This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1982.

A revision of the author's thesis, Stuttgart, 1972.

Historians of science find it difficult to pinpoint to an exact period in which symbolic algebra came into existence. This can be explained partly because the historical process leading to this breakthrough in mathematics has been a complex and diffuse one. On the other hand, it might also be the case that in the early twentieth century, historians of mathematics over emphasized the achievements in algebraic procedures and underestimated the conceptual changes leading to symbolic algebra. This paper attempts to provide (...) a more precise setting for the historical context in which this decisive step to symbolic reasoning took place. For that purpose we will consider algebraic problem solving as model-based reasoning and symbolic representation as a model. This allows us to characterize the emergence of symbolic algebra as a shift from a geometrical to a symbolic mode of representation. The use of the symbolic as a model will be situated in the context of mercantilism where merchant activity of exchange has led to reciprocal relations between money and wealth. (shrink)

Truth, semblance, reconciliation -- The dialectic of modernism and postmodernism -- Art and industrial production -- Ethics and dialogue.

No one has succeeded better than Theodor W. Adorno in analyzing modern culture with all its ambiguities — ambiguities which herald the possibility of an unleashing of aesthetic and communicative potentials as well as the possibility of a withering away of culture. Since Schopenhauer and Nietzsche — with whose aesthetics and epistemology Adorno's thought secretly communicates — no other philosophy of art, at least in Germany, has had such a sustained influence on artists, critics, and intellectuals. The traces of his (...) influence on the consciousness of those who, be it in a productive, critical, or purely receptive capacity, are involved with modern art cannot be overlooked. (shrink)