By Alfred Schutz (auth.), Lester Embree (eds.)
This quantity starts off with Schutz's comic strip of the way Husserl motivated him. It exhibits how phenomenological idea of the social sciences differs from positivistic ways, and provides Schutz's concept of relevances--a key function of his personal phenomenology of the social international. It includes exchanges among Schutz and Eric Voegelin, Felix Kaufmann, Aron Gurwitsch, and Talcott Parsons, and offers, for the 1st time, Schutz's incisive criticisms of T.S. Eliot's conception of tradition.
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Additional resources for Collected Papers V. Phenomenology and the Social Sciences
This line is the locus of the points of actual interest to the scientist and at which he has decided to stop his further research and analysis. But this does not mean that the decision of the scientist is arbitrary in the sense that it can disregard the intrinsic relations subsisting among all possible and, especially, among all compatible problems. On the contrary, it is possible to prove the existence of very important interdependencies among all possible systems of questions and answers and to show that there are certain key concepts the introduction of which divides the formerly homogeneous field of research into parts relevant or irrelevant to the topic under consideration.
It must be added that neither the chains of in-order-to motives nor those of because motives are chosen at random by the actor performing a concrete act. On the contrary, they are organized in great subjective systems. The in-order-to motives are integrated into subjective systems of planning, a life plan or plans for work and leisure, plans for “what to do the next time,” timetable for today, the necessity of the hour, and so on. , are the elements for building up such systems which can be personified by the actor.
As an illustration of the first case, consider routine-work, action ruled by habits, skills or recipes; these are projected actions, too, though the project does not immediately precede the performance of the concrete act. But there did once exist a series of projected and deliberated acts carried out in order to form the habit, acquire the skill, find out the recipe. Their basic motive was the actor’s insight that he finds himself faced with certain ends which may be called “constant” ends because they have to be realized again and again within the framework of consistent plans.