This book attempts to explain the functioning of the combinatorial, semi-mechanical demonstrative techniques of Ramon Llull's 'Art', how it began as an apologetic instrument, how it developed through two main stages, and how it ended trying to reformulate key aspects of medieval Aristotelian logic.

Starting at the very beginning with Aristotle's founding contributions, logic has been graced by several periods in which the subject has flourished, attaining standards of rigour and conceptual sophistication underpinning a large and deserved reputation as a leading expression of human intellectual effort. It is widely recognized that the period from the mid-19th century until the three-quarter mark of the century just past marked one of these golden ages, a period of explosive creativity and transforming insights. It has been said that ignorance of our history is a kind of amnesia, concerning which it is wise to note that amnesia is an illness. It would be a matter for regret, if we lost contact with another of logic's golden ages, one that greatly exceeds in reach that enjoyed by mathematical symbolic logic. This is the period between the 11th and 16th centuries, loosely conceived of as the Middle Ages. The logic of this period does not have the expressive virtues afforded by the symbolic resources of uninterpreted calculi, but mediaeval logic rivals in range, originality and intellectual robustness a good deal of the modern record. The range of logic in this period is striking, extending from investigation of quantifiers and logic consequence to inquiries into logical truth; from theories of reference to accounts of identity; from work on the modalities to the stirrings of the logic of relations, from theories of meaning to analyses of the paradoxes, and more. While the scope of mediaeval logic is impressive, of greater importance is that nearly all of it can be read by the modern logician with at least some prospect of profit. The last thing that mediaeval logic is, is a museum piece.Mediaeval and Renaissance Logic is an indispensable research tool for anyone interested in the development of logic, including researchers, graduate and senior undergraduate students in logic, history of logic, mathematics, history of mathematics, computer science and AI, linguistics, cognitive science, argumentation theory, philosophy, and the history of ideas.- Provides detailed and comprehensive chapters covering the entire range of modal logic - Contains the latest scholarly discoveries and interpretative insights that answer many questions in the field of logic

Studies the development and logical complexity of medieval logic, the expansion of Aristotle's notation by medieval logicians, and the development of additional logical principle--

"The four essays in this volume constitute Derrida's most explicit and sustained reflection on the art work as pictorial artifact, a reflection partly by way of philosophical aesthetics (Kant, Heidegger), partly by way of a commentary on art works and art scholarship (Van Gogh, Adami, Titus-Carmel). The illustrations are excellent, and the translators, who clearly see their work as both a rendering and a transformation, add yet another dimension to this richly layered composition. Indispensable to collections emphasizing art criticism and aesthetics."—Alexander Gelley, Library Journal

The Symbolic Forms has long been considered the greatest of Cassirer's works. Into it he poured all the resources of his vast learning about language and myth, religion, art, and science--the various creative symbolizing activities and constructions through which man has expressed himself and given intelligible objective form to this experience. "These three volumes alone (apart from Cassirer's other papers and books) make an outstanding contribution to epistemology and to the human power of abstraction. It is rather as if 'The Golden Bough' had been written in philosophical rather than in historical terms."--F.I.G. Rawlins, Nature

Edmund Husserl is the founder of phenomenology and the Logical Investigations is his most famous work. It had a decisive impact on twentieth century philosophy and is one of few works to have influenced both continental and analytic philosophy. This is the first time both volumes have been available in paperback. They include a new introduction by Dermot Moran, placing the Investigations in historical context and bringing out their contemporary philosophical importance. These editions include a new preface by Sir Michael Dummett.

Summary: It is crucial to understand that our progression through the twentieth century towards our contemporary global Crystal Palace (Peter Sloterdijk) of purity and transparency has been constantly accompanied by an almost physical desire for the pure, not just Mondrian's crystalline structures, but also the addictive taste of white sugar and white bread. This book investigates this urge for the pure, but also advocates a much deeper need for the impure, not to reinstate a new organicism, one more back-to-nature movement, but to trace that progression to a point where all modernist values reverse, where technology becomes an agent for the impure and the imperfect. Technology, long an agent for homogeneity and purity, is now turning into one for heterogeneity and global contingency.

For the well-rounded Christian looking to improve their critical thinking skills, here is an accessible introduction to the study of logic (parts 1 & 2) as well as an in-depth treatment of the discipline (parts 3 & 4) from a professor with 6 academic degrees and over 30 years experience teaching. Questions for further reflection are included at the end of each chapter as well as helpful diagrams and charts that are appropriate for use in high school, home school, college, and graduate-level classrooms. Overall, Vern Poythress has undertaken a radical recasting of the study of logic in this revolutionary work from a Christian worldview.

Why is the philosopher Hegel returning as a potent force in contemporary thinking? Why, after a long period when Hegel and his dialectics of history have seemed less compelling than they were for previous generations of philosophers, is study of Hegel again becoming important? Fashionable contemporary theorists like Francis Fukuyama and Slavoj Zizek, as well as radical theologians like Thomas Altizer, have all recently been influenced by Hegel, the philosopher whose philosophy now seems somehow perennial- or, to borrow an idea from Nietzsche-eternally returning. Exploring this revival via the notion of 'negation' in Hegelian thought, and relating such negativity to sophisticated ideas about art and artistic creation, Andrew W. Hass argues that the notion of Hegelian negation moves us into an expansive territory where art, religion and philosophy may all be radically conceived and broken open into new forms of philosophical expression. The implications of such a revived Hegelian philosophy are, the author argues, vast and current. Hegel thereby becomes the philosopher par excellence who can address vital issues in politics, economics, war and violence, leading to a new form of globalised ethics. Hass makes a bold and original contribution to religion, philosophy, art and the history of ideas.

This study represents the first critical examination of the contexts and ways in which idioms and fixed expressions of two or more words (phraseological units) such as let sleeping dogs lie, try one's luck or at hand were collected, commented upon and also analysed by English language scholars between about 1440 and 1800. The large-scale investigation surveys theoretical and practical approaches including proverb studies, treatises on rhetoric and style, foreign-language teaching, collections of phrases, bilingual and monolingual lexicography, translation, universal and philosophical language schemes, shorthand systems and English grammar books. This pioneering study is intended to contribute to the formation of English historical phraseology as a new subdiscipline in English linguistics.