The main item in the present volume was published in 1930 under the title Das Unendliche in der Mathematik und seine Ausschaltung. It was at that time the fullest systematic account from the standpoint of Husserl's phenomenology of what is known as 'finitism' (also as 'intuitionism' and 'constructivism') in mathematics. Since then, important changes have been required in philosophies of mathematics, in part because of Kurt Godel's epoch-making paper of 1931 which established the essential in completeness of arithmetic. In the light of that finding, a number of the claims made in the book (and in the accompanying articles) are demon strably mistaken. Nevertheless, as a whole it retains much of its original interest and value. It presents the issues in the foundations of mathematics that were under debate when it was written (and in some cases still are); , and it offers one alternative to the currently dominant set-theoretical definitions of the cardinal numbers and other arithmetical concepts. While still a student at the University of Vienna, Felix Kaufmann was greatly impressed by the early philosophical writings (especially by the Logische Untersuchungen) of Edmund Husser!' He was never an uncritical disciple of Husserl, and he integrated into his mature philosophy ideas from a wide assortment of intellectual sources. But he thought of himself as a phenomenologist, and made frequent use in all his major publications of many of Husserl's logical and epistemological theses.

Signs of the Time is an investigation into contemporary art theory and the philosophy of art from 1945 till postmodernism. The author treats important precursors such as Freud and Marx, and contemporary theorists and philosophers such as Gombrich, Lacan, Heidegger, Sartre, Althusser, Marcuse, Gadamer, Derrida, Eco, Barthes, Foucault, Baudrillard, and Lyotard. Various texts are discussed, criticized and related to movements in contemporary art and to contemporary artists. The author addresses students in the field of art history, communica-tions, aesthetics, art education, art history, communications, aesthetics, as well as the art lover. Art as a sign of the time reveals the hidden dimensions of the world in which we live.

This long-awaited translation of Das literarische Kunstwerk makes available for the first time in English Roman Ingarden's influential study. Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and mode of existence. The Literary Word of Art establishes the groundwork for a philosophy of literature, i.e., an ontology in terms of which the basic general structure of all lliterary works can be determined. This "essential anatomy" makes basic tools and concepts available for rigorous and subtle aesthetic analysis.