The scholastic literature on dialectic is vast, but scholars have not yet taken full advantage of its riches. In this work, Eleonore Stump traces one strand of the history of formal logic from its source in antiquity through the fourteenth century.

No detailed description available for "Dialectic and Its Place in the Development of Medieval Logic".

The Dialectical Forge identifies dialectical disputation (jadal) as a primary formative dynamic in the evolution of pre-modern Islamic legal systems, promoting dialectic from relative obscurity to a more appropriate position at the forefront of Islamic legal studies. The author introduces and develops a dialectics-based analytical method for the study of pre-modern Islamic legal argumentation, examines parallels and divergences between Aristotelian dialectic and early juridical jadal-theory, and proposes a multi-component paradigm—the Dialectical Forge Model—to account for the power of jadal in shaping Islamic law and legal theory.In addition to overviews of current evolutionary narratives for Islamic legal theory and dialectic, and expositions on key texts, this work shines an analytical light upon the considerably sophisticated “proto-system” of juridical dialectical teaching and practice evident in Islam’s second century, several generations before the first “full-system” treatises of legal and dialectical theory were composed. This proto-system is revealed from analyses of dialectical sequences in the 2nd/8th century Kitāb Ikhtilāf al-ʿIrāqiyyīn / ʿIrāqiyyayn (the “subject-text”) through a lens molded from 5th/11th century jadal-theory treatises (the “lens-texts”). Specific features thus uncovered inform the elaboration of a Dialectical Forge Model, whose more general components and functions are explored in closing chapters.

This book examines the ways in which traditions of philosophy and logic are reflected in major works of medieval literature.

The book aims to provide a process-philosophical perspective philosophizing itself. It employs the perspectives of process philosophy for elucidating the historical development of philosophical ideas. The doctrine of historicism in the history of ideas has it that each era and perhaps even each thinker employs philosophical ideas in such a user-idiosyncratic way that there is no continuity and indeed no connectivity of public access across the divides of space, time, and culture. In opposition to such a view, the present processist deliberations see the development of ideas as a matter of generic processes that have ample room for connectivity and recurrence, permitting the very self-same conception to be shared by philosophers of different settings. Beyond arguing this histico-processism on general principles, the book presents a series of case studies of significant philosophical topics that illustrate and elaborate upon the developmental connectivities at issue.

This volume assesses how current approaches to iconology and iconography break new ground in understanding the signification and reception of medieval images, both in their own time and in the modern world. Framed by critical essays that apply explicitly historiographical and sociopolitical perspectives to key moments in the evolution of the field, the volume’s case studies focus on how iconographic meaning is shaped by factors such as medieval modes of dialectical thought, the problem of representing time, the movement of the viewer in space, the fragmentation and injury of both image and subject, and the complex strategy of comparing distant cultural paradigms. The contributions are linked by a commitment to understanding how medieval images made meaning; to highlighting the heuristic value of new perspectives and methods in exploring the work of the image in both the Middle Ages and our own time; and to recognizing how subtle entanglements between scholarship and society can provoke mutual and unexpected transformations in both. Collectively, the essays demonstrate the expansiveness, flexibility, and dynamism of iconographic studies as a scholarly field that is still heartily engaged in the challenge of its own remaking. Along with the volume editors, the contributors include Madeline H. Caviness, Beatrice Kitzinger, Aden Kumler, Christopher R. Lakey, Glenn Peers, Jennifer Purtle, and Elizabeth Sears.