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.

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.