1,721,073 research outputs found
Heidegger on 'Possibility'
Full text link© 2017, published by Oxford University Press. The attached document (embargoed until 30/11/2019) is an author produced version of the chapter, uploaded in accordance with the publisher’s self- archiving policy
A World of Difference' Teacher Survey: Winter, 1992-93.
No full textPrepared for 'A World of Difference' campaign with funding from a CURA Communiversity Personnel Grant.'Sinclair, Mark. (1993). A World of Difference' Teacher Survey: Winter, 1992-93.. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/207709
The question of habit in modern French philosophy
No full textThis essay examines how the question of habit has been raised as a question in metaphysics and psychology throughout the modern French philosophical tradition. The issue of habit was already pivotal in eighteenth-century Scottish and French empiricist philosophies, but the essay shows how nineteenth-century French thinkers attempted to give a positive account of the force of habit that, as some of them argued, can be found throughout the natural world, even in the inorganic realm. The essay offers a taxonomy of French approaches as mechanist, vitalist or animist, and shows that appreciation of propensity, tendency or inclination in habit supports vitalist and, a fortiori, animist positions. In conclusion, the essay shows how reflection on tendency in habit led in the development of French thinking to a non-linear notion of time as ‘real duration’.<br/
Bergson after Boutroux on freedom and contingency
No full textHenri Bergson seldom refers to Emile Boutroux directly, and for this reason his relation to his teacher has often been neglected. On the basis of some of Bergson’s remarks about contingency in his recently published 1904–05 lecture course on the Evolution of the Problem of Freedom, this chapter shows how his whole philosophical career develops the ideas of Boutroux’s 1874 On the Contingency of Laws of Nature. The first part of the chapter concentrates in particular on how Bergson’s notion of free will in the third chapter of his primary doctoral dissertation develops Boutroux’s ideas about contingency in the psychological domain. The second part of the chapter focuses on Boutroux’s account of contingency in the natural world and shows that Bergson is more reluctant than his teacher to reject the truth of mechanistic philosophy and to adopt entirely a philosophy of contingency.<br/
Introduction
No full textThis chapter explains the ground-breaking approach taken to the history of French philosophy by the Handbook of Modern French Philosophy. With the view that French philosophy from the beginning of the nineteenth century cannot be adequately understood without reference to its roots in the national education system, the chapter also offers a historical account of the development of French philosophical institutions. It focuses on the role of philosophy in the education system, the different research and teaching institutions, and the organs – such as journals – through which it is disseminated.<br/
The roots of Bergson's concept of duration reconsidered
No full textThis chapter examines the French and Belgian sources of the account of time as duration that Bergson advanced in his 1889 Time and Free Will. The chapter aims to offer the most comprehensive treatment of these roots available in English, and it develops previous studies by showing how Bergson responds to the ideas of Albert Lemoine, who, in his posthumous 1875 L’habitude et l’instinct, reflected on time as ‘flowing duration’. The chapter argues that the resemblances of Bergson’s ideas to those of Lemoine are too close to be accidental, and that in this light revision is required in the idea of Bergson as developing a narrowly-defined spiritualist tradition in French philosophy that moves from Maine de Biran, through Félix Ravaisson, followed by Jules Lachelier and Emile Boutroux. The article shows that the most direct source of Bergson’s account of duration lies outside of this lineage.<br/
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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