Cumming also shows that conversion is not merely a personal predisposition of Sartre's--further manifest in his later conversions to Heidegger and to a version of Marxism. Conversion is also philosophical preoccupation, illustrated by the "conversion to the imaginary" whereby Sartre explains how he himself, as well as Genet and Flaubert, became writers. Finally, Cumming details how Husserl's phenomenological method contributed both to the shaping of Sartre's style as a literary writer and to his theory of style.

Cumming also shows that conversion is not merely a personal predisposition of Sartre's--further manifest in his later conversions to Heidegger and to a version of Marxism. Conversion is also philosophical preoccupation, illustrated by the "conversion to the imaginary" whereby Sartre explains how he himself, as well as Genet and Flaubert, became writers. Finally, Cumming details how Husserl's phenomenological method contributed both to the shaping of Sartre's style as a literary writer and to his theory of style.

In this final volume of Robert Denoon Cumming's four-volume history of the phenomenological movement, Cumming examines the bearing of Heidegger's philosophy on his original commitment to Nazism and on his later inability to face up to the implication of that allegiance. Cumming continues his focus, as in previous volumes, on Heidegger's connection with other philosophers. Here, Cumming looks first at Heidegger's relation to Karl Jaspers, an old friend on whom Heidegger turned his back when Hitler consolidated power, and who discredited Heidegger in the denazification that followed World War II. The issues at stake are not merely personal, Cumming argues, but regard the philosophical relevance of the personal.

Cumming also shows that conversion is not merely a personal predisposition of Sartre's--further manifest in his later conversions to Heidegger and to a version of Marxism. Conversion is also philosophical preoccupation, illustrated by the "conversion to the imaginary" whereby Sartre explains how he himself, as well as Genet and Flaubert, became writers. Finally, Cumming details how Husserl's phenomenological method contributed both to the shaping of Sartre's style as a literary writer and to his theory of style.

The Dictionary of Modern American Philosophers includes both academic and non-academic philosophers, anda large number of female and minority thinkers whose work has been neglected. It includes those intellectualsinvolved in the development of psychology, pedagogy, sociology, anthropology, education, theology, politicalscience, and several other fields, before these disciplines came to be considered distinct from philosophy in thelate nineteenth century.Each entry contains a short biography of the writer, an exposition and analysis of his or her doctrines and ideas, abibliography of writings, and suggestions for further reading. While all the major post-Civil War philosophers arepresent, the most valuable feature of this dictionary is its coverage of a huge range of less well-known writers,including hundreds of presently obscure thinkers. In many cases, the Dictionary of Modern AmericanPhilosophers offers the first scholarly treatment of the life and work of certain writers. This book will be anindispensable reference work for scholars working on almost any aspect of modern American thought.

Published in 1967, when Derrida is 37 years old, Voice and Phenomenon appears at the same moment as Of Grammatology and Writing and Difference. All three books announce the new philosophical project called “deconstruction.” Although Derrida will later regret the fate of the term “deconstruction,” he will use it throughout his career to define his own thinking. While Writing and Difference collects essays written over a 10 year period on diverse figures and topics, and Of Grammatology aims its deconstruction at “the age of Rousseau,” Voice and Phenomenon shows deconstruction engaged with the most important philosophical movement of the last hundred years: phenomenology. Only in relation to phenomenology is it possible to measure the importance of deconstruction. Only in relation to Husserl’s philosophy is it possible to understand the novelty of Derrida’s thinking. Voice and Phenomenon therefore may be the best introduction to Derrida’s thought in general. To adapt Derrida’s comment on Husserl’s Logical Investigations, it contains “the germinal structure” of Derrida’s entire thought. Lawlor’s fresh translation of Voice and Phenomenon brings new life to Derrida’s most seminal work.

The attempt to pursue philosophy in the name of phenomenology is one of the most significant and important developments in twentieth century thought. In this bold and innovative book, Simon Glendinning introduces some of its major figures, and demonstrates that its ongoing strength and coherence is to be explained less by what Maurice Merleau-Ponty called the 'unity' of its 'manner of thinking' and more by what he called its 'unfinished nature'. Beginning with a discussion of the nature of phenomenology, Glendinning explores the changing landscape of phenomenology in key texts by Husserl, Heidegger, Sartre, Merleau-Ponty, Levinas and Derrida. Focusing on the different ways in which each philosopher has responded to and transformed the legacy of phenomenology, Glendinning shows that the richness of this legacy lies not in the formation of a distinctive movement or school but in a remarkable capacity to make fertile philosophical breakthroughs. Important topics such as the nature of phenomenological arguments, the critique of realism and idealism, ontology, existentialism, perception, ethics and the other are also closely examined. Through a re-evaluation of the development of phenomenology Glendinning traces the ruptures and dislocations of philosophy that, in an age dominated by science, strive constantly to renew our understanding of ourselves and our place in the world. Clearly and engagingly written, In the Name of Phenomenology is essential reading for students of phenomenology and contemporary philosophy.