This book covers Husserl’s stance on the philosopher and the history of philosophy, whether or not such a history is part of the philosophical attitude itself, and if so, how Husserl’s phenomenology might weigh in on such matters. Firstly, this text spells out some of the manifold ways in which the history of philosophy works its way in Husserl’s phenomenology, showing how concepts, methods and problems drawn from various Ancient and Modern philosophical traditions (Platonism, Aristotelianism, Sophistry, Stoicism, Scholasticism, Modern Rationalism) are transformed and embedded within transcendental phenomenology itself. Secondly, it shows how a better understanding of the distinctive patterns by means of which Husserl’s phenomenology confronts the history of philosophy could be extremely significant for historians of philosophy who are interested in learning something entirely new about the unexplored horizons of such concepts, methods and problems. Finally, based on such twofold historical and philosophical approach and thanks to a substantial reinterpretation of some key phenomenological concepts such as “multiplicity”, “constitution”, “attitude” and “variation”, this book provides a novel and original reading of Husserl’s overall philosophical project in its full meaning and scope. By doing so, this volume appeals to both students and researchers and critically engages in mainstream interpretations of phenomenology, suggesting a unique take on the idea of transcendental phenomenology as a whole.

This essay examines the primacy of worldbuilding in the age of CGI, transmedia practices and "high concept" fiction by studying the principles that govern the creation of a multiverse in a wide range of film and TV productions. Emphasis is placed on Hollywood sci-fi movies and their on-screen representation of imaginary machines that mirror the film medium, following in the tradition of Philip K. Dick's writings and the cyberpunk culture. A typology of worlds is established, as well as a number of analytical tools for assessing the impact of the coexistence of two or more worlds on the narrative structure, the style (uses of color, editing practices), the generic affiliation (or hybridity), the seriality and the discourse produced by a given film (particularly in fictions linked to post-9/11 fantasies). Among the various titles examined, the reader is offered a detailed analysis of the Resident Evil film series, Total Recall and its remake, Dark City, the Matrix trilogy, Avatar, Source Code and other time-loop films, TRON and its sequel, Christopher Nolan's Tenet, and several TV shows – most notably HBO's Westworld, but also Sliders, Lost, Fringe and Counterpart.

Schutzian Research is an annual journal that seeks to continue the tradition of Alfred Schutz.

This book provides new interpretations of Heidegger’s philosophical method in light of 20th-century postmodernism and 21st-century speculative realism. In doing so, it raises important questions about philosophical method in the age of global warming and climate change. Vincent Blok addresses topics that have yet to be extensively discussed in Heidegger scholarship, including Heidegger’s method of questioning, the religious character of Heidegger’s philosophical method, and Heidegger’s conceptualization of philosophical method as explorative confrontation. He is also critical of Heidegger’s conceptuality and develops a post-Heideggerian concept of philosophical method, which provides a new perspective on the role of willing, poetry, and earth-interest in contemporary philosophy. This earth-interest turns out to be particularly important to consider and leads to critical reflections on Heidegger’s concept of Earth, the necessity of Earth-interest in contemporary philosophy, and a post-Heideggerian concept of the Earth. Heidegger’s Concept of Philosophical Method will be of interest primarily to Heidegger scholars and graduate students, but its discussion of philosophical method and environmental philosophy will also appeal to scholars in other disciplines and areas of philosophy.

Thinking between Deleuze and Merleau-Ponty is the first book-length examination of the relation between these two major thinkers of the twentieth century. Questioning the dominant view that the two have little of substance in common, Judith Wambacq brings them into a compelling dialogue to reveal a shared, historically grounded concern with the transcendental conditions of thought. Both Merleau-Ponty and Deleuze propose an immanent ontology, differing more in style than in substance. Wambacq’s synthetic treatment is nevertheless critical; she identifies the limitations of each thinker’s approach to immanent transcendental philosophy and traces its implications—through their respective relationships with Bergson, Proust, Cézanne, and Saussure—for ontology, language, artistic expression, and the thinking of difference. Drawing on primary texts alongside current scholarship in both French and English, Thinking between Deleuze and Merleau-Ponty is comprehensive and rigorous while remaining clear, accessible, and lively. It is certain to become the standard text for future scholarly discussion of these two major influences on contemporary thought.

Heidegger has often been considered as the proponent of the end of metaphysics in the post-Hegelian philosophy, due to his persistent attempts to overcome the onto-theological framework of traditional metaphysics. Yet, this dismissal of metaphysical, theological, and religious motives is deeply ambiguous since new forms of metaphysical and religious experience re-emerge in his philosophical works. Heidegger shares this ambiguous relation to the notions of faith and religion with authors such as Nietzsche and Wittgenstein whose works are also marked by a critique of metaphysics and by a characteristic rethinking of the role of faith and religion. In fact, all three still remain, among other things, reference points for contemporary philosophical debates relating to the phenomenon of religion and faith. Rethinking Faith explores how the phenomena of religion and faith are present in the works of Heidegger, Nietzsche, and Wittgenstein, and how these phenomena are brought into play in their discussion of the classical metaphysical motives they criticize.

This collection is the first extended 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 the French phenomenologist’s views on the self and ontology into contemporary focus. Time, Memory, Institution argues that the self is not a self-contained or self-determining identity, as such; it is gathered out of a radical openness to what is not self, and that it gathers itself in a time that is not merely a given dimension, but folds back upon, gathers, and institutes itself. Access to previously unavailable texts, in particular Merleau-Ponty’s lectures on institution and expression, has presented scholars with new resources for thinking about time, memory, and history. These essays represent the best of this new direction in scholarship; they deepen our understanding of self and world in relation to time and memory; and they give occasion to reexamine Merleau-Ponty’s contribution and relevance to contemporary Continental philosophy. This volume is essential reading for scholars of phenomenology and French philosophy, as well as for the many readers across the arts, humanities, and social sciences who continue to draw insight and inspiration from Merleau-Ponty. Contributors: Elizabeth Behnke, Edward Casey, Véronique Fóti, Donald Landes, Kirsten Jacobson, Galen Johnson, Michael Kelly, Scott Marratto, Glen Mazis, Caterina Rea, John Russon, Robert Vallier, and Bernhard Waldenfels

This innovative study brings the early writings of Mikhail Bakhtin into conversation with Max Scheler and Fyodor Dostoevsky to explore the question of what makes emotional co-experiencing ethically and spiritually productive. In Problems of Dostoevsky's Poetics, Bakhtin's well-known concept of the dialogical partner expresses what he sees as the potential of human relationships in Dostoevsky's work. But his earlier reflections on the ethical and aesthetic uses of empathy, in part inspired by Scheler's philosophy, suggest a still more fundamental form of communication that operates as a basis for human togetherness in Dostoevsky. Applying this rich and previously neglected theoretical apparatus in a literary analysis, Wyman examines the obstacles to active empathy in Dostoevsky's fictional world, considers the limitations and excesses of empathy, addresses the problem of frustrated love in The Idiot and Notes from Underground, and provides a fresh interpretation of two of Dostoevsky's most iconic characters, Prince Myshkin and Alyosha Karamazov.