William S. Hamrick - Böcker

A comprehensive account of human kindness.Winner of the 2004 Edward Goodwin Ballard Book Prize in Phenomenology presented by the Center for Advanced Research in Phenomenology with interest from a fund raised from Professor Ballard's family, students, and friends Kindness and the Good Society utilizes phenomenology and a wide variety of traditional and non-traditional sources to provide the first comprehensive account of kindness in any genre of philosophy. Remarkably rich in descriptive detail and drawing upon a wide range of examples, including literary sources, current affairs, and traditional philosophical texts, Hamrick's book rescues kindness from the purposeful neglect of deontological and utilitarian ethical theories. Beginning with an account of the personal and social areas of ethical and moral comportment, Hamrick addresses what is not intuitively obvious about kindness and its opposite, details a critical kindness that avoids both naiveté as well as popular cynicism, and guides us toward a new notion of aesthetic humanism.

A comprehensive account of human kindness.Winner of the 2004 Edward Goodwin Ballard Book Prize in Phenomenology presented by the Center for Advanced Research in Phenomenology with interest from a fund raised from Professor Ballard's family, students, and friends Kindness and the Good Society utilizes phenomenology and a wide variety of traditional and non-traditional sources to provide the first comprehensive account of kindness in any genre of philosophy. Remarkably rich in descriptive detail and drawing upon a wide range of examples, including literary sources, current affairs, and traditional philosophical texts, Hamrick's book rescues kindness from the purposeful neglect of deontological and utilitarian ethical theories. Beginning with an account of the personal and social areas of ethical and moral comportment, Hamrick addresses what is not intuitively obvious about kindness and its opposite, details a critical kindness that avoids both naiveté as well as popular cynicism, and guides us toward a new notion of aesthetic humanism.

Connects the work of Merleau-Ponty to environmental studies.This richly diverse collection looks at the contemporary relevance of the philosophy of Maurice Merleau-Ponty to environmental issues and builds a coherent philosophical ecology based on his thought. The contributors describe and analyze relations within the natural world by focusing on the centrality of relations in Merleau-Ponty's work; his concept of the bond between humanity and nature; and his novel philosophies of perception, embodiment, and "wild" Being. Eco-phenomenologies of living places such as Central Park in New York City, Midwestern farmlands, and communal household dwellings of Pacific Northwest Coast people are closely examined. The contributors also explore Merleau-Ponty's philosophy for environmental ethics and develop notions such as vital values, somatic empathy, and interspecies sociality.

Connects the work of Merleau-Ponty to environmental studies.This richly diverse collection looks at the contemporary relevance of the philosophy of Maurice Merleau-Ponty to environmental issues and builds a coherent philosophical ecology based on his thought. The contributors describe and analyze relations within the natural world by focusing on the centrality of relations in Merleau-Ponty's work; his concept of the bond between humanity and nature; and his novel philosophies of perception, embodiment, and "wild" Being. Eco-phenomenologies of living places such as Central Park in New York City, Midwestern farmlands, and communal household dwellings of Pacific Northwest Coast people are closely examined. The contributors also explore Merleau-Ponty's philosophy for environmental ethics and develop notions such as vital values, somatic empathy, and interspecies sociality.

Exploration of Alfred North Whitehead's influence on Maurice Merleau-Ponty's ontology of nature.This is the first booklength account of how Maurice Merleau-Ponty used certain texts by Alfred North Whitehead to develop an ontology based on nature, and how he could have used other Whitehead texts that he did not know in order to complete his last ontology. This account is enriched by several of Merleau-Ponty's unpublished writings not previously available in English, by the first detailed treatment of certain works by F.W.J. Schelling in the course of showing how they exerted a substantial influence on both Merleau-Ponty and Whitehead, and by the first extensive discussion of Merleau-Ponty's interest in the Stoics's notion of the twofold logos-the logos endiathetos and the logos proforikos. This book provides a thorough exploration of the consonance between these two philosophers in their mutual desire to overcome various bifurcations of nature, and of nature from spirit, that continued to haunt philosophy and science since the 17th-century.

Exploration of Alfred North Whitehead's influence on Maurice Merleau-Ponty's ontology of nature.This is the first booklength account of how Maurice Merleau-Ponty used certain texts by Alfred North Whitehead to develop an ontology based on nature, and how he could have used other Whitehead texts that he did not know in order to complete his last ontology. This account is enriched by several of Merleau-Ponty's unpublished writings not previously available in English, by the first detailed treatment of certain works by F.W.J. Schelling in the course of showing how they exerted a substantial influence on both Merleau-Ponty and Whitehead, and by the first extensive discussion of Merleau-Ponty's interest in the Stoics's notion of the twofold logos-the logos endiathetos and the logos proforikos. This book provides a thorough exploration of the consonance between these two philosophers in their mutual desire to overcome various bifurcations of nature, and of nature from spirit, that continued to haunt philosophy and science since the 17th-century.

Philosophers and artists consider the relevance of Maurice Merleau-Ponty's philosophy for understanding art and aesthetic experience.This collection of essays brings together diverse but interrelated perspectives on art and perception based on the philosophy of Maurice Merleau-Ponty. Although Merleau-Ponty focused almost exclusively on painting in his writings on aesthetics, this collection also considers poetry, literary works, theater, and relationships between art and science. In addition to philosophers, the contributors include a painter, a photographer, a musicologist, and an architect. This widened scope offers important philosophical benefits, testing and providing evidence for the empirical applicability of Merleau-Ponty's aesthetic writings. The central argument is that for Merleau-Ponty the account of perception is also an account of art and vice versa. In the philosopher's writings, art and perception thus intertwine necessarily rather than contingently such that they can only be distinguished by abstraction. As a result, his account of perception and his account of art are organic, interdependent, and dynamic. The contributors examine various aspects of this intertwining across different artistic media, each ingeniously revealing an original perspective on this intertwining.

Philosophers and artists consider the relevance of Maurice Merleau-Ponty's philosophy for understanding art and aesthetic experience.This collection of essays brings together diverse but interrelated perspectives on art and perception based on the philosophy of Maurice Merleau-Ponty. Although Merleau-Ponty focused almost exclusively on painting in his writings on aesthetics, this collection also considers poetry, literary works, theater, and relationships between art and science. In addition to philosophers, the contributors include a painter, a photographer, a musicologist, and an architect. This widened scope offers important philosophical benefits, testing and providing evidence for the empirical applicability of Merleau-Ponty's aesthetic writings. The central argument is that for Merleau-Ponty the account of perception is also an account of art and vice versa. In the philosopher's writings, art and perception thus intertwine necessarily rather than contingently such that they can only be distinguished by abstraction. As a result, his account of perception and his account of art are organic, interdependent, and dynamic. The contributors examine various aspects of this intertwining across different artistic media, each ingeniously revealing an original perspective on this intertwining.

This book utilizes Maurice Merleau-Ponty’s fascinating philosophy of embodiment to cast further light on the incredibly rich and complex phenomenon of shame. The philosopher himself made only scattered references to shame, but both his early phenomenology and his later phenomenological ontology do provide unique illumination of the phenomenon.

by Wolfe Mays It is a great pleasure and honour to write this preface. I first became ac­ quainted with Herbert Spiegelberg's work some twenty years ago, when in 1960 I reviewed The Phenomenological Movement! for Philosophical Books, one of the few journals in Britain that reviewed this book, which Herbert has jok­ ingly referred to as "the monster". I was at that time already interested in Con­ tinental thought, and in particular phenomenology. I had attended a course on phenomenology given by Rene Schaerer at Geneva when I was working there in 1955-6. I had also been partly instrumental in getting Merleau-Ponty to come to Manchester in 1958. During his visit he gave a seminar in English on politics and a lecture in French on "Wittgenstein and Language" in which he attacked Wittgenstein's views on language in the Tractatus. He was apparently unaware of the Philosophical Investigations. But it was not until I came to review Herbert's book that I appreciated the ramifications of the movement: its diverse strands of thought, and the manifold personalities involved in it. For example, Herbert mentions one Aurel Kolnai who had written on the "Phenomenology of Disgust'!, and which had appeared in Vol. 10 of Husserl's Jahrbuch. It was only after I had been acquainted for some time with Kolnai then in England, that I realised that 2 Herbert had written about him in the Movement. The Movement itself contains a wealth of learning.

The following pages attempt to develop the main outlines of an existential phenomenology of law within the context of Maurice Merleau-Ponty's phe­ nomenology of the social world. In so doing, the essay addresses the rather narrow scholarly question, If Merleau-Ponty had written a phenomenology of law, what would it have looked like? But this scholarly enterprise, although impeccable in itself, is also transcended by a more complicated concern for a very different sort of question. Namely, if Merleau-Ponty's phenomenological descriptions of the social world are correct-as I believe they largely are-then what are the philosophical consequences for an adequate understanding of law? Such a project may well occasion a certain surprise amongst observers of the contemporary philosophical landscape, at least in what concerns the terrain of continental thought, and for two different reasons. The first is that, although interest in Merleau-Ponty's work remains strong in the· United States and Can­ ada, his philosophical standing in his own country has been largely eclipsed! by that of, first, his friend/estranged acquaintance, Jean-Paul Sartre; by various Marxist philosophies and critical social theories; and finally by those doing her­ meneutics of language. In my view, current neglect of Merleau-Ponty's thought in France is most regrettable.