"The Art of Logical Thinking" is a book written by William Walker Atkinson, an American attorney, merchant, publisher, and author in the late 19th and early 20th centuries. The book was first published in 1909 under the pseudonym Theron Q. Dumont, one of Atkinson's many pen names. The primary focus of "The Art of Logical Thinking" is to provide readers with insights into developing and refining their logical thinking abilities. Atkinson explores various aspects of logical reasoning and critical thinking, aiming (...) to guide readers in making better decisions, solving problems, and approaching issues with a more rational mindset. Key topics covered in the book include: The Nature of Thought: Atkinson delves into the fundamentals of thought processes, examining how ideas are formed and how the mind operates in its thinking capacity. Logical Analysis: The book provides techniques for breaking down complex problems into smaller, more manageable components, facilitating a systematic and logical approach to problem-solving. Deductive and Inductive Reasoning: Atkinson discusses both deductive and inductive reasoning, explaining their principles and applications. Deductive reasoning involves drawing specific conclusions from general principles, while inductive reasoning involves deriving general principles from specific observations. (shrink)

An introductory logic textbook. The Art of Reasoning, 5e, shows students how logic can be applied to everyday life in each chapter, uses real-world examples to explain core concepts, and includes a new chapter on the cognitive biases and errors students are most likely to encounter in their own thinking.

An inviting alternative to traditional texts in introductory logic, The Art of Reasoning is widely acclaimed for its conversational tone and accessible exposition of rigorous logical concepts.

This chapter contains sections titled: Introduction How to Read Maimonides' Guide of the Perplexed Belief and Articles of Faith The Art of Biblical Exegesis: Harvesting “Apples of Gold” Language and Logic Philosophy and the Art of Demonstration Conclusion: Implications of Maimonides' Views further reading.

This is the first complete English translation of _On the Purity of the Art of Logic, _a handbook of logic written in Latin by English philosopher Walter Burley. The work circulated in the Middle Ages in two versions, a shorter and a longer one, both translated here by Paul Vincent Spade. The translations are based on the only complete edition of Burley’s treatises, corrected by Spade on the basis of one of the surviving manuscripts. The book also includes (...) an extensive introduction, explanatory notes, a table of corresponding passages between the two versions, a select annotated bibliography, and three indexes. A contemporary of John Duns Scotus and William of Ockham, Burley was active at the universities of both Paris and Oxford. He became one of the most important figures in the transformation of medieval logic and semantics that took place in the early fourteenth century. Burley used new tools and techniques of logical and semantical analysis, yet in many cases he used them in defense of traditional views, such as a realist metaphysical theory of “universals_._”_ On the Purity of the Art of Logic_ shows_ _both these sides of Burley—the innovator and the conservative—as well as some of the ways in which his views corresponded or clashed with those of William of Ockham. (shrink)

This set is a selection of works which represent the best expositions of Thomistic approaches from the period between the first translation of Thomas Aquinas's Summa Theologiae into English in 1912 and the start of the Second Vatican Council in 1962.

Nowadays the answer to the question “what is logic?” seems very simple and obvious—“logic is a science,” and after that usually one says what is this science about. As for the expressions “logic is an art” or “the art of logic,” then they are only metaphors or some kind of “façon de parler” used in serious scientific discourse. One of my aims here is to trace the line of development of dichotomy “logic as an art— (...) class='Hi'>logic as a science” and to demonstrate that both these feat uses of logic have fundamental historical roots and play very important conceptual role in any theorizing about logic. Despite the fact that logic is undoubtedly a science, it can be interpreted as an art, moreover, the analysis of logic from this point of view expands, it seems to me, the researching possibilities in the field of the philosophy of logic at least in better understanding what is logic, what creates its unity independently from the historical period of its development, topics, and methods. (shrink)

How do you tell what’s right from what’s wrong? Can you always? What’s the difference between deduction, induction, and abduction? What are the best techniques for making an argument logically sound? In this fascinating little book, the smallest on its subject ever produced, philosopher Earl Fontainelle explores the ancient art of discursive Logic and demonstrates some of the techniques that have long been used to triumph over the debates and deceptions that assail us every day. Filled with helpful examples (...) of good and bad reasoning, Logic is an invaluable introduction to a defining human characteristic. (shrink)

Antoine Arnauld and Pierre Nicole were philosophers and theologians associated with Port-Royal Abbey, a centre of the Catholic Jansenist movement in seventeenth-century France. Their enormously influential Logic or the Art of Thinking, which went through five editions in their lifetimes, treats topics in logic, language, theory of knowledge and metaphysics, and also articulates the response of 'heretical' Jansenist Catholicism to orthodox Catholic and Protestant views on grace, free will and the sacraments. In attempting to combine the categorical theory (...) of the proposition with a Cartesian account of knowledge, their Logic represents the classical view of judgment which inspired the modern transformation in logic and semantic theory by Frege, Russell, Wittgenstein and recent philosophers. This edition presents a new translation of the text, together with a historical introduction and suggestions for further reading. (shrink)

During the early 19th century, a peculiarly systematic way of organizing books emerged in Germany. This systematization, which purported to be a rational organization of subject matter, was an outgrowth of the philosophy of Hegel. This article attempts to outline Hegel's organizational practice. It argues that Hegel's encyclopedia was a reaction against the Enlightenment encyclopedia, and that it attempted to restore the systematic mindset of pre-modern reference books. Yet it did this, not in a straightforward fashion, but by developing a (...) method for organizing material that both stresses the interconnectedness of knowledge and promises to be highly scalable. In its attempt to trace the Hegelian organizational method, this article revisits and calls attention to a forgotten work in Hegel scholarship by Michael John Petry, who was the first writer to seriously stress the importance of classification in Hegel's work. This article is an attempt to demonstrate that Hegelianism and information organization can be brought into fruitful and mutually beneficial dialogue. (shrink)

This is the first full-length translation of a work by the influential medieval logician Walter Burley. As such, it is an important addition to our knowledge of medieval logic, and will undoubtedly spur further research.

The mnemonic arts and the idea of a universal language that would capture the essence of all things were originally associated with cryptology, mysticism, and other occult practices. And it is commonly held that these enigmatic efforts were abandoned with the development of formal logic in the seventeenth century and the beginning of the modern era. In his distinguished book, Logic and the Art of Memory Italian philosopher and historian Paolo Rossi argues that this view is belied by (...) an examination of the history of the idea of a universal language. Based on comprehensive analyses of original texts, Rossi traces the development of this idea from late medieval thinkers such as Ramon Lull through Bruno, Bacon, Descartes, and finally Leibniz in the seventeenth century. The search for a symbolic mode of communication that would be intelligible to everyone was not a mere vestige of magical thinking and occult sciences, but a fundamental component of Renaissance and Enlightenment thought. Seen from this perspective, modern science and combinatorial logic represent not a break from the past but rather its full maturity. Available for the first time in English, this book (originally titled Clavis Universalis ) remains one of the most important contributions to the history of ideas ever written. In addition to his eagerly anticipated translation, Steven Clucas offers a substantial introduction that places this book in the context of other recent works on this fascinating subject. A rich history and valuable sourcebook, Logic and the Art of Memory documents an essential chapter in the development of human reason. (shrink)

This introduction to logic, which aims to reflect recent advances in the field, focuses on natural language, analyzing the structure of arguments conducted in English. The text includes problems with which students can test their skills.

This is the sequel to Logic. A disciplined mind is one of the most conspicuously missing things in our society. This book can help alleviate that malady. The subtitle of this book is, "Communication of useful knowledge in religion, in the sciences, and in common life." This is a lithograph of an 1833 edition printed in London which also contains "A Discourse on the Education of Children and Youth.".

The mnemonic arts and the idea of a universal language that would capture the essence of all things were originally associated with cryptology, mysticism, and other occult practices. And it is commonly held that these enigmatic efforts were abandoned with the development of formal logic in the seventeenth century and the beginning of the modern era. In his distinguished book, _Logic and the Art of Memory_ Italian philosopher and historian Paolo Rossi argues that this view is belied by an (...) examination of the history of the idea of a universal language. Based on comprehensive analyses of original texts, Rossi traces the development of this idea from late medieval thinkers such as Ramon Lull through Bruno, Bacon, Descartes, and finally Leibniz in the seventeenth century. The search for a symbolic mode of communication that would be intelligible to everyone was not a mere vestige of magical thinking and occult sciences, but a fundamental component of Renaissance and Enlightenment thought. Seen from this perspective, modern science and combinatorial logic represent not a break from the past but rather its full maturity. Available for the first time in English, this book remains one of the most important contributions to the history of ideas ever written. In addition to his eagerly anticipated translation, Steven Clucas offers a substantial introduction that places this book in the context of other recent works on this fascinating subject. A rich history and valuable sourcebook, _Logic and the Art of Memory_ documents an essential chapter in the development of human reason. (shrink)

The quaternary phase -- Changes in the art during the quaternary phase, and the transition to the ternary phase -- The ternary phase -- The post-art phase : logic -- Overview.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The essentials of Aristotelian logic in brief, with exercises.

Commissions of experts regularly meet to reply to questions such as: What will be the population of the country, or even of our planet, in ten, fifteen or twenty-five years? In what proportion will production have increased, what modifications will its composition and utilizations have undergone? The attraction of efforts to forecast the future continues. That is a fact. How does it proceed? That is a problem, one on which de Jouvenel focuses on in this book. The Art of Conjecture (...) clearly explains what the "study of the future" can mean. De Jouvenel emphasizes the logical and political problems of forecasting and discusses methods in economics, sociology, and political science by which the future can be studied. More importantly, he discusses the fallacies to which the "study of the future" is peculiarly likely to give rise. The author argues that it is natural and necessary for the population to have visions of the future. Without this, he states, we would only be able to set one opinion of the future against another. If the origins and meanings of these predictions remained obscure, only the event could decide among the opinions. If any man can be said to have created the serious "study of the future" in our time, it is Bertrand de Jouvenel. Futuribles, a periodical he created, continues to represent a major turning point in contemporary social science. Jouvenel aimed to show how "the art of conjecture" could inform prudential judgment and allow citizens and statesmen to detect troubles before they arise. (shrink)

Introduction -- Prologue -- Book one -- Book two -- Book three -- Book four.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The mnemonic arts and the idea of a universal language that would capture the essence of all things were originally associated with cryptology, mysticism, and other occult practices. And it is commonly held that these enigmatic efforts were abandoned with the development of formal logic in the seventeenth century and the beginning of the modern era. In his distinguished book, Logic and the Art of Memory Italian philosopher and historian Paolo Rossi argues that this view is belied by (...) an examination of the history of the idea of a universal language. Based on comprehensive analyses of original texts, Rossi traces the development of this idea from late medieval thinkers such as Ramon Lull through Bruno, Bacon, Descartes, and finally Leibniz in the seventeenth century. The search for a symbolic mode of communication that would be intelligible to everyone was not a mere vestige of magical thinking and occult sciences, but a fundamental component of Renaissance and Enlightenment thought. Seen from this perspective, modern science and combinatorial logic represent not a break from the past but rather its full maturity. Available for the first time in English, this book (originally titled Clavis Universalis) remains one of the most important contributions to the history of ideas ever written. In addition to his eagerly anticipated translation, Steven Clucas offers a substantial introduction that places this book in the context of other recent works on this fascinating subject. A rich history and valuable sourcebook, Logic and the Art of Memory documents an essential chapter in the development of human reason. (shrink)

1. At least since W.F. Edwards’ pioneering articles on medieval and renaissance interpretations of the prologue to Galen's Art of Medicine,1 it has often been maintained that Latin scholastics inte...

Through close examination of the texts, the author shows how 15th-century philosopher Nicholas of Cusa developed an understanding of uncertainty that opened the way for human intelligence, despite its inherent weaknesses, to find out more about ourselves, the world, and what lies beyond.

This is a sweeping and provocative work of aesthetic theory: a trenchant critique of the philosophy of art as it developed from the eighteenth century to the early twentieth century, combined with a carefully reasoned plea for a new and more flexible approach to art.Jean-Marie Schaeffer, one of France's leading aestheticians, explores the writings of Kant, Schlegel, Novalis, Hegel, Schopenhauer, Nietzsche, and Heidegger to show that these diverse thinkers shared a common approach to art, which he calls the "speculative theory." (...) According to this theory, art offers a special kind of intuitive, quasi-mystical knowledge, radically different from the rational knowledge acquired by science. This view encouraged theorists to consider artistic geniuses the high-priests of humanity, creators of works that reveal the invisible essence of the world. Philosophers came to regard inexpressibility as the aim of art, refused to consider second-tier creations genuine art, and helped to create conditions in which the genius was expected to shock, puzzle, and mystify the public. Schaeffer shows that this speculative theory helped give birth to romanticism, modernism, and the avant-garde, and paved the way for an unfortunate divorce between art and enjoyment, between "high art" and popular art, and between artists and their public.Rejecting the speculative approach, Schaeffer concludes by defending a more tolerant theory of art that gives pleasure its due, includes popular art, tolerates less successful works, and accounts for personal tastes."[A] remarkable work.... [Schaeffer's] writing is governed by... the ideals of clarity and consequence, the ideas of logic, truth, and evidence.... Schaeffer is so precise and unrelenting a philosophical critic that one wonders how some of the philosophies he anatomizes here can possibly survive the operation."--From the foreword by Arthur C. Danto. (shrink)

This article offers an insight into Yoḥanan Alemanno’s study of the ‘art of thinking’ through his notes from Averroes’s commentaries on Posterior Analytics, De anima and Parva naturalia. This case study represents an important example of the 15th-century Jewish learning based on the Arabic-Hebrew philosophical tradition and shows the continuity between the Provençal world and the Italian Renaissance. The textual appendix included at the end of the article aims at showing how Alemanno selected portions of Averroes’s commentaries on logic (...) and psychology that define the role of the faculty of imagination and the processes through which we acquire true knowledge. (shrink)

Apin's cabinet of printed curiosities -- Thinking through plural images of logic -- The visible order of student lecture notebooks -- Visual thinking in logic notebooks and Alba amicorum -- The generation of art as the generation of philosophy.

Early in the 1240s the University of Paris hired a recent graduate from Oxford, Roger Bacon by name, to teach the arts and introduce Aristotle to its curriculum. Along with eight sets of questions on Aristotle's natural works and the Metaphysics he claims to have authored another eight books before he returned to Oxford around 1247. Within the prodigious output of this period we find a treatise on logic titled Summulae dialectices, and it is this that is here annotated (...) and presented in translation. The book is unique in several respects. First, there is the breadth of its sources. Not only do we find explicit reference to the usual authors such as Aristotle, Plato, Boethius, Porphyry, Cicero, and Priscian, we also find unexpected reference to Augustine, Bernardus Silvestris, Donatus, Terence, and Themistius, along with mention of the Muslim philosophers Algazel and Ibn Rushd. Second, it is clear that Bacon is drawing on or reacting to an extraordinarily wide variety of medieval sources: Garland the Computist, Hugh of St. Victor, Master Hugo, Hugutius of Pisa, Isidore of Seville, Nicholas of Damas, Nicholas of Paris, Richard of Cornwall, Robert Kilwardby, Robert of Lincoln, and Robert the Englishman. Third, it unexpectedly presents a full-blown treatment of Aristotle's theory of demonstration. And finally, Bacon reveals a highly unorthodox view of the signification of common terms. Bacon, here, takes his students and us deeper into medieval sources and controversy than any of his rivals do. (shrink)

Argues that Americans must improve their understanding of probability and logic.

But a winner must supply a nonevasive picture with no limit on potential detail--a purely imagistic depiction that does not rely on a mere description of an impossibility. There are logical minded philosophers from David Hume to Saul Kripke who think the prize cannot be won: What is conceivable is possible and whatever is depicted is thereby conceived, therefore, impossibilities cannot be depicted. Yet there is a rich aesthetics of inconsistency, best known through M. C. Escher. So I proceed with (...) the fine print for the competition. (shrink)

A defense of the rationality of adductive inference from the criticisms of Bayesian theorists.

Jerzy Perzanowski s ideas were based on an original blend of logic and ontology in what he called onto/logic, where the slash is meant to suggest a quotient of ontology by logic. Perzanowski began as a logician, his early works being on modal logic, then gradually shifted his interest to logical philosophy, meaning not so much philosophy of logic as philosophy informed by logic. Perzanowski was a rare breed of analytical philosopher who thought that (...) a philosophical theory of everything was worthwhile. In this systematic spirit, he began with method. He presented his method of total analysis and synthesis quite simply: reduce the object of research to its simplest possible constituents, and then combine them in some way. Better still, combine them in every possible way, thereby producing a space of possibilities analogous to (and in certain cases identical with) the logical space. Thus, analysis and synthesis differ from a trivial disassembly and reassembly.". (shrink)