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Brent Dean Robbins
A Reading of Kuhn in Light of Heidegger as a Response to Hoeller's Critique of Giorgi
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Victor Barbetti,
Brent Dean Robbins
A note from the editors
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Claire N. Barbetti
Transforming the Chain into Story:
The Making of Communal Meaning in Toni Morrison's Beloved
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Claire N. Barbetti
Severance
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Jacqueline Neilson
A Poetics of Heidegger's "Memorial Address"
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Hulya Guney
On Sartre and Self-Consciousness
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The purpose of this paper is to deal with the place of self-consciousness and its implications in Sartre's ontology. I shall begin with Sartre's categorization of being which will be followed by a discussion of the special case of being-in-the-world. Finally, I shall argue that, unless Sartre allows the I into the prereflexive consciousness, he cannot hold on to any self either.
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Scott Kaper
The Future of the Dream Body in Virtual Reality
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Thomas J. Tobin
"He made his confessions and told all his misdeeds":
The Rise of the Internal Consciousness between 1100 and 1500
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Dedication
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Rex Olson
Martini or Bikini?:
The Question of Differance Between Philosophy and Literature
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Elizabeth A. Say
Many Voices, Many Visions:
Toward a Feminist Methodology for Narrative Theology and Ethics
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Jennifer Severns
Out of the Shadows
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Victor Barbetti,
Brent Dean Robbins,
Claire Cowan-Barbetti
Editorial
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Bart Bryant
Apollo and Dionysus:
From Warfare to Assimilation in The Birth of Tragedy and Beyond Good and Evil
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Suzanne Brom
Freud, the Feminist?
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Vanessa Thompson
Art
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Michael Antonucci
Five Poems
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Patricia Monaghan
Observations of Schroedinger's Cat
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David Allen
Two Poems
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Don Ihde
Technologies—Musics—Embodiments
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Today recorded music probably accounts for the single largest category of music listening. This essay seeks to re-frame the usual understanding of the role of that type of music. Here the history and phenomenology of instrumentally mediated musics examines pre-historic instruments and their relationship to skilled, embodied performance, to innovations in technologies which produce multistable trajectories which result in different musics. The ancient relationship between the technologies of archery and that of stringed instruments is both historically and phenomenologically examined. This narrative is then paralleled by a similar examination of the history and variations upon recorded and then electronically produced music. The interrelation of music-technologies and embodiment underlies this interpretation of musical production.
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