans mon vie
et mon oeuvre," a lecture he delivered in Vienna in 1959, that
turned out to be a significantly richer source. And if one turns to
his bibliography, one discovers that, as a music critic, Marcel
published over 100 items on music--including Musique dans mon vie"!
None of them are available in English. Those of greater length and
philosophical interest were gathered together, along with several
shorter representative pieces, in the work entitled L'esthetique
musicale de Gabriel Marcel that appeared in the Presence de Gabriel
Marcel series. In order to enrich and deepen the appreciation of
Marcel's thought in the English-speaking world by following up his
understanding of the central role of music in his thought, but also
to underscore the central role of music in his thought, but also to
underscore the central importance of the aesthetic inhuman
experience, we have selected the main articles that appeared in
that work for translation here. Marcel complained that (as of 1959)
commentators had not paid significant attention to the close
connection between music and philosophy. The present text should
remedy that.
Examining select high points in the speculative tradition from
Plato and Aristotle through the Middle Ages and German tradition to
Dewey and Heidegger, Placing Aesthetics seeks to locate the
aesthetic concern within the larger framework of each thinker's
philosophy. In Professor Robert Wood's study, aesthetics is not
peripheral but rather central to the speculative tradition and to
human existence as such. In Dewey's terms, aesthetics is
\u201cexperience in its integrity.\u201d Its personal ground is in
\u201cthe heart,\u201d which is the dispositional ground formed by
genetic, cultural , and personal historical factors by which we are
spontaneously moved and, in turn, are inclined to move, both
practically and theoretically, in certain directions. Prepared for
use by the student as well as the philosopher, Placing Aesthetics
aims to recover the fullness of humanness within a sense of the
fullness of encompassing Being. It attempts to overcome the
splitting of thought, even in philosophy, into exclusive
specializations and the fracturing of life itself into theoretical,
practical, and emotive dimensions.
As an introduction to his own notoriously complex and
challenging philosophy, Hegel recommended the sections on
phenomenology and psychology from The Philosophy of Spirit, the
third part of his Encyclopaedia of the Philosophic Sciences. These
offered the best introduction to his philosophic system, whose main
parts are Logic, Nature, and Sprit.
Hegel's Introduction to the System finally makes it possible for
the modern reader to approach the philosopher's work as he himself
suggested. The book includes a fresh translation of "Phenomenology"
and "Psychology," an extensive section-by-section commentary, and a
sketch of the system to which this work is an introduction. The
book provides a lucid and elegant analysis that will be of use to
both new and seasoned readers of Hegel.
Examining select high points in the speculative tradition from
Plato and Aristotle through the Middle Ages and German tradition to
Dewey and Heidegger, Placing Aesthetics seeks to locate the
aesthetic concern within the larger framework of each thinker's
philosophy. In Professor Robert Wood's study, aesthetics is not
peripheral but rather central to the speculative tradition and to
human existence as such. In Dewey's terms, aesthetics is
\u201cexperience in its integrity.\u201d Its personal ground is in
\u201cthe heart,\u201d which is the dispositional ground formed by
genetic, cultural , and personal historical factors by which we are
spontaneously moved and, in turn, are inclined to move, both
practically and theoretically, in certain directions. Prepared for
use by the student as well as the philosopher, Placing Aesthetics
aims to recover the fullness of humanness within a sense of the
fullness of encompassing Being. It attempts to overcome the
splitting of thought, even in philosophy, into exclusive
specializations and the fracturing of life itself into theoretical,
practical, and emotive dimensions.
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