This is the first English translation of Schleiermacher's Dialectic, the first of his eight forays into the foundations of thinking that aims at knowing. This text, representing Schleiermacher's succinct preparatory notes for his 1811 lectures, offers a remarkably apt introduction to his thought at the onset of the modern age. This study edition features extensive notes and commentary by the translator, and indexes of names and places, subjects and concepts.

This book reconstructs the tradition of dialectic from Aristotle's "Topics," its founding text, up to its "renaissance" in 16th century Italy, and focuses on the role of dialectic in the production of knowledge. Aristotle defines dialectic as a structured exchange of questions and answers and thus links it to dialogue and disputation, while Cicero develops a mildly skeptical version of dialectic, identifies it with reasoning "in utramque partem" and connects it closely to rhetoric. These two interpretations constitute the backbone of the living tradition of dialectic and are variously developed in the Renaissance against the Medieval background. The book scrutinizes three separate contexts in which these developments occur: Rudolph Agricola's attempt to develop a new dialectic in close connection with rhetoric, Agostino Nifo's thoroughly Aristotelian approach and its use of the newly translated commentaries of Alexander of Aphrodisias and Averroes, and Carlo Sigonio's literary theory of the dialogue form, which is centered around Aristotle's "Topics." Today, Aristotelian dialectic enjoys a new life within argumentation theory: the final chapter of the book briefly revisits these contemporary developments and draws some general epistemological conclusions linking the tradition of dialectic to a fallibilist view of knowledge.

To the question of &lquo;what is art?&rquo;, it is often simply responded that art is whatever is produced by the artist. For John Molyneux, this clearly circular answer is deeply unsatisfying. In a tour de force spanning renaissance Italy and the Dutch Republic to contemporary leading figures, The Dialectics of Art instead approaches its subject matter as a distinct field of creative human labour that emerges alongside and in opposition to the alienation and commodification brought about by capitalism. The pieces and individuals Molyneux examines — from Michelangelo’s Slaves to Rembrandts Jewish Bride to the vast drip paintings of Jackson Pollock – are presented as embodying the social contradictions of their times, giving art an inherently political relevance. In its relationship of creative and dialectical tension to prevailing social relationships and norms, such art points beyond the existing order of things, hinting at a potential future society not based on alienated labour in which creative production becomes the property and practice of all.

Representing a new generation of theorists reaffirming the radical dimensions of art, Gail Day launches a bold critique of late twentieth-century art theory and its often reductive analysis of cultural objects. Exploring core debates in discourses on art, from the New Left to theories of "critical postmodernism" and beyond, Day counters the belief that recent tendencies in art fail to be adequately critical. She also challenges the political inertia that results from these conclusions. Day organizes her defense around critics who have engaged substantively with emancipatory thought and social process: T. J. Clark, Manfredo Tafuri, Fredric Jameson, Benjamin H. D. Buchloh, and Hal Foster, among others. She maps the tension between radical dialectics and left nihilism and assesses the interpretation and internalization of negation in art theory. Chapters confront the claim that exchange and equivalence have subsumed the use value of cultural objects and with it critical distance and interrogate the proposition of completed nihilism and the metropolis put forward in the politics of Italian operaismo. Day covers the debates on symbol and allegory waged within the context of 1980s art and their relation to the writings of Walter Benjamin and Paul de Man. She also examines common conceptions of mediation, totality, negation, and the politics of anticipation. A necessary unsettling of received wisdoms, Dialectical Passions recasts emancipatory reflection in aesthetics, art, and architecture.

Dialectic and Dialogue seeks to define the method and the aims of Plato's dialectic in both the "inconclusive" dialogues and the dialogues that describe and practice a method of hypothesis. Departing from most treatments of Plato, Gonzalez argues that the philosophical knowledge at which dialectic aims is nonpropositional, practical, and reflexive. The result is a reassessment of how Plato understood the nature of philosophy.

The period from Plato's birth to Aristotle's death (427–322 BC) is one of the most influential and formative in the history of Western philosophy. The developments of logic, metaphysics, epistemology, ethics and science in this period have been investigated, controversies have arisen and many new theories have been produced. But this is the first book to give detailed scholarly attention to the development of dialectic during this decisive period. It includes chapters on topics such as: dialectic as interpersonal debate between a questioner and a respondent; dialectic and the dialogue form; dialectical methodology; the dialectical context of certain forms of arguments; the role of the respondent in guaranteeing good argument; dialectic and presentation of knowledge; the interrelations between written dialogues and spoken dialectic; and definition, induction and refutation from Plato to Aristotle. The book contributes to the history of philosophy and also to the contemporary debate about what philosophy is.

Provides the first complete English translation of a central text in the Islamic philosophical tradition, with meticulously researched commentary and interpretation.