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This thesis contends that the discovery of transcendental intersubjectivity revealed the inadequacy of Husserl‟s Cartesian way to the reduction and precipitated the development of the ontological way. Through an analysis drawing primarily from Ideas I, Cartesian Meditations, and Crisis, this thesis will analyze the Cartesian way, intersubjectivity, and finally the ontological way. It will be argued that the Cartesian way focuses on the transcendental ego and ignores the natural world. With the discovery of transcendental intersubjectivity 1) a being beyond the transcendental ego has a role in constituting the world and 2) the objectivity of the world can no longer be reduced to the (individual) transcendental ego. The transition to the historical approach of Crisis is analyzed and we find that the Cartesian way cannot address the life-world and transcendental intersubjectivity in their new, central role. It is demonstrated how the ontological way fills this gap. / Graduate

This essay studies recent scholarly debates over Edmund Burke’s (1729/30-1797) relation to the Roman Catholic faith. In this essay the main arguments and considerations that have been presented in Burke scholarship since the 1990s are presented and assessed. In the light of the contemporary caricaturing of Burke as a crypto-Papist in the 18th century, and the continued debate in recent scholarship over how close Burke stood to the Roman Catholic faith, this study aims to understand what can be said about Burke’s thought as it has been presented by recent scholars. The main question posed in this essay is whether Catholicism is essential to understand Burke, and therefore a correct understanding of Burke not being possible without taking this aspect into account. The question is analysed by studying to what extent recent scholars argue for Catholicism being essential and necessary to understand Burke’s life and thought.

History in Edmund Spenser's Faerie Queene Book V and his View of the Present State of Ireland reflects the basic assumptions and characteristics of Elizabethan territorial history, a form observed in the geographic basis of chorography, in the metaphoric expression of the British past, and in the contemporary English enthusiasm for state, county, and city histories. William Lambarde's A Perambulation of Kent, the earliest English model for Spenser's territorial history, employs the antiquary's tentative empirical methodology in a study of sources newly freed of myth, legend, and unreliable antiquity. Accepting the developmental historical perspective of the territorial historians, Spenser in his View discusses the susceptibility of certain positive laws to the ravages of time and circumstance and argues for a reformation of those laws and their administration in Ireland. Similarly, justice in book V is a virtue of reformation that requires a "physician" who diagnoses, cures, and prescribes a diet of new, well-ordered laws for the patient-state, the primary danger to "recural" existing in laws abrogated or perverted since their inception. While accepting the workings of divine and natural law in history, Spenser focuses on the justiciar's secular role in terms of political more than providential causation, legal more than moral justice, and practical more than theoretical law. As England's first justiciar Artegall presents a righteous response to original tyranny in a prelegal society and acquits himself on the charges of "unmanly guile" and "reproachful cruelty" by representing human justice based on laws responsive to season. In the historical domains of Book V Arthur's presence exemplifies providence in human justice, Artegall's actions man's secular control over responsive lawmaking and territorial rebellion, and Radigund's tale the imposition of natural law on justice. The legal and topical content of Book V's poetic journeys suggest the territorial historian's "perambulation" in which Spenser's heroes learn the history of each canto's territory before a reforming justice can operate. As feigned antique history merges with topical event, the Legend of Justice becomes an innovative, optimistic, and uniquely Elizabethan glimpse of new territory.

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Informe de Seminario para optar al grado de Licenciado en Filosofía. / En estas palabras de Husserl parece cifrarse todo el propósito de nuestra empresa. Pues, en efecto, para nosotros lo más importante es registrar todos los pasos que conducen a la apertura del campo fenomenológico. Ello, afirma Husserl, es “lo más difícil” y “la situación insólita”. Y es tal porque la topología fenomenológica se encuentra a contrapelo de la experiencia cotidiana e interfiere el circuito de familiaridad que ésta dispone. La apertura del campo fenomenológico es la clausura de la hospitalidad práctico/científica del Mundo. Nuestra tarea consiste en exponer cada uno de los pasos que Husserl consigna a la hora de poner en obra su reflexión. Ahora bien, nuestro seguimiento se limita a los desarrollos que aparecen en “Ideas relativas a una fenomenología pura y a una filosofía fenomenológica” (1913)* y en modo alguno al conjunto de su obra. En consecuencia (salvo en escasísimas oportunidades, donde oportunamente se dará cuenta de ello), las referencias al corpus husserliano no existen y, por lo mismo, tampoco existe una revisión de otras perspectivas que versen sobre un determinado asunto, ya sea para refutar algo, ya sea para complementarlo.

M.A. (Philosophy) / Please refer to full text to view abstract

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This dissertation is a literary-historical study of Edmund Spenser’s under-rated sonnet sequence, Amoretti (1595), focusing on the poet’s playful manipulation of conventional imagery (largely Petrarchan) to reflect the progression of the poet/lover’s relationship with his beloved from the solipsistic to the interpersonal: that is, a relationship represented by variations on fixed erotic configurations to fluid, interactive conversations involving attitudes, understanding and emotion. Without denying the ultimately serious purpose of the sonnets, the study concentrates on the light-heartedness of the presentation, advertised as a “sporting” interlude in the midst of the composition of Spenser’s major work, The Faerie Queene. Not primarily ideological in focus, but rather of a critical evaluative kind, the work entails a systematic and comprehensive analysis of imagery concerning weaving, captivity and eyes within the Amoretti in three contexts: the genre of the Elizabethan sonnet sequence, Spenser’s other works and the Renaissance propensity for experiment or play of mind.