Just as some postcolonial novelists used myth, magic, and fable as a stylistic throwing-off of what they considered the alien supremacy of Anglo-Saxon realistic fiction, so numerous feminist novelists took to Gothic, fairy tale, and fantasy as countereffects to the "patriarchal discourse" of rationality, logic, and linear narrative.
That this logical mode of communication drew its frame of discourse from the logic of the ancient Greeks was inevitable.
Students were required to learn, in ascending order, the exposition and interpretation of authoritative texts (grammar), the structure and modes of argumentative discourse (logic), and finally, the systematic analysis and investigation of the order of nature (Aristotelian philosophy).
With the military budget, welfare time limits and tax cuts for the wealthy in the daily headlines, not to mention the convolutions of logic that dominate political discourse, the play, first performed in 1905, seems remarkably alive.
The idea that the non-schematic expressions in logical forms, i.e. the logical expressions, are widely applicable across different areas of discourse is also present from the beginning of logic, and recurs in all the great logicians.
Lefèvre, thus, did not emphasize the roots of logic in the rhetorical structure of ordinary discourse, as Agricola or Valla might have done (Nauta 2009).
But none of the discourses in The Logic of Life is fully fleshed out before the reader is hit with the next one in line.
Whatever the special sciences tell us about their particular subject matters, philosophy retains its authority in questions of logic, that is to say, concerning the conditions of possibility of discourse.
This suggests a kind of identification of logic and metaphysics, especially since Burley wanted logic to be the theory of discourse on Being.
By the late 1960s and, especially, the 1970s, discussions of logic, topology, and knot theory were prominent (sometimes even dominant) features of Lacanian discourse.
