Sir Arthur Eddington, the celebrated astrophysicist, made great strides towards his own 'theory of everything'in his last two books published in 1936 and 1946. Unlike his earlier lucid and authoritative works, these are strangely tentative and obscure - as if he were nervous of the significant advances that he might be making. This volume examines both how Eddington came to write these uncharacteristic books - in the context of the physics and history of the day - and what value they (...) have to modern physics. The result is an illuminating description of the development of theoretical physics, in the first half of the twentieth century, from a unique point of view: how it affected Eddington's thought. This will provide fascinating reading for scholars in the philosophy of science, theoretical physics, applied mathematics and the history of science. (shrink)

MEDIEVAL LOGICS LAMBERT MARIE DE RIJK (ed.), Die mittelalterlichen Traktate De mod0 opponendiet respondendi, Einleitung und Ausgabe der einschlagigen Texte. (Beitrage zur Geschichte der Philosophie und Theologie des Mittelalters, Neue Folge Band 17.) Miinster: Aschendorff, 1980. 379 pp. No price stated. THE SEVENTEENTH CENTURY MARTA FATTORI, Lessico del Novum Organum di Francesco Bacone. Rome: Edizioni dell'Ateneo 1980. Two volumes, il + 543, 520 pp. Lire 65.000. VIVIAN SALMON, The study of language in 17th century England. (Amsterdam Studies in the Theory (...) and History of Linguistic Science, Series 111: Studies in theHistory of Linguistics, Volume 17.) Amsterdam: John Benjamins B.V., 1979.x + 218 pp. Dfl. 65. Theoria cum Praxi. Zum Verhaltnis von Theorie und Praxis im 17. und 18. Jahrhundert. (Akten des 111. Internationalen Leibnizkongress, Hannover, 12. bis 17.November 1977, Band 111: Logik, Erkenntnistheorie, Wissenschaftstheorie, Metaphysik, Theologie.) Wiesbaden: Franz Steiner Verlag, 1980. vii + 269 pp. DM 48. CLASSICAL AND NON-CLASSICAL LOGICS MICHAEL CLARK, The place of syllogistic in logical theory. Nottingham: University of Nottingham Press, 1980. ix + 151 pp. £3.00. A.F. PARKER-RHODES, The theory of indistinguishables. Dordrecht, Boston and London: D. Reidel Publishing Company, 1981. xvii + 216 pp. Dfl.90.00/$39.50. NICHOLAS RESCHER and ROBERT BRANDOM, The logic of inconsistency. Oxford:Basil Blackwell, 1980. x + 174 pp. f 11.50. MISCELLANEOUS J. ZELENY, The logic of Marx. Translated from the German by T. Carver. Oxford: Basil Blackwell, 1980. xcii + 247 pp. £12.50. FELIX KAUFMANN, The infinite in mathematics. Edited by Brian McGuinness. Introduction by E. Nagel. Translation from the German by Paul Foulkes. Dordrecht: Reidel, 1978. xvii + 235 pp. Dfl 85/$39.50 (cloth); Dfl 45/$19.95 (paper). PAMELA MCCORDUCK, Machines who think. San Francisco: W.H. Freeman and Company, 1979. xiv + 275 pp. $14.95. J. MITTELSTRASS (ed.), Enzyklopadie Philosophie und Wissenschaftstheorie Bd. 1 : A-G. Mannheim, Wien, Ziirich: Bibliographisches Institut, 1980. 835 pp. DM 128. (shrink)

De Interpretatione is among Aristotle's most influential and widely read writings; C. W. A. Whitaker presents the first systematic study of this work, and offers a radical new view of its aims, its structure, and its place in Aristotle's system. He shows that De Interpretatione is not a disjointed essay on ill-connected subjects, as traditionally thought, but a highly organized and systematic treatise on logic, argument, and dialectic.

A recent article on ‘The Number of Speaking Actors in Old Comedy’ by D. M. MacDowell has argued that to perform the plays of Aristophanes required the use of four, but never five, speaking actors.1 Systematically argued, MacDowell presents a cogent case against Henderson , who has suggested that at times five actors were permitted. MacDowell also presents some very sensible observations on the nature of any prescription which might limit the number of actors. The final paragraphs, however, express considerable (...) discomfort at the earliest work in the extant corpus: 'Akharnians, however, remains problematic, since it has two scenes which may be thought to require five actors' . A tentative solution is offered by MacDowell, which is that 'these scenes were actually performed without a fifth actor, by making very quick changes in the scene with Amphitheos and the Envoy, and by using dolls for the Megarian's Daughters' . Unspeaking performers for the Megarian's Daughters are more likely than dolls, since they must follow orders for movement . Apart from this, I have no doubt that this is indeed how Akharnians was performed, and an examination of the specific comic techniques employed by Aristophanes in the two problematic scenes in Akharnians demonstrates not only the comic desirability of their use, but their applicability to other plays by Aristophanes. (shrink)