This book covers Husserl’s stance on the philosopher and the history of philosophy, whether or not such a history is part of the philosophical attitude itself, and if so, how Husserl’s phenomenology might weigh in on such matters. Firstly, this text spells out some of the manifold ways in which the history of philosophy works its way in Husserl’s phenomenology, showing how concepts, methods and problems drawn from various Ancient and Modern philosophical traditions (Platonism, Aristotelianism, Sophistry, Stoicism, Scholasticism, Modern Rationalism) are transformed and embedded within transcendental phenomenology itself. Secondly, it shows how a better understanding of the distinctive patterns by means of which Husserl’s phenomenology confronts the history of philosophy could be extremely significant for historians of philosophy who are interested in learning something entirely new about the unexplored horizons of such concepts, methods and problems. Finally, based on such twofold historical and philosophical approach and thanks to a substantial reinterpretation of some key phenomenological concepts such as “multiplicity”, “constitution”, “attitude” and “variation”, this book provides a novel and original reading of Husserl’s overall philosophical project in its full meaning and scope. By doing so, this volume appeals to both students and researchers and critically engages in mainstream interpretations of phenomenology, suggesting a unique take on the idea of transcendental phenomenology as a whole.

This essay examines the primacy of worldbuilding in the age of CGI, transmedia practices and "high concept" fiction by studying the principles that govern the creation of a multiverse in a wide range of film and TV productions. Emphasis is placed on Hollywood sci-fi movies and their on-screen representation of imaginary machines that mirror the film medium, following in the tradition of Philip K. Dick's writings and the cyberpunk culture. A typology of worlds is established, as well as a number of analytical tools for assessing the impact of the coexistence of two or more worlds on the narrative structure, the style (uses of color, editing practices), the generic affiliation (or hybridity), the seriality and the discourse produced by a given film (particularly in fictions linked to post-9/11 fantasies). Among the various titles examined, the reader is offered a detailed analysis of the Resident Evil film series, Total Recall and its remake, Dark City, the Matrix trilogy, Avatar, Source Code and other time-loop films, TRON and its sequel, Christopher Nolan's Tenet, and several TV shows – most notably HBO's Westworld, but also Sliders, Lost, Fringe and Counterpart.

Schutzian Research is an annual journal that seeks to continue the tradition of Alfred Schutz.

This book provides new interpretations of Heidegger’s philosophical method in light of 20th-century postmodernism and 21st-century speculative realism. In doing so, it raises important questions about philosophical method in the age of global warming and climate change. Vincent Blok addresses topics that have yet to be extensively discussed in Heidegger scholarship, including Heidegger’s method of questioning, the religious character of Heidegger’s philosophical method, and Heidegger’s conceptualization of philosophical method as explorative confrontation. He is also critical of Heidegger’s conceptuality and develops a post-Heideggerian concept of philosophical method, which provides a new perspective on the role of willing, poetry, and earth-interest in contemporary philosophy. This earth-interest turns out to be particularly important to consider and leads to critical reflections on Heidegger’s concept of Earth, the necessity of Earth-interest in contemporary philosophy, and a post-Heideggerian concept of the Earth. Heidegger’s Concept of Philosophical Method will be of interest primarily to Heidegger scholars and graduate students, but its discussion of philosophical method and environmental philosophy will also appeal to scholars in other disciplines and areas of philosophy.

Thinking between Deleuze and Merleau-Ponty is the first book-length examination of the relation between these two major thinkers of the twentieth century. Questioning the dominant view that the two have little of substance in common, Judith Wambacq brings them into a compelling dialogue to reveal a shared, historically grounded concern with the transcendental conditions of thought. Both Merleau-Ponty and Deleuze propose an immanent ontology, differing more in style than in substance. Wambacq’s synthetic treatment is nevertheless critical; she identifies the limitations of each thinker’s approach to immanent transcendental philosophy and traces its implications—through their respective relationships with Bergson, Proust, Cézanne, and Saussure—for ontology, language, artistic expression, and the thinking of difference. Drawing on primary texts alongside current scholarship in both French and English, Thinking between Deleuze and Merleau-Ponty is comprehensive and rigorous while remaining clear, accessible, and lively. It is certain to become the standard text for future scholarly discussion of these two major influences on contemporary thought.