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  1. Time.Philip Turetzky - 1998 - New York: Routledge.
    _Time_ offers a comprehensive history of the philosophy of time in western philosophy from the Greeks through to the twentieth century. In the first half of the book, Philip Turetzky explores theories in ancient and modern philosophy chronologically: from Aristotle to Nietzsche. In the latter half, Turetzky describes the philosophy of time in three twentieth-century philosophical traditions: * analytic philosophy including philosophers such as McTaggart and Mellor * phenomenology Husserl and Heidegger * a distaff tradition which Turetzky identifies as including (...)
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    Time.Philip Turetzky - 1998 - New York: Routledge.
    _Time_ offers a comprehensive history of the philosophy of time in western philosophy from the Greeks through to the twentieth century. In the first half of the book, Philip Turetzky explores theories in ancient and modern philosophy chronologically: from Aristotle to Nietzsche. In the latter half, Turetzky describes the philosophy of time in three twentieth-century philosophical traditions: * analytic philosophy including philosophers such as McTaggart and Mellor * phenomenology Husserl and Heidegger * a distaff tradition which Turetzky identifies as including (...)
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  3.  29
    Immanent Critique.Philip Turetzky - 1989 - Philosophy Today 33 (2):144-158.
  4.  17
    Metaphor and Paraphrase.Philip Turetzky - 1988 - Philosophy and Rhetoric 21 (3):205 - 219.
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  5.  40
    The Elements of Arguments: An Introduction to Critical Thinking and Logic.Philip Turetzky - 2018 - Tonawanda, NY, USA: Broadview Press.
    _The Elements of Arguments_ introduces such central critical thinking topics as informal fallacies, the difference between validity and truth, basic formal propositional logic, and how to extract arguments from texts. Turetzky aims to prevent common confusions by clearly explaining a number of important distinctions, including: propositions vs. propositional attitudes, propositions vs. states of affairs, and logic vs. rhetoric vs. psychology. Exercises are provided throughout, including numerous informal arguments that can be assessed using the skills and strategies presented within the text.
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  6. The logic of expression: quality, quantity and intensity in Spinoza, Hegel and Deleuze, by Simon Duffy. [REVIEW]Philip Turetzky - 2009 - European Journal of Philosophy 17 (2):341-345.
    If the import of a book can be assessed by the problem it takes on, how that problem unfolds, and the extent of the problem’s fruitfulness for further exploration and experimentation, then Duffy has produced a text worthy of much close attention. Duffy constructs an encounter between Deleuze’s creation of a concept of difference in Difference and Repetition (DR) and Deleuze’s reading of Spinoza in Expressionism in Philosophy: Spinoza (EP). It is surprising that such an encounter has not already been (...)
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  7.  66
    Husserl and the Promise of Time: Subjectivity in Transcendental Phenomenology, by Nicolas de Warren. Cambridge: Cambridge University Press, 2009, 322 pp. ISBN 978-0-5218-7679-7 hb £50.00. [REVIEW]Philip Turetzky - 2011 - European Journal of Philosophy 19 (4):654-658.
    The problem of time consciousness was not only thought by Husserl to be the most difficult problem of phenomenology, it may legitimately claim to be, as Nicolas de Warren argues in this thought provoking book, at the root of the phenomenological project itself. For, understanding the claims Husserl makes for the fundamental status of transcendental subjectivity are required by and clarified through the detailed analysis of time consciousness.
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    Pictorial depth: Intensity and aesthetic surface. [REVIEW]Philip Turetzky - 2005 - Axiomathes 15 (1):1-28.
    Philosophers seldom ask questions regarding how certain phenomena occur, because such questions tend to be the province of the sciences or of technology. However, the question how pictures have depth requires philosophical reflection because it takes place on the surface of pictorial objects and involves both physical and phenomenal, i.e. aesthetic, features of those surfaces. This essay examines how pictures have depth by first separating the aesthetic question from interpretive considerations, and thereby refining the question how pictures have depth. Next (...)
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