Titlebook: Creativity and the Philosophy of C.S. Peirce; Douglas R. Anderson Book 1987 Springer Science+Business Media B.V. 1987 Charles Sanders Peir

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Spannungsrißkorrosion von Tiefziehnäpfenpieces of the overall picture still obscure or missing. It is this second view which seems to me the most reasonable, in part because it has been convincingly defended by other scholars, but most importantly because Peirce himself described his philosophy as systematic:

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Book 1987bscure even the brightest of his contemporaries. Concerning the interpretation of his work, however, there are two distinct schools. The first holds that Peirce‘s work is an aggregate of important but disconnected insights. The second school argues that his work is a systematic philosophy with many

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Aufwand, Wirksamkeit und Erfolgmaking the turn to artistic creativity which Peirce himself did not make outright. To do this, I shall begin with an examination of the categoriology and then a brief analysis of esthetics as a normative science.

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Art and Science,making the turn to artistic creativity which Peirce himself did not make outright. To do this, I shall begin with an examination of the categoriology and then a brief analysis of esthetics as a normative science.

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Artistic Creativity as Creative Evolution,fore can argue backwards to man. Rather, I am arguing that we get a better picture of what Peirce meant by creativity through his discussions of God than we do through his discussions of man. Peirce did not develop the idea of human artistic creativity at any length. Therefore, my analogy is not so

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Flüssig/fest-Trennung durch Filtration creative process should be the highest or most ideal as well. Therefore, as a regulative ideal, God’s creativity becomes a norm toward which our creativity ought to strive to compare. Indeed, then, while our normative argument involved psychological description, so does our descriptive account invo