Dialectic And Caesura

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.

A Grammar of the Homeric Dialect by David Monro Binning, first published in 1891, is a rare manuscript, the original residing in one of the great libraries of the world. This book is a reproduction of that original, which has been scanned and cleaned by state-of-the-art publishing tools for better readability and enhanced appreciation. Restoration Editors' mission is to bring long out of print manuscripts back to life. Some smudges, annotations or unclear text may still exist, due to permanent damage to the original work. We believe the literary significance of the text justifies offering this reproduction, allowing a new generation to appreciate it.

Beethoven's late style is the language of his ninth symphony, the Missa Solemnis, the last piano sonatas and string quartets, the Diabelli Variations, the Bagatelles, as well as five piano sonatas, five string quartets, and several smaller piano works. Historically, these works are seen as forging a bridge between the Classical and Romantic traditions: in terms of their musical structure, they continue to be regarded as revolutionary. Spitzer's book examines these late works in light of the musical and philosophical writings of the German intellectual Theodor Adorno, and in so doing, attempts to reconcile the conflicting approaches of musical semiotics and critical theory. He draws from various approaches to musical, linguistic, and aesthetic meaning, relating Adorno to such writers as Derrida, Benjamin, and Habermas, as well as contemporary music theorists. Through analyses of Beethoven's use of specific musical techniques (including neo-Baroque fugues and counterpoint), Spitzer suggests that the composer's last works offer a philosophical and musical critique of the Enlightenment, and in doing so created the musical language of premodernism.

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Canonical but controversial works of radical modernism, John Dos Passos' novels continue to intrigue readers and challenge literary critics with their unique styles and provocative messages. This book offers an insightful and refreshing perspective on his fictional world, exploring the historical vision and utopian aspirations of his early novels in light of their dialectical politics in narrating modern American society. History and Utopian Disillusion convincingly shows that Dos Passos' epic-scale project is a radical hymn of faith dialectically inspiring the utopian resolution of American history by presenting entropic despair and disillusionment.

Since the publication of Homo Sacerin 1995, Giorgio Agamben has become one of the world’s most revered and controversial thinkers. His ideas on our current political situation have found supporters and enemies in almost equal measure. His wider thoughts on topics such as language, potentiality, life, law, messianism and aesthetics have had significant impact on such diverse fields as philosophy, law, theology, history, sociology, cultural studies and literary studies. Yet although Agamben is much read, his work has also often been misunderstood. This book is the first to fully take into account Agamben’s important recent publications, which clarify his method, complete his ideas on power, and finally reveal the role of language in his overall system. William Watkin presents a critical overview of Agamben’s work that, through the lens of indifference, aims to give a portrait of exactly why this thinker of indifferent and suspensive legal, political, ontological and living states can rightfully be considered one of the most important philosophers in the world today.

Walter Benjamin's magnum opus was a book he did not live to write. In The Dialectics of Seeing, Susan Buck-Morss offers an inventive reconstruction of the Passagen Werk, or Arcades Project, as it might have taken form. Working with Benjamin's vast files of citations and commentary which contain a myriad of historical details from the dawn of consumer culture, Buck-Morss makes visible the conceptual structure that gives these fragments philosophical coherence. She uses images throughout the book to demonstrate that Benjamin took the debris of mass culture seriously as the source of philosophical truth. The Paris Arcades that so fascinated Benjamin (as they did the Surrealists whose "materialist metaphysics" he admired) were the prototype, the 19th century "ur-form" of the modern shopping mall. Benjamin's dialectics of seeing demonstrate how to read these consumer dream houses and so many other material objects of the time—from air balloons to women's fashions, from Baudelaire's poetry to Grandville's cartoons—as anticipations of social utopia and, simultaneously, as clues for a radical political critique. Buck-Morss plots Benjamin's intellectual orientation on axes running east and west, north and south—Moscow Paris, Berlin-Naples—and shows how such thinking in coordinates can explain his understanding of "dialectics at a standstill." She argues for the continuing relevance of Benjamin's insights but then allows a set of "afterimages" to have the last word.