Results for 'Samuel Hopkins'

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  1.  54
    Glyph: Johns Hopkins Textual Studies.N. W. Visser, Samuel Weber & Henry Sussman - 1977 - Substance 6 (17):168.
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  2.  5
    The world within the word: Maritain and the poet.Samuel Hazo - 2018 - Steubenville, OH: Franciscan University Press.
    This book, written in 1957, arises from the encounter of two men: the American poet Samuel Hazo and the French philosopher Jacques Maritain. They met on September 12, 1956, at Maritain's home in Princeton, New Jersey. Hazo sought to engage Maritain's diffuse writings in aesthetics by bringing them into conversation with the great voices of the English literary tradition, especially Samuel Taylor Coleridge, Gerard Manley Hopkins, and John Keats. Hazo was also striving to understand and articulate his (...)
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  3. Quasi-realism, acquaintance, and the normative claims of aesthetic judgement.Cain Samuel Todd - 2004 - British Journal of Aesthetics 44 (3):277-296.
    My primary aim in this paper is to outline a quasi-realist theory of aesthetic judgement. Robert Hopkins has recently argued against the plausibility of this project because he claims that quasi-realism cannot explain a central component of any expressivist understanding of aesthetic judgements, namely their supposed ‘autonomy’. I argue against Hopkins’s claims by contending that Roger Scruton’s aesthetic attitude theory, centred on his account of the imagination, provides us with the means to develop a plausible quasi-realist account of (...)
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  4.  34
    Book Review: Critical Essays on Samuel Taylor Coleridge. [REVIEW]William E. Cain - 1995 - Philosophy and Literature 19 (1):151-152.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Critical Essays on Samuel Taylor ColeridgeWilliam E. CainCritical Essays on Samuel Taylor Coleridge, edited by Leonard Orr; vi & 194 pp. New York: Twayne, 1994, $42.00.“Coleridge, as you doubtless hear, is gone,” wrote Thomas Carlyle, August 12, 1834, to Ralph Waldo Emerson: “How great a Possibility, how small a realized Result.” There is now a huge Coleridge industry in the academy, engaged in producing editions of (...)
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  5.  58
    Self-abandonment and self-denial quietism, calvinism, and the prospect of hell.Stephen R. Munzer - 2005 - Journal of Religious Ethics 33 (4):747-781.
    Self-abandonment and self-denial are, respectively, Catholic and hyper-Calvinist analogues of each other. Roughly, each requires the surrendering of a person to God's will and providence through faith, hope, and love. Should the self-abandoning/self-denying individual accept his or her own damnation if that be God's will? This article, which is virtually alone in discussing the Catholic and Reformed Protestant traditions together, answers "No." The unqualified self-abandonment present in quietism and the radical self-denial of Samuel Hopkins are perverse and irrational (...)
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  6.  34
    Disinterested Benevolence: An American Debate Over the Nature of Christian Love.Stephen Post - 1986 - Journal of Religious Ethics 14 (2):356 - 368.
    This essay details the history of an important debate in American evangelical Christianity over the problem of disinterested benevolence, the common expression for Christian love during the early decades of the nineteenth century. It focuses on the thought of Jonathan Edwards and Samuel Hopkins, who differed significantly in their opinions regarding the degree to which Christian love requires self-denial. Some concluding remarks will underscore the persistence of this debate in the wider historical tradition of American theological ethics, as (...)
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  7.  10
    Lands of likeness: for a poetics of contemplation: the Gifford lectures, 2020-2023.Kevin Hart - 2023 - Chicago: University of Chicago Press.
    In Lands of Likeness, philosopher, theologian, and poet Kevin Hart utilizes the history of Christian thought and secular philosophy to develop a novel and profound hermeneutics of contemplation. Drawing in particular on the work of Arthur Schopenhauer, Samuel Taylor Coleridge, and Edmund Husserl, Hart traces the development of notions of contemplation in modernity and refines the approaches he finds there. Utilizing his refined approach, Hart trains our attention on modern poems from G. M. Hopkins, Wallace Stevens, A. R. (...)
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  8.  15
    Exploring Worldviews in Literature: From William Wordsworth to Edward Albee.Laura Inez Deavenport Barge - 2009 - Abilene Christian University Press.
    Numinous spaces in British literature from William Wordsworth to Samuel Beckett -- Jesus figures in American literature from Ralph Waldo Emerson to Edward Albee -- Using Bakhtin's definitions to discover ethical voices in Solzhenitsyn and Tolstoy -- René Girard's categories of scapegoats in literature of the American South -- Hopkins's metaphysics of nature as sacred disclosure -- The book of job as mirrored in Hopkins's metaphysics -- Beckett's mythos of the absence of God.
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  9.  25
    Waiting for Godot in New Orleans: A tragicomedy in two acts, a project in three parts.Paul Chan - 2007 - Diacritics 37 (2/3):2-165.
    In lieu of an abstract, here is a brief excerpt of the content:Waiting for Godot in New Orleans A tragicomedy in two acts, a project in three partsPaul Chan Click for larger view View full resolutionDrawing of “stage” (2007) (Page 2) Click for larger view View full resolutionOrganizing map of New Orleans 1 (2007) (Page 14) Click for larger view View full resolutionDrawing of bicycle for Pozzo (2007) (Page 28) Click for larger view View full resolutionDrawing of shopping cart for (...)
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  10.  22
    Book Review: Literary Power and the Criteria of Truth. [REVIEW]Thomas Reinert - 1996 - Philosophy and Literature 20 (1):275-276.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Literary Power and the Criteria of TruthThomas ReinertLiterary Power and the Criteria of Truth, by Laura Quinney; xx & 183 pp. Gainesville: University Press of Florida, 1995, $35.00.Given the predominance of cultural materialism and historical scholarship, literary studies no longer ascribe much of a distinct, autonomous role to literariness as such. Current critics are interested in the complicity of individual works in the propagation of social and political (...)
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  11. The Profile of Imagining.Robert Hopkins - 2024 - Oxford: Oxford University Press.
    What is sensory imagining and what role does it play in our lives? How does visualizing a castle, running through a tune in one's head, or imagining the taste of fish ice cream relate to perceiving such things, or to remembering them? What are the connections between imagining and agency, and how does it relate to emotion and other affect? The Profile of Imagining offers a theory that answers these and many other questions. It argues that sensory imagining involves the (...)
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  12.  54
    Generativity and the Problem of Historicism.Burt C. Hopkins - 2001 - New Yearbook for Phenomenology and Phenomenological Philosophy 1:377-389.
  13. What is Wrong With Moral Testimony?Robert Hopkins - 2007 - Philosophy and Phenomenological Research 74 (3):611-634.
    Is it legitimate to acquire one’s moral beliefs on the testimony of others? The pessimist about moral testimony says not. But what is the source of the difficulty? Here pessimists have a choice. On the Unavailability view, moral testimony never makes knowledge available to the recipient. On Unusability accounts, although moral testimony can make knowledge available, some further norm renders it illegitimate to make use of the knowledge thus offered. I suggest that Unusability accounts provide the strongest form of pessimist (...)
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  14. Artistic Style as the Expression of Ideals.Robert Hopkins & Nick Riggle - 2021 - Philosophers' Imprint 21 (NO. 8):1-18.
    What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are there limits on (...)
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  15.  31
    Nursing for the Chthulucene: Abolition, affirmation, antifascism.Jane Hopkins-Walsh, Jessica Dillard-Wright & Brandon B. Brown - 2023 - Nursing Philosophy 24 (1):e12405.
    Critical posthumanism as a philosophical, antifascist nonhierarchical imagination for nursing offers a liberatory passageway forward amidst environmental collapse, an epic pandemic, global authoritarianism, extreme health and wealth disparities, over‐reliance on technology and empirics, and unjust societal systems based in whiteness. Drawing upon philosophical and theoretical works from Black and Indigenous scholars, Haraway's idea of the Chthulucene, Deleuze and Guattari's rhizomatic thought, and Kaba's abolitionist organizing among others, we as activist nurse scholars continue the speculative discussion outlined in prior papers. Here (...)
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  16. Design and syntax in pictures.Robert Hopkins - 2024 - Mind and Language 39 (3):312-329.
    Many attempts to define depiction appeal to viewers' perceptual responses. Such accounts are liable to give a central role in determining depictive content to picture features responsible for the response, design. A different project is to give a compositional semantics for depictive content. Such attempts identify syntax: picture features systematically responsible for the content of the whole. Design and syntax are competitors. But syntax requires system, in how picture features contribute to content, that design does not. By examining John Kulvicki's (...)
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  17.  55
    Free Energy and Virtual Reality in Neuroscience and Psychoanalysis: A Complexity Theory of Dreaming and Mental Disorder.Jim Hopkins - 2016 - Frontiers in Psychology 7:198697.
    The main concepts of the free energy (FE) neuroscience developed by Karl Friston and colleagues parallel those of Freud's Project for a Scientific Psychology. In Hobson et al. ( 2014 ) these include an innate virtual reality generator that produces the fictive prior beliefs that Freud described as the primary process. This enables Friston's account to encompass a unified treatment—a complexity theory—of the role of virtual reality in both dreaming and mental disorder. In both accounts the brain operates to minimize (...)
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  18.  44
    The Origin of the Logic of Symbolic Mathematics: Edmund Husserl and Jacob Klein.Burt C. Hopkins - 2011 - Indiana University Press.
    Burt C. Hopkins presents the first in-depth study of the work of Edmund Husserl and Jacob Klein on the philosophical foundations of the logic of modern symbolic mathematics. Accounts of the philosophical origins of formalized concepts—especially mathematical concepts and the process of mathematical abstraction that generates them—have been paramount to the development of phenomenology. Both Husserl and Klein independently concluded that it is impossible to separate the historical origin of the thought that generates the basic concepts of mathematics from (...)
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  19. Kant, quasi-realism, and the autonomy of aesthetic judgement.Robert Hopkins - 2001 - European Journal of Philosophy 9 (2):166–189.
    Aesthetic judgements are autonomous, as many other judgements are not: for the latter, but not the former, it is sometimes justifiable to change one's mind simply because several others share a different opinion. Why is this? One answer is that claims about beauty are not assertions at all, but expressions of aesthetic response. However, to cover more than just some of the explananda, this expressivism needs combining with some analogue of cognitive command, i.e. the idea that disagreements over beuaty can (...)
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  20.  19
    “Little music” or “rough music”?: Ishion Hutchinson, modernist poet.John Hopkins - 2023 - Semiotica 2023 (250):27-41.
    In this essay I will suggest that part of what makes the young Jamaican poet Ishion Hutchinson so remarkable is the fact that much of his work – in this age of “anything goes” post-postmodernism – is clearly modernist poetry, in both structure and effect. This structure will be that explained in my expanded version of Michael Riffaterre’s semiotic theory of poetry, which deals withmodernistwork. I will suggest that one of the distinctive features of the latter is that a modern (...)
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  21.  19
    The Philosophy of Husserl.Burt C. Hopkins - 2008 - Routledge.
    Hopkins begins his study with Plato's written and unwritten theories of eidê and Aristotle's criticism of both. He then traces Husserl's early investigations into the formation of mathematical and logical concepts, charting the critical necessity that leads from descriptive psychology to transcendentally pure phenomenology. An investigation of the movement of Husserl's phenomenology of transcendental consciousness to that of monadological intersubjectivity follows. Hopkins then presents the final stage of the development of Husserl's thought, which situates monadological intersubjectivity within the (...)
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  22. Imagining the Past: on the nature of episodic memory.Robert Hopkins - 2018 - In Fiona MacPherson Fabian Dorsch, Memory and Imagination. Oxford University Press.
    What kind of mental state is episodic memory? I defend the claim that it is, in key part, imagining the past, where the imagining in question is experiential imagining. To remember a past episode is to experientially imagine how things were, in a way controlled by one’s past experience of that episode. Call this the Inclusion View. I motive this view by appeal both to patterns of compatibilities and incompatibilities between various states, and to phenomenology. The bulk of the paper (...)
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  23. The Hopkins Discussion.Donald Davidson & James Hopkins - 1997 - Philosophy International.
     
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  24. Explaining depiction.Robert Hopkins - 1995 - Philosophical Review 104 (3):425-455.
    An account of depiction should explain its key features. I identify six: that depiction is from a point of view; that it represents its objects as having a visual appearance; that it depictive content is always reasonably detailed; that misrepresentation is possible, but only within limits; and that the ability to interpret depictions co-varies, given general competence with pictures, with knowledge of what the depicted objects look like. All this suggests that picturing works by capturing appearances, but how more precisely (...)
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  25. Agriculture in Egypt, From Pharaonic to Modern Times.S. Hopkins Nicholas - 1999
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  26. An Outline Study of Man; or, the Body and Mind in One System.Mark Hopkins - 1873
  27. A translation and an appraisal of de ignota litteratura and apologia doctae ignorantiae.Jasper Hopkins - unknown
    To the venerable and devout man, Lord John of Gelnhausen,2 formerly abbot in Maulbronn, intercessor for one of his own. Most lovable Father, I was recently presented with Learned Ig- norance, which consists of three books (each incomplete in itself) and which is written in a sufficiently elegant style. It begins with the words “Admirabitur, et recte, maximum tuum et iam probatissimum ingeni- um” and ends “Eo aeternaliter fruituri qui est in saecula benedictus. Amen.” Having looked over [this work], I (...)
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  28.  9
    Mythological Aspects of Trees and Mountains in the Great Epic.E. Washburn Hopkins - 1910 - Journal of the American Oriental Society 30 (4):347-374.
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  29. Mickunas - solver of phenomenological riddles.Burt Hopkins - 2000 - Žmogus ir Žodis 2:13-20.
    Straipsnyjc svarstornas Algio Micklino atsakas huscrliSkosios fcnorncnologijos kritikarns. Autorius iSrySkina tris svarbiausius IJusscrlio kritikq argurnen- tus: 1 .IHusscrlio fcnorncnologija yra toli graiu nc "rnohlas bc jokiq ikankstiniy prielaidq", ji suponuo- ja dckartiSkqj teiginj, jog bliti rciSkia "hliti paiintu". 2.1-Tusserlio tciginj apic fcnorncnologines duotics apo- diktiSkurnq susilpnina jo patics patcikiarni tokios duo- tics apra5yrnai. IS ju, prieSingai Husserlio ketinirnarns. i6aiSkcja fenorncnologincs rcflcksijos ncpajcgurnas "susidoroti" tiek su retencine 1;iikines patirties di- rncnsija, tiek su radikalia Kito patirtics kitokybe. 3.Husscrlio rnctodui ir rnqstyrnui apskritai (...)
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  30. Philosophy and physics.Louis J. Hopkins - 1942 - Pacific Philosophical Quarterly 23 (3):239.
  31.  15
    Phenomenology: Japanese and American Perspectives.Burt Hopkins - 2010 - Springer.
    Many of the contributions to this volume are based on research originally presented at the historic first meeting in the United States of Japanese and American phenomenologists that took place at Seattle University in the Summer of 1991. In addition, other contributions have been added in order to supplement and complement the themes of the work presented at this meeting. Owing both to the vagaries of fate and the finitude of time, the publication of these essays has taken much longer (...)
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  32. How To Form Aesthetic Belief: Interpreting The Acquaintance Principle.Robert Hopkins - 2006 - Postgraduate Journal of Aesthetics 3 (3):85-99.
    What are the legitimate sources of aesthetic belief? Which methods for forming aesthetic belief are acceptable? Although the question is rarely framed explicitly, it is a familiar idea that there is something distinctive about aesthetic matters in this respect. Crudely, the thought is that the legitimate routes to belief are rather more limited in the aesthetic case than elsewhere. If so, this might tell us something about the sorts of facts that aesthetic beliefs describe, about the nature of our aesthetic (...)
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  33. (1 other version)Visual geometry.James Hopkins - 1973 - Philosophical Review 82 (1):3-34.
    We cannot imagine two straight lines intersecting at two points even though they may do so. In this case our abilities to imagine depend upon our abilities to visualise.
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  34. What do we see in film?Robert Hopkins - 2008 - Journal of Aesthetics and Art Criticism 66 (2):149–159.
    Many films are made by a two-tier process: the photographing of events which themselves represent the story the film tells. The latter representation is often illusionistic. I explore two consequences. The first concerns what we see in film. I argue that we sometimes see in such films, not events representing the story told, but simply the events composing that story. The way is thereby opened to a unified aesthetic of film, whether made the two-tier way or not. The second consequence (...)
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  35. Mind and Metaphor.Jim Hopkins - unknown
     
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  36.  3
    (2 other versions)The New Yearbook for Phenomenology and Phenomenological Philosophy: Volume 1.Burt Hopkins & Steven Crowell (eds.) - 2001 - Routledge.
    _The New Yearbook for Phenomenology and Phenomenological Philosophy_ provides an annual international forum for phenomenological research in the spirit of Husserl's groundbreaking work and the extension of this work by such figures as Scheler, Heidegger, Sartre, Levinas, Merleau-Ponty and Gadamer.
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  37. Vegetarian meat: Could technology save animals and satisfy meat eaters?Patrick D. Hopkins & Austin Dacey - 2008 - Journal of Agricultural and Environmental Ethics 21 (6):579-596.
    Between people who unabashedly support eating meat and those who adopt moral vegetarianism, lie a number of people who are uncomfortably carnivorous and vaguely wish they could be vegetarians. Opposing animal suffering in principle, they can ignore it in practice, relying on the visual disconnect between supermarket meat and slaughterhouse practices not to trigger their moral emotions. But what if we could have the best of both worlds in reality—eat meat and not harm animals? The nascent biotechnology of tissue culture, (...)
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  38.  43
    The “Offence of any and all Ready-Made GivennessGivennesses”. Natorp’s Critique of Husserl’s Ideas I.Burt C. Hopkins - 2021 - In Rodney K. B. Parker, The Idealism-Realism Debate Among Edmund Husserl’s Early Followers and Critics. Springer Verlag. pp. 73-97.
    I present the first systematic account in the literature of a Husserlian response to Natorp’s critique of Husserl’s account of the pre-givenness of both the absolute stream of lived-experience and its essencesEssences to reflectionReflections. My response is presented within the broader context of what I argue is Heidegger’s misappropriation of Natorp’s critique of the phenomenological limits of reflectionReflections in Husserl’s transcendental phenomenologyTranscendental phenomenology and the misguided French attempt to address Heidegger’s critique by introducing the dialectical notion of “pre-reflectivePre-reflective” consciousness to (...)
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  39. The New Yearbook for Phenomenology and Phenomenological Philosophy: Volume 10.Burt Hopkins & John Drummond (eds.) - 2011 - Routledge.
    The New Yearbook for Phenomenology and Phenomenological Philosophy provides an annual international forum for phenomenological research in the spirit of Husserl's groundbreaking work and the extension of this work by such figures as Scheler, Heidegger, Sartre, Levinas, Merleau-Ponty and Gadamer.
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  40.  7
    The New Yearbook for Phenomenology and Phenomenological Philosophy: Volume 11.Burt Hopkins & John Drummond (eds.) - 2012 - Routledge.
    The New Yearbook for Phenomenology and Phenomenological Philosophy provides an annual international forum for phenomenological research in the spirit of Husserl's groundbreaking work and the extension of this work by such figures as Scheler, Heidegger, Sartre, Levinas, Merleau-Ponty and Gadamer.
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  41. "Remember Leonard Shelby": 'Memento' and the Double Life of Memory.Robert Hopkins - 2016 - In Julian Dodd, Art, Mind, and Narrative: Themes From the Work of Peter Goldie. New York, NY: Oxford University Press UK. pp. 89-99.
    Christopher Nolan’s Memento illustrates and explores two roles that memory plays in human life. The film’s protagonist, Leonard Shelby, cannot ‘make new memories’. He copes by using a ‘system’ of polaroids, tatoos, charts and notes that substitutes for memory in its first role, the retention of information. In particular, the system is supposed to help Leonard carry out his sole goal: to find and kill his wife’s murderer. In this it proves a disastrous failure. But are we so very much (...)
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  42. How to Be a Pessimist about Aesthetic Testimony.Robert Hopkins - 2011 - Journal of Philosophy 108 (3):138-157.
    Is testimony a legitimate source of aesthetic belief? Can I, for instance, learn that a film is excellent on your say-so? Optimists say yes, pessimists no. But pessimism comes in two forms. One claims that testimony is not a legitimate source of aesthetic belief because it cannot yield aesthetic knowledge. The other accepts that testimony can be a source of aesthetic knowledge, yet insists that some further norm prohibits us from exploiting that resource. I argue that this second form of (...)
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  43.  39
    Comments on A. W. Eaton’s “A Sensible Antiporn Feminism”.Patrick D. Hopkins - 2008 - Symposia on Gender, Race, and Philosophy 4 (2).
  44. uNiTy iNaNCiENT aND mODErN PHilOSOPHy aNDTHE HyPOTHESiS Of uNivErSal HiSTOry.Burt Hopkins - 2012 - Problemos 82:82-69.
    The paper argues for three things. First, that the abstract concepts of ancient Greek and modern mathematics are fundamentally different. The general treatment of mathematical things in ancient Greek mathematics manifestly does not presuppose a general mathematical object, while in modern mathematics the generality of the method presupposes precisely such a general mathematical object. Two, that this difference in abstract concepts of mathematics makes a difference in our understanding of a discipline other than mathematics, specifically, in the discipline of history. (...)
     
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  45. Filled/non-filled pairs: An empirical challenge to the integrated information theory of consciousness.Amber R. Hopkins & Kelvin J. McQueen - 2022 - Consciousness and Cognition 97 (C):103245.
    Perceptual filling-in for vision is the insertion of visual properties (e.g., color, contour, luminance, or motion) into one’s visual field, when those properties have no corresponding retinal input. This paper introduces and provides preliminary empirical support for filled/non-filled pairs, pairs of images that appear identical, yet differ by amount of filling-in. It is argued that such image pairs are important to the experimental testing of theories of consciousness. We review recent experimental research and conclude that filling-in involves brain activity with (...)
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  46. Episodic Memory as Representing the Past to Oneself.Robert Hopkins - 2014 - Review of Philosophy and Psychology 5 (3):313-331.
    Episodic memory is sometimes described as mental time travel. This suggests three ideas: that episodic memory offers us access to the past that is quasi-experiential, that it is a source of knowledge of the past, and that it is, at root, passive. I offer an account of episodic memory that rejects all three ideas. The account claims that remembering is a matter of representing the past to oneself, in a way suitably responsive to how one experienced the remembered episode to (...)
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  47.  23
    Jeffrey Hopkins Responds to David Tracy.Paul Jeffrey Hopkins - 1987 - Buddhist-Christian Studies 7.
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  48. Sculpting in time: temporally inflected experience of cinema.Robert Hopkins - 2018 - In Jérôme Pelletier & Alberto Voltolini, The Pleasure of Pictures: Pictorial Experience and Aesthetic Appreciation. London: Routledge. pp. 201-223.
    We engage with all representational pictures by seeing things in them. Seeing-in is a distinctive form of visual experience, one in which we are aware of both the marks, projected lights, or whatever that make up the picture (its Design) and what the picture represents (Scene). Some seeing-in is inflected: what we then see in the picture is a scene the properties of which make essential reference to Design. Since cinema involves moving pictures, it too supports seeing-in. But can that (...)
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  49.  36
    Conscience and conflict: Darwin, Freud and the origins of human aggression.Jim Hopkins - 2004 - In Dylan Evans & Pierre Cruse, Emotion, Evolution, and Rationality. Oxford University Press.
    Darwin's and Freud's theories cohere in explaining human group conflict.
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  50. A Word of Introduction from ESA President.Robert Hopkins - 2011 - Estetika: The European Journal of Aesthetics:3-3.
     
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