Books in the Series in Continental Thought series

The Phenomenology of Pain is the first book-length investigation of its topic to appear in English. Groundbreaking, systematic, and illuminating, it opens a dialogue between phenomenology and the sciences to argue that science alone cannot clarify the nature of pain experience without incorporating a phenomenological approach.

Husserl and Transcendental Intersubjectivity analyzes the transcendental relevance of intersubjectivity and argues that an intersubjective transformation of transcendental philosophy can already be found in phenomenology, especially in Husserl.

The central contribution of Stroeker's investigations is a careful and strict analysis of the relationship between experienced space, Euclidean space, and non-Euclidean spaces.

Phenomenology has played a decisive role in the emergence of the discourse of place, and the contribution of Merleau-Ponty to architectural theory and practice is well established. This collection of essays by 12 eminent scholars is the first devoted specifically to developing his contribution to our understanding of place and architecture.

These original essays focus on the introduction of phenomenology to the United States by the community of scholars who taught and studied at the New School for Social Research in New York City between 1954 and 1973. The collection powerfully traces the lineage and development of phenomenology in the North American context.

In The Madness of Vision, Buci-Glucksmann asserts the important of embodied vision in nine studies of paintings, sculptures, and images. She integrates the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics to make the case for the pervasive influence of the baroque.

In The Tenets of Cognitive Existentialism, Dimitri Ginev draws on developments in hermeneutic phenomenology and other programs in hermeneutic philosophy to inform an interpretative approach to scientific practices.

World-renowned analytic philosophers John McDowell and Robert Brandom, dubbed "Pittsburgh Neo-Hegelians," recently engaged in an intriguing debate about perception.

Classical phenomenology has suffered from an individualist bias and a neglect of the communicative structure of experience, especially the phenomenological importance of the addressee, the inseparability of I and You, and the nature of the alternation between them. This title remedies this neglect.

Examining select high points in the speculative tradition from Plato and Aristotle through the Middle Ages and German tradition to Dewey and Heidegger, this book seeks to locate the aesthetic concern within the larger framework of each thinker's philosophy.

This is a major phenomenological work in which real learning works in graceful tandem with genuine and important insight.

Heidegger's lectures delivered at the University of Freiburg in 1936 on Schelling's Treatise On Human Freedom came at a crucial turning point in Heidegger's development. He had just begun his study to work out the term "Ereignis."

From the frozen landscapes of the Antarctic to the haunted houses of childhood, the memory of places we experience is fundamental to a sense of self. Drawing on influences as diverse as Merleau-Ponty, Freud, and J. G. Ballard, The Memory of Place charts the memorial landscape that is written into the body and its experience of the world.

M. C. Dillon (1938-2005) was widely regarded as a world-leading Merleau-Ponty scholar. His book Merleau-Ponty's Ontology (1988) is recognized as a classic text that revolutionized the philosophical conversation about the great French phenomenologist.

This is the first 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 his views on the self and ontology into contemporary focus, arguing that the self is not a self-contained or self-determining identity.

In these studies Roman Ingarden investigates the nature and mode of being of four kinds of art works: the musical work, the picture, the architectural work, and the film. He establishes that the work of art is a purely intentional object but considers also its connections to the real world.