Sentence examples for opposite assertions from inspiring English sources

As a logical principle, the PC is about opposite assertions.

The third version is that "opposite assertions cannot be true at the same time" (Metaph IV 6 1011b13–20).

Since Łukasiewicz (1910), this ontological version of the principle has been recognized as distinct from, and for Aristotle arguably prior to, the logical formulation ("The opinion that opposite assertions are not simultaneously true is the firmest of all"—Met.

At the end of chapter 6, Aristotle concludes, "Let this, then suffice to show (1) that the firmest belief is that opposite assertions are not true at the same time, (2) what happens to those who speak in this way and (3) why people do speak in this way (Metaph IV 6 1011b13–15).

As with the second formulation, one might give a psychologistic interpretation, relating to what people actually do affirm and deny, but the idea that opposite assertions cannot be true at the same time suggests that this third version is better interpreted as a variant of the first formulation.

Plato, in his dialogue the Parmenides, wrote that a number of the arguments of Zeno of Elea concerned this very issue, which he approached deviously by demonstrating the absurd consequences of the opposite assertion that the many are.

(Though its acceptability may be understandable, the notion that a wise Latina woman is better qualified to dispense justice than a white man is no less tragic or absurd than the opposite assertion).

Rather, he seems to have specialised in the opposite: defiant assertions of blamelessness that have sometimes made both him and the BBC less popular.

Yet what initially feels like denial is instead its opposite: the assertion that it is how we live rather than how we die that is important.

Let us note that the assertion, opposite in a sense with to that statement of Theorem 2.2, is obvious.

And the balancing of opposites, the rhythm of assertion and counter-assertion, the sudden questioning turns, all of it seems irresistibly like Florio's Montaigne, notably in the springy, self-surprised beat: How often do we pester our spirits with anger or sadness by such shadows and entangle ourselves into fantastical passions which alter both our mind and body?