In this third Volume of Logological Investigations, Sandywell continues his sociological reconstruction of the origins of reflexive thought and discourse with special reference to pre-Socratic philosophy and science and their socio-political context.
He begins by criticizing traditional histories of philosophy which abstract speculative thought from its sociocultural and historical contexts, and proposes instead an explicitly contextual and reflexive approach to ancient Greek society and culture.
Each chapter is devoted to a seminal figure or "school" of reflection in early Greek philosophy. Special emphasis is placed upon the verbal and rhetorical innovations of protophilosophy in the sixth and fifth centuries BC. These chapters are also exemplary displays of the distinctive Logological method of culture analysis and through them Sandywell shows that by returning to the earliest problematics of reflexivity in pre-modern culture we may gain an insight into some of the central currents of modern and postmodern self-reflection.

This is a work of social theory and philosophy which seeks to make the constitution of social theory a 'social' activity. It is essentially a collaborative text, by five authors, committed to a re-awakening of some of the forgotten dimensions of social theorizing. The collaborative work was originally occasioned by an attempt to analyse the notion of social stratification and its treatment in the sociological tradition. The authors' main concern here is with the nature of social theorizing, and in particular the 'difference' between Self and Other, being and beings, Language and Speech. The papers in the book focus on themes that are fundamental to the sense of inquiry and tradition which they are concerned to display. The themes discussed include speech, Language, Identity, Difference, Critical Tradition, Community, Metaphor, Dialectics, Observing and Reading.

The Reflexive Initiative is an authoritative intervention in the practice and tradition of reflexive social theory. It demonstrates the importance of the reflexive imperative, not only in the investigation of everyday life but across a wide range of human sciences and philosophical perspectives. Forty years after the publication of On the Beginning of Social Inquiry, the chapters in this collection range from re-appraisals of earlier essays on topics such as 'reunions', 'rethinking art' and 'expats' to contributions emphasising the opening of radical dialogues with other reflexive traditions and perspectives. These include psychoanalysis, Lacan, Hegel, Rene Girard, Daseinanalysis, dialectical method, critical feminism, and the dialogical tradition. In this dialogical spirit, the book contributes to the continuing project of analytic theorizing associated with the work of Alan Blum and Peter McHugh, and the recent turn to more 'existential' topics and politically engaged forms of reflexive research. It will be of particular use to students working in interpretive traditions of sociology, Critical theory, Postmodern thought and debates associated with reflexivity and dialectics in other disciplines and research programmes.

In this third Volume of Logological Investigations Sandywell continues his sociological reconstruction of the origins of reflexive thought and discourse with special reference to pre-Socratic philosophy and science and their socio-political context.

First published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.

This ground breaking work explores the genealogical analysis of the discourses of reflection. Barry Sandywell traces the differences between the traditional discourses of reflection and the experiences of reflexivity in everyday, social and philosophical thought. Brilliantly organised and abounding with astonishing insights, Reflexivity and the Crisis of Western Reason offers a fundamental challenge to our normal ways of viewing social thought.

Full Contributors:
Jay M. Berstein, University of Essex, Nicholas Davey, Dundee University, Chris Fisher, University of London, Diane Hill, University of London, Michael Gardiner, Memorial University of Newfoundland, Canada, Ian Heywood, Leeds Metropolitan University, Chris Jenks, Goldsmiths' College, David Michael Levin, Northwestern University, Michael Phillinson, Goldsmiths' College, Barry Sandywell, University of York, John A. Smith, Goldsmiths' College and Lancaster University, Nigel Whiteley, Lancaster University

Interpreting Visual Culture brings together original writings from leading experts in art history, philosophy, sociology and cultural studies. Ranging from an analysis of the role of vision in current critical discourse to discussion of specific examples taken from the visual arts, ethics ansd sociology, it presents the latest material on the interpretation of the visual in modern culture.
Among topics covered are:
* the visual rhetoric of modernity
* the drawings of Bonnard
* recent feminist art
* practices and perception in arts and ethics.

This first volume in the series "Logological Investigations", explores the genealogical analysis of the discourses of reflection. The author traces the differences between the traditional discourses of reflection and the experiences of reflexivity in everday, social and philosophical thought. The central contention of Sandywell's argument is that in order to begin to address these types of questions we must first explore the force field between the discourses of reflection and reflexivity. To do so requires radical self-investigations of the role of reflexivity in human experience, and more especially of the role of the languages, practises and institutions of self-reflection with the fabric of Western culture. Consequently, these "logological investigations" introduce a method of analysis which traces the epochal movement of thought from a videological to a dialogical conception of the world.

In "Reflexivity and the Crisis of Western Reason" Barry Sandywell outlined and defended a central place for reflexivity in the human sciences. In this second equally outstanding and challenging volume of Logological Investigations, he reconstructs the origins of "European" reflection.
The author's central claim is that the world does not exist independently of us, but that it is constituted through the terms of our discursive categories. Rather than research being a triumphant exploration, it is more fully understood as agonized self-reflection on the grounds of knowledge production. Sandywell argues that this approach has been inherent throughout Western philosophy and in so doing, he shows that the reflexive character of human experience in Western Culture can be traced through the desire for intelligibility that animated Greek drama, poetry, philosophy and science as explorations of the cosmos, body-politics and the soul.

This substantial and ambitious dictionary explores the languages and cultures of visual studies. It provides the basis for understanding the foundations and motivations of current theoretical and academic discourse, as well as the different forms of visual culture that have come to organize everyday life. The book is firmly placed in the context of the 'visual turn' in contemporary thought. It has been designed as an interdisciplinary or transdisciplinary introduction to the vocabularies and grammars of visuality that inform thinking in the arts and humanities today. It also offers insight into the philosophical frameworks which underpin the field of visual culture. A central theme that runs throughout the entries is the task of moving away from a narrow understanding of visuality inherited from traditional philosophy toward a richer cultural and multi-sensorial philosophy of concrete experience. The dictionary incorporates intertextual links that encourage readers to explore connections between major themes, theories and key figures in the field. In addition the author's introduction provides a comprehensive and critical introduction which documents the significance of the visual turn in contemporary theory and culture. It is accompanied by an extensive bibliography and further reading list. As both a substantive academic contribution to this growing field and a useful reference tool, this book offers a theoretical introduction to the many languages of visual discourse. It will be essential reading for graduate students and scholars in visual studies, the sociology of visual culture, cultural and media studies, philosophy, art history and theory, design, film and communication studies.

This is a work of social theory and philosophy which seeks to make the constitution of social theory a social activity. It is essentially a collaborative text, by five authors, committed to a re-awakening of some of the forgotten dimensions of social theorizing. The collaborative work was originally occasioned by an attempt to analyse the notion of social stratification and its treatment in the sociological tradition. The authors main concern here is with the nature of social theorizing, and in particular the difference between Self and Other, being and beings, Language and Speech. The papers in the book focus on themes that are fundamental to the sense of inquiry and tradition which they are concerned to display. The themes discussed include speech, Language, Identity, Difference, Critical Tradition, Community, Metaphor, Dialectics, Observing and Reading."

This substantial and ambitious dictionary explores the languages and cultures of visual studies. It provides the basis for understanding the foundations and motivations of current theoretical and academic discourse, as well as the different forms of visual culture that have come to organize everyday life. The book is firmly placed in the context of the 'visual turn' in contemporary thought. It has been designed as an interdisciplinary or transdisciplinary introduction to the vocabularies and grammars of visuality that inform thinking in the arts and humanities today. It also offers insight into the philosophical frameworks which underpin the field of visual culture. A central theme that runs throughout the entries is the task of moving away from a narrow understanding of visuality inherited from traditional philosophy toward a richer cultural and multi-sensorial philosophy of concrete experience. The dictionary incorporates intertextual links that encourage readers to explore connections between major themes, theories and key figures in the field. In addition the author's introduction provides a comprehensive and critical introduction which documents the significance of the visual turn in contemporary theory and culture. It is accompanied by an extensive bibliography and further reading list. As both a substantive academic contribution to this growing field and a useful reference tool, this book offers a theoretical introduction to the many languages of visual discourse. It will be essential reading for graduate students and scholars in visual studies, the sociology of visual culture, cultural and media studies, philosophy, art history and theory, design, film and communication studies.

The Reflexive Initiative is an authoritative intervention in the practice and tradition of reflexive social theory. It demonstrates the importance of the reflexive imperative, not only in the investigation of everyday life but across a wide range of human sciences and philosophical perspectives. Forty years after the publication of On the Beginning of Social Inquiry, the chapters in this collection range from re-appraisals of earlier essays on topics such as 'reunions', 'rethinking art' and 'expats' to contributions emphasising the opening of radical dialogues with other reflexive traditions and perspectives. These include psychoanalysis, Lacan, Hegel, Rene Girard, Daseinanalysis, dialectical method, critical feminism, and the dialogical tradition. In this dialogical spirit, the book contributes to the continuing project of analytic theorizing associated with the work of Alan Blum and Peter McHugh, and the recent turn to more 'existential' topics and politically engaged forms of reflexive research. It will be of particular use to students working in interpretive traditions of sociology, Critical theory, Postmodern thought and debates associated with reflexivity and dialectics in other disciplines and research programmes.

Visual culture has become one of the most dynamic fields of scholarship, a reflection of how the study of human culture increasingly requires distinctively visual ways of thinking and methods of analysis. Bringing together leading international scholars to assess all aspects of visual culture, the Handbook aims to provide a comprehensive and authoritative overview of the subject. The Handbook embraces the extraordinary range of disciplines which now engage in the study of the visual - film and photography, television, fashion, visual arts, digital media, geography, philosophy, architecture, material culture, sociology, cultural studies and art history. Throughout, the Handbook is responsive to the cross-disciplinary nature of many of the key questions raised in visual culture around digitization, globalization, cyberculture, surveillance, spectacle, and the role of art. The Handbook guides readers new to the area, as well as experienced researchers, into the topics, issues and questions that have emerged in the study of visual culture since the start of the new millennium, conveying the boldness, excitement and vitality of the subject.

Visual culture has become one of the most dynamic fields of scholarship, a reflection of how the study of human culture increasingly requires distinctively visual ways of thinking and methods of analysis. Bringing together leading international scholars to assess all aspects of visual culture, the Handbook aims to provide a comprehensive and authoritative overview of the subject. The Handbook embraces the extraordinary range of disciplines which now engage in the study of the visual - film and photography, television, fashion, visual arts, digital media, geography, philosophy, architecture, material culture, sociology, cultural studies and art history. Throughout, the Handbook is responsive to the cross-disciplinary nature of many of the key questions raised in visual culture around digitization, globalization, cyberculture, surveillance, spectacle, and the role of art. The Handbook guides readers new to the area, as well as experienced researchers, into the topics, issues and questions that have emerged in the study of visual culture since the start of the new millennium, conveying the boldness, excitement and vitality of the subject.