Looking back in the late fifties on the rise of New York's postwar avant-garde, Clement Greenberg remarked that “some day it will have to be told how ‘anti-Stalinism,’ which started out more or less as ‘Trotskyism,’ turned into art for art's sake, and thereby cleared the way, heroically, for what was to come.” It was a good point, and one that Greenberg himself had largely neglected in his own accounts of American Modernism. The story of how New York Intellectuals and (...) Abstract Expressionists came to the defense of artistic vanguardism from a common past of Marxist commitments, and of how that defense ended in the fifties with a celebration of American cultural freedom, certainly had to be told. (shrink)

Edward S. Casey offers a phenomenology of memory and imagination in his book Spirit and Soul, which provides a unique opportunity for thinking about the very ethereal and aqueous activity of sailing. Imagination and memory are as much a part of everyday life as most forms of mentation; but sailing, as much as it is a physical activity, is just as much a suitable analogy for engaging with these particular psychic forms. In their collaboration, memory and imagination are a (...) means for balancing the sails with the wind just as much as they provide equilibrium to the temporal expanse of conscious unification. But perhaps mostimportantly, in their spiritual and soulful employment, imagination and memory provide a place and a home for dwelling and sailing. (shrink)

Edward S. Casey offers a phenomenology of memory and imagination in his book Spirit and Soul, which provides a unique opportunity for thinking about the very ethereal and aqueous activity of sailing. Imagination and memory are as much a part of everyday life as most forms of mentation; but sailing, as much as it is a physical activity, is just as much a suitable analogy for engaging with these particular psychic forms. In their collaboration, memory and imagination are a (...) means for balancing the sails with the wind just as much as they provide equilibrium to the temporal expanse of conscious unification. But perhaps mostimportantly, in their spiritual and soulful employment, imagination and memory provide a place and a home for dwelling and sailing. (shrink)

The author of the Society of Professional Journalists, Sigma Delta Chi's Code of Ethics traces the history of the code and demonstrates how this and other codes are double?edged swords that demand accountability at the same time they attempt to instill the public with some confidence in journalism. A primary concern over the 1973 SPJ/SDX Code is its concluding clause asking SPJ members to censure wrongdoers in the profession. These ?teeth?; have never been effectively utilized, the author maintains. Journalists are (...) uncomfortable with calling attention to the sins of fellow professionals, and are concerned about due process. Recent efforts to establish enforcement procedures have been futile, garnering little support from SPJ leaders or the rank and file. The author points to the irony of professionals who voluntarily embrace ethical principles but are afraid that those principles will be imposed upon them. (shrink)

In this imaginative and comprehensive study, Edward Casey, one of the most incisive interpreters of the Continental philosophical tradition, offers a philosophical history of the evolving conceptualizations of place and space in Western thought. Not merely a presentation of the ideas of other philosophers, _The Fate of Place_ is acutely sensitive to silences, absences, and missed opportunities in the complex history of philosophical approaches to space and place. A central theme is the increasing neglect of place in favor of (...) space from the seventh century A.D. onward, amounting to the virtual exclusion of place by the end of the eighteenth century. Casey begins with mythological and religious creation stories and the theories of Plato and Aristotle and then explores the heritage of Neoplatonic, medieval, and Renaissance speculations about space. He presents an impressive history of the birth of modern spatial conceptions in the writings of Newton, Descartes, Leibniz, and Kant and delineates the evolution of twentieth-century phenomenological approaches in the work of Husserl, Merleau-Ponty, Bachelard, and Heidegger. In the book's final section, Casey explores the postmodern theories of Foucault, Derrida, Tschumi, Deleuze and Guattari, and Irigaray. (shrink)

In this imaginative and comprehensive study, Edward Casey, one of the most incisive interpreters of the Continental philosophical tradition, offers a philosophical history of the evolving conceptualizations of place and space in Western thought. Not merely a presentation of the ideas of other philosophers, _The Fate of Place_ is acutely sensitive to silences, absences, and missed opportunities in the complex history of philosophical approaches to space and place. A central theme is the increasing neglect of place in favor of (...) space from the seventh century A.D. onward, amounting to the virtual exclusion of place by the end of the eighteenth century. Casey begins with mythological and religious creation stories and the theories of Plato and Aristotle and then explores the heritage of Neoplatonic, medieval, and Renaissance speculations about space. He presents an impressive history of the birth of modern spatial conceptions in the writings of Newton, Descartes, Leibniz, and Kant and delineates the evolution of twentieth-century phenomenological approaches in the work of Husserl, Merleau-Ponty, Bachelard, and Heidegger. In the book's final section, Casey explores the postmodern theories of Foucault, Derrida, Tschumi, Deleuze and Guattari, and Irigaray. (shrink)

Hong Kong’s non-white ethnic minorities – including its Filipina residents – are often described in media and policy discourses as a unified group. Speaking back to this misconception, in this article we describe the gendered experiences of two 23-year old Filipinas born and raised in Hong Kong through what Claudia Mitchell has described as girl method – research with girls for girls and about girls’ concerns – in our case producing visual depictions of girlhood in cellphilms and collaborative writing. We (...) write together as co-researchers to extend participatory approaches to research dissemination as we make sense of the changing political situation in Hong Kong in the years since our first collaboration in 2015. Through a polyvocal – many voices writing together – reflection on a cellphilm production project on identities and belonging four years later, we argue that Filipina identity in Hong Kong is complex and multifarious, and we aim to disseminate knowledge by and for Filipina Hong Kongers that speaks back to the erasure of their experiences within larger discourses about Filipinas, gender, and activism in Hong Kong. (shrink)

This paper offers an account of a fallacy we will call bothsiderism, which is to mistake disagreement on an issue for evidence that either a compromise on, suspension of judgment regarding, or continued discussion of the issue is in order. Our view is that this is a fallacy of a unique and heretofore untheorized type, a fallacy of meta-argumentation. The paper develops as follows. After a brief introduction, we examine a recent bothsiderist case in American politics. We use this as (...) a pivot point to survey the theoretical literature on the fallacy. The most prominent theory is that bothsiderism is a case of dialogue-shifting. This view fails, we maintain, to explain how bothsiderism might be persuasive. We argue, rather, bothsiderism is a kind of meta-argumentative fallacy. (shrink)

Three forms of the straw man fallacy are posed: the straw, weak, and hollow man. Additionally, there can be non-fallacious cases of any of these species of straw man arguments.

Recourse to meta-argument is an important feature of successful argument exchanges; it is where norms are made explicit or clarified, corrections are offered, and inferences are evaluated, among much else. Sadly, it is often an avenue for abuse, as the very virtues of meta-argument are turned against it. The question as to how to manage such abuses is a vexing one. Erik Krabbe proposed that one be levied a fine in cases of inappropriate meta-argumentative bids (2003). In a recent publication (...) (2022) Beth Innocenti expands on this notion of a penalty, arguing that some meta-arguments should be halted with “shouting, cussing, sarcasm, name-calling.” In this essay, we review Innocenti’s case that these confrontations and haltings improve the argumentative circumstances. We provide three reasons that this promise is not well-founded. First, that such confrontations have a significant audience problem, in that they are more likely to be interpreted as destroying the argumentative context than improving it. Second, that Innocenti’s procedural justification, that those who lose meta-discussions should pay a penalty, is not satisfied if the meta-discussion is halted. And third, there is a boundary problem for the cases, since it seems there is no principled reason to restrict halting meta-arguments just to these cases (especially if there is no meta-discussion on the matter to make the bounds explicit). Though expressions of anger can be appropriate in argument, we argue, it cannot take the place of argument. (shrink)

The straw man fallacy consists in inappropriately constructing or selecting weak versions of the opposition’s arguments. We will survey the three forms of straw men recognized in the literature, the straw, weak, and hollow man. We will then make the case that there are examples of inappropriately reconstructing stronger versions of the opposition’s arguments. Such cases we will call iron man fallacies. The difference between appropriate and inappropriate iron manning clarifies the limits of the virtue of open-mindedness.

This article argues that the theoretical concept of meta-argumentative fallacy is useful. The authors argue for this along two lines. The first is that with the concept, the authors may clarify the concept of meta-argumentation. That is, by theorizing where meta-argument goes wrong, the authors may capture the norms of this level of argumentation. The second is that the concept of meta-argumentative fallacies provides an explanatory model for a variety of errors in argument otherwise difficult to theorize. The authors take (...) three as exemplary: the straw man, both sides, and free speech fallacies. (shrink)

What happens when we glance around a room? How do we trust what we see in fleeting moments? In The World at a Glance, Edward S. Casey describes how glancing counts for more of human perception than previously imagined. An entire universe is perceived in a glance, but our quick and uncommitted attention prevents examination of these rapid acts and processes. While breaking down this paradox, Casey surveys the glance as an essential way by which we acquaint ourselves (...) with the world. This experiential tour-de-force reveals what happens in a blink of an eye. It will become a landmark study in phenomenology, philosophy, environmental philosophy, and the philosophy of mind. (shrink)

Brought to you by: Crop X editors: Jonathan Alexander Perez, Harmony Smith, Corinne Tendorf, David Turturo, and Derek Rahn Williams. Faculty Advisor: David Turturo; Crop X team included: Chaimae Alehyane, Zachary S. Casey, Suzanna Brinez, Jacob Brown, Elizabeth George, Francisco Javier Muniz Ituarte, Brodey Myers. -/- Credits: Huckabee College of Architecture; Graphic Designers: Studio BLDG (Blossom Liu + Danny Gray); English Editor: Luke Studebaker; Spanish Translator: Jessie Forbes; Printer: Die Keure. Cover Photo: Derek Williams. -/- Generously supported by the (...) Graham Foundation for Advanced Studies in the Fine Arts and the Huckabee College of Architecture, Texas Tech University. (shrink)

Obviously, subject is what is said, style is how. A little less obviously, that formula is full of faults. Architecture and nonobjective painting and most of music have no subject. Their style cannot be a matter of how they say something, for they do not literally say anything; they do other things, they mean in other ways. Although most literary works say something, they usually do other things, too; and some of the ways they do some of these things are (...) aspects of style. Moreover, the what of one sort of doing may be part of the how of another. Indeed, even where the only function in question is saying, we shall have to recognize that some notable features of style are features of the matter rather than the manner of the saying. In more ways than one, subject is involved in style. For this and other reasons, I cannot subscribe to the received opinion that style depends upon an artist's conscious choice among alternatives. And I think we shall also have to recognize that not all differences in ways of writing or painting or composing or performing are differences in style. Nelson Goodman, professor of philosophy at Harvard University, has written The Structure of Appearance; Fact, Fiction and Forecast; Languages of Art: An Approach to a Theory of Symbols; Problems and Projects; and numerous articles. Logic and Art: Essays in Honor of Nelson Goodman was published in 1972. His contributions to Critical Inquiry include "Metaphor as Moonlighting" , "Twisted Tales; or, Story, Study, and Symphony" , and "The Telling and the Told". (shrink)

"You are here, a map declares, but of course you are not, any more than you truly occupy the vantage point into which a landscape painting puts you. How maps and paintings figure and reconfigure space--as well as our place in it--is the subject of Edward S. Casey's study, an exploration of how we portray the world and its many places. Casey's discussion ranges widely from Northern Sung landscape painting to nineteenth-century American and British landscape painting and photography, (...) from prehistoric petroglyphs and medieval portolan charts to seventeenth-century Dutch cartography and land survey maps of the American frontier. From these culturally and historically diverse forays a theory of representation emerges. Casey proposes that the representation of place in visual works be judged in terms not of resemblance, but of reconnecting with an earth and world that are not the mere content of mind or language--a reconnection that calls for the embodiment and implacement of the human subject." -- Book jacket. (shrink)

The acknowledged difficulty and even impossibility of finding a literal paraphrase for most metaphors is offered by [Donald] Davidson1 as evidence that there is nothing to be paraphrased - that a sentence says nothing metaphorically that it does not say literally, but rather functions differently, inviting comparisons and stimulating thought. But paraphrase of many literal sentences also is exceedingly difficult, and indeed we may seriously question whether any sentence can be translated exactly into other words in the same or any (...) other language. Let's agree, though, that literal paraphrase of metaphor is on the whole especially hard. That is easily understood since the metaphorical application of terms has the effect, and usually the purpose, of drawing significant boundaries that cut across ruts worn by habit, of picking out new relevant kinds for which we have no simple and familiar literal descriptions. We must note in passing, though, that the metaphorical application may nevertheless be quite clear. For just as inability to define "desk" is compatible with knowing which articles are desks, so inability to paraphrase a metaphorical term is compatible with knowing what it applies to, And as I have remarked elsewhere,2 whether a man is metaphorically a Don Quixote or a Don Juan is perhaps easier to decide than whether he is literally a schizoid or a paranoiac. · 1. In "What Metaphors Mean," Critical Inquiry 5 : 31-47.· 2. In "Stories upon Stories; or, Reality on Tiers," delivered at the conference Levels of Reality, in Florence, Italy, September 1978. Nelson Goodman, emeritus professor of philosophy at Harvard, has written The Structure of Appearance; Fact, Fiction, and Forecast; Languages of Art: An Approach to a Theory of Symbols; Problems and Projects; and, most recently, Ways of Worldmaking. His contributions to Critical Inquiry include "The Status of Style" , "Twisted Tales; or, Story, Study, and Symphony" , and "The Telling and the Told". (shrink)

BIOGRAFIAS NÃO AUTORIZADAS: UMA DISCUSSÃO INÓCUA NO BRASIL?

What happens when we glance around a room? How do we trust what we see in fleeting moments? In The World at a Glance, Edward S. Casey describes how glancing counts for more of human perception than previously imagined. An entire universe is perceived in a glance, but our quick and uncommitted attention prevents examination of these rapid acts and processes. While breaking down this paradox, Casey surveys the glance as an essential way by which we acquaint ourselves (...) with the world. This experiential tour-de-force reveals what happens in a blink of an eye. It will become a landmark study in phenomenology, philosophy, environmental philosophy, and the philosophy of mind. (shrink)

In some recent literature, ‘whataboutism’ is analysed as a sometimes-reasonable argument or claim about inconsistency on an issue of dispute, akin to the ad hominem tu quoque. We argue that this doesn’t capture the peculiarly meta-argumentative failure (or success) of ‘what-about’ appeals. Whataboutist moves are appeals to evidence about whether one has assessed the total evidence or has made the right contrasting consideration and so need not be failures of consistency on the first order. Consequently, whataboutism is best theorized as (...) a meta-argumentative fallacy. We argue, in light of this observation, whataboutism can come in two forms: the second-personal, which takes inconsistency to be an indicator of meta-argumentative issues, and the third-personal, which makes the case that there is a failure of total evidence. (shrink)

Yet while all features of reality are dependent upon discourse, are there perhaps some features of discourse that are independent of reality the differences, for example, between the ways two discourses may say exactly the same thing? The old and ugly notion of synonomy rattles a warning here: Can there ever be two different discourses that say exactly the same thing in different ways, or does every difference between discourses make a difference in what is said? Luckily, we can pass (...) over that general question here. We are concerned only with the specific question whether organization into referential chains and levels is purely conventional, independent of everything beyond discourse. And the plain answer is that such organization of discourse participates notably in the organization of a reality. A label in any nonnull application, literal or metaphorical, marks off entities of a certain kind, and even where the denotation is null, the label marks off labels of a certain kind that apply to that label. Just such marking off or selection of entities and relevant kinds makes them such as distinguished from the results of alternative organizations.Nelson Goodman, emeritus professor of philosophy at Harvard University and the author of, among other works, The Structure of Appearance, Ways of Worldmaking, and Problems and Projects, is currently working on projects in the performing arts and on a new collection of essays. His previous contributions to Critical Inquiry are "The Status of Style' , "Metaphor as Moonlighting" , "Twisted Tales; or, Story, Study, and Symphony" , and "The Telling and the Told". (shrink)

In this essay, we give a theoretical overview of how humor can play a meta-argumentative role, particularly in making clear the norms and stakes of arguments. This, we think, has salutary consequences for teaching critical thinking and argument evaluation—humor is a useful tool for making those things clear. However, there are troubling features of humor’s functions that problematize its use in teaching settings. These are what we call the cruelty, audience, accessibility, and gender gap problems for humor as a pedagogical (...) tool. (shrink)

Psychology without genuinely thoughtful philosophy winds up as self-help gimmicks; philosophy without the insights & feeling of psychology remains an arcane academic game out of touch with life. By re-joining spirit & soul, this book is a major work of both philosophy & psychology. Casey asks puzzling questions & gives lasting answers. In a clear & vivid manner, one of America's best professional thinkers takes up one of the great themes of imagination, fantasy, hallucination, remembering & perceiving. Film & (...) architecture provide surprising material for his brilliant & useful account of basic philosophical problems which are also major mysteries of the soul. (shrink)

In sum, flashbacks and foreflashes are commonplace in narrative, and such rearrangements in the telling of a story seem to leave us not only with a story but with very much the same story.1 . . . Will no disparity between the order of telling and the order of occurrence destroy either the basic identity or the narrative status of any story? An exception seems ready at hand: suppose we simply run our film...backwards. The result, though indeed a story, seems (...) hardly to be the same story in any usual sense . . . Does cinematic narrative actually differ this sharply from narrative in a series of snapshots or in words? I think not. Our first impulse with any tale when the order of telling is clear is to take the order of occurrence to be the same as the order of telling; we then make any needed corrections in accord with temporal indications given in the narrative and with our antecedent knowledge both of what happened and of causal processes in general. But discrepancy between order of telling and order of occurrence cannot always be discovered instantaneously—or at all. If our series of snapshots is shown in reverse order at normal speed, we readily detect the reversal; for we know that a race begins at the starting gate, ends at the finish line, and so on. Even if the pictures do not show the starting gate or finish line or other identifiable parts of the track, we are not deceived, for we know that horses do not run backward. But when the film is run backward, such clues and considerations usually cannot be brought to bear soon enough, and we momentarily mistake the direction of the actions filmed. A little time is needed to make the correction. What seemed like a drastic difference between film and other forms of narrative amounts to nothing more than this lag. · 1. In an obvious and important sense. Of course, whether two version are properly said to be of the same story—or of the same world—depends upon which of many permissible interpretations of sameness is understood; but that need not trouble us here. Nelson Goodman is emeritus professor of philosophy at Harvard and the founder of both Project Zero and the Harvard Dance Center. His works include The Structure of Appearance; Fact, Fiction, and Forecast, and Ways of Worldmaking. His contributions to Critical Inquiry are "The Status of Style" , "Metaphor as Moonlighting" , and "The Telling and the Told". (shrink)

The marketing of unproven direct-to-consumer stem cell interventions is becoming widespread in Canada. There is little evidence supporting their use and they have been associated with a range of harms. Canada has been slower to act against clinics offering these interventions than other jurisdictions, including the United States. Here, we outline the regulatory and policy tools available in Canada to address this growing problem. Health Canada’s regulations governing cell therapies are complex, but recent statements make it clear that Health Canada (...) believes it has jurisdiction over many of the currently marketed stem cell interventions. Still, further regulatory clarity is needed from Health Canada, as are increased directed enforcement efforts on interventions that fall within their scope. The Competition Bureau, via the Competition Act, prohibits advertisers from making materially false or misleading promotional representations. The Competition Bureau could collaborate with the scientific community to analyze the claims of existing clinics in Canada, and impose sanctions upon those who breach the established standard. Professional regulators, including provincial colleges of physicians and surgeons, have considerable power over what products and services their members can offer. Every college of physicians in Canada requires, via policy and codes of ethics, that doctors maintain evidence-based practices. This requirement is incompatible with offering many unproven stem cell interventions. Litigation may be another tool, including the use of fraud, misrepresentation and/or negligence claims for failing to meet the required standard of care. Finally, political pressure on federal and provincial lawmakers could encourage changes to marketing, cell therapy and professional regulations that would allow a more comprehensive response. In sum, there are many existing tools that can be used to protect the public from unproven stem cell interventions. Increased bureaucratic will and grassroots efforts are needed in order to effect a positive policy response. (shrink)

This chapter focuses on one of the common fallacies in Western philosophy: free speech fallacy (FS). The FS consists in thinking one's political right to freedom of expression includes protection from criticism. Those who commit this fallacy allege that critical scrutiny is either tantamount to censorship or equivalent to the imposition of one's views on others. The error in the fallacy is that the freedom of expression includes critical expressions. The trouble with the argument is that freedom of expression does (...) not mean freedom from criticism. The first distortion concerns the logical consequences of criticism. The second distortion confuses logical implications of criticism with the criticism itself. The FS thus takes the personal implications, necessary though they may be, as the defining features of criticism, when they are merely incidental. (shrink)

This chapter deals with one of the common fallacies in Western philosophy called “Straw Man”. How one can straw man someone's view or argument happens in many ways. The chapter focuses on three ways. The first is the representational straw man fallacy. The second form of the straw man fallacy is that of the selectional straw man, or better the weak man. The third is what we will call the hollow man. The straw manning requires a form of misrepresentation of (...) the overall intellectual situation in an area of dispute. Straw man arguments not only produce bad argumentative results at the times they are given, but they have lasting repercussions on the communities they convince. Straw manning depends on us being unaware of a misrepresentation of opponents, and the only way to detect that is to know what the correct representation is. (shrink)

A special version of arguments from hypocrisy, those known as tu quoque arguments, is introduced and developed. These are arguments from what one’s opponent would do, were conditions different, so they are what we call subjunctive tu quoque arguments. Arguments of this form are regularly taken to be fallacious, but the authors discuss conditions for determining when hypothetical inconsistency is genuinely relevant to criticizing a speaker’s assertion or proposed action and when it is not relevant.

This collection provides a major reassessment of the question of nihilism in modernity. It has a multi-focal approach, looking at the return of angelic and demonic principles in current cultural production and thinking. It also makes a claim for another interpretation of modernity.

This vivid facsimile of Blake's romantic and revolutionary publication offers a concise expression of his essential wisdom and philosophy. His distinctive hand-lettered text is accompanied by 27 color plates of his stirring illustrations.

Edward S. Casey invites us to rethink our emotions as fundamentally emerging from outside and around the self, redirecting our attention from the subjective sources of emotion to what reaches us from outside the domain of the subject.

In sum, flashbacks and foreflashes are commonplace in narrative, and such rearrangements in the telling of a story seem to leave us not only with a story but with very much the same story.1... Will no disparity between the order of telling and the order of occurrence destroy either the basic identity or the narrative status of any story? An exception seems ready at hand: suppose we simply run our film...backwards. The result, though indeed a story, seems hardly to be (...) the same story in any usual sense... Does cinematic narrative actually differ this sharply from narrative in a series of snapshots or in words? I think not. Our first impulse with any tale when the order of telling is clear is to take the order of occurrence to be the same as the order of telling; we then make any needed corrections in accord with temporal indications given in the narrative and with our antecedent knowledge both of what happened and of causal processes in general. But discrepancy between order of telling and order of occurrence cannot always be discovered instantaneously—or at all. If our series of snapshots is shown in reverse order at normal speed, we readily detect the reversal; for we know that a race begins at the starting gate, ends at the finish line, and so on. Even if the pictures do not show the starting gate or finish line or other identifiable parts of the track, we are not deceived, for we know that horses do not run backward. But when the film is run backward, such clues and considerations usually cannot be brought to bear soon enough, and we momentarily mistake the direction of the actions filmed. A little time is needed to make the correction. What seemed like a drastic difference between film and other forms of narrative amounts to nothing more than this lag. · 1. In an obvious and important sense. Of course, whether two version are properly said to be of the same story—or of the same world—depends upon which of many permissible interpretations of sameness is understood; but that need not trouble us here. Nelson Goodman is emeritus professor of philosophy at Harvard and the founder of both Project Zero and the Harvard Dance Center. His works include The Structure of Appearance; Fact, Fiction, and Forecast, and Ways of Worldmaking. His contributions to Critical Inquiry are "The Status of Style", "Metaphor as Moonlighting", and "The Telling and the Told". (shrink)

This paper is a response to one published in the June 1997 edition of the BJES (Cole, Hill & Rikowski, 1997) which criticises the author's claims about the utility of postmodern analysis for studies in education (Blake, 1997).

In Contentious Rituals, Jonathan S. Blake focuses on Protestant parades in the streets of Northern Ireland and why people choose to participate in them. Drawing on rich interviews, survey data, and ethnographic observations, Blake presents a new look at the conflict in Northern Ireland and offers findings that illuminate contested symbols everywhere.

A fresh look at the often-censured but imperfectly understood traditions of Utilitarianism and political economy in relation to Victorian literature and culture. Setting the writings of Bentham, Smith, Malthus, Mill, Dickens, Carlyle, Trollope, Eliot, Gaskell, and Tagore in historical context, Blake widens awareness of commonalities across the age.

What would the world be like if there were no places? Our lives are so place-oriented that we cannot begin to comprehend the loss of locality. Indeed, the space we occupy has much to do with what and who we are. Yet, despite the pervasiveness of place in our everyday lives, philosophers have neglected it. Since its publication in 1993, Getting Back into Place has been recognized as a pioneering study of the importance of place in people's lives. This edition (...) includes new material that reflects on the development of the field of environmental philosophy and presents Edward S. Casey's current thinking on place and home in our increasingly troubled world. (shrink)

Imagining A Phenomenological Study Second Edition Edward S. Casey A classic firsthand account of the lived character of imaginative experience. "This scrupulous, lucid study is destined to become a touchstone for all future writings on imagination." —Library Journal "Casey’s work is doubly valuable—for its major substantive contribution to our understanding of a significant mental activity, as well as for its exemplary presentation of the method of phenomenological analysis." —Contemporary Psychology "... an important addition to phenomenological philosophy and to (...) the humanities generally." —Choice "... deliberately and consistently phenomenological, oriented throughout to the basically intentional character of experience and disciplined by the requirement of proceeding by way of concrete description.... [Imagining] is an exceptionally well-written work." —International Philosophical Quarterly Drawing on his own experiences of imagining, Edward S. Casey describes the essential forms that imagination assumes in everyday life. In a detailed analysis of the fundamental features of all imaginative experience, Casey shows imagining to be eidetically distinct from perceiving and defines it as a radically autonomous act, involving a characteristic freedom of mind. A new preface places Imagining within the context of current issues in philosophy and psychology. [use one Casey bio for both Imagining and Remembering] Edward S. Casey is Professor of Philosophy at the State University of New York at Stony Brook. He is author of Getting Back into Place: Toward a Renewed Understanding of the Place-World and The Fate of Place: A Philosophical History. Studies in Continental Thought—John Sallis, general editor Contents Preface to the Second Edition Introduction The Problematic Place of Imagination Part One: Preliminary Portrait Examples and First Approximations Imagining as Intentional Part Two Detailed Descriptions Spontaneity and Controlledness Self-Containedness and Self-Evidence Indeterminacy and Pure Possibility Part Three: Phenomenological Comparisons Imagining and Perceiving: Continuities Imagining and Perceiving: Discontinuities Part Four: The Autonomy of Imagining The Nature of Imaginative Autonomy The Significance of Imaginative Autonomy. (shrink)

What would the world be like if we no longer needed meaning? Australian sociologist Michael Casey's revealing work charts the collapse of the metaphysical world and the innate human need for meaning. With the decline of Christianity and the demise of secular universalism in the west, the meaning and value of metaphysical culture has been replaced by an entirely new post-metaphysical world. In Meaninglessness, Casey revisits the social theory of Nietzsche, Freud, and Rorty, in order to conceive how (...) this post-metaphysical culture may take shape in the third millennium. Framing questions of enduring significance to contemporary social and political theory in a new methodological light, this work will appeal to scholars and general readers interested in sociology, post-modernism, cultural studies, political theory, and philosophy. (shrink)