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OverviewNelson Goodman’s disparate writings are often written about only within their own particular discipline, such that the epistemology is discussed in contrast to others’ epistemology, the aesthetics is contrasted with more traditional aesthetics, and the ontology and logic is viewed in contrast to both other contemporary philosophers and to Goodman’s historical predecessors. This book argues that that is not an adequate way to view Goodman. The separate disciplines of ontology, epistemology, and aesthetics should be viewed as sequential steps within his thought, such that each provides the ground rules for the next section and, furthermore, providing the reasons for limitations on the terms available to the subsequent writing(s). This is true not merely because this is the general chronology of his writing, but more importantly because within his metaphysics lies Goodman’s basic nominalist ontology and logic, and it is upon those principles that he builds his epistemology and, furthermore, it is the sum of both the metaphysics and the epistemology, with the nominalist principle as the guiding force, which constructs the aesthetics. At the end of each section of this book, the consequent limitations imposed on his terms and concepts available to him are explicated, such that, by the end of the book, the book delineates the constraints imposed upon the aesthetics by both the metaphysics and the epistemology. This book will benefit not only the professionals in the field of philosophy, but will also help both graduate and upper level undergraduate students understand Goodman’s disparate writings within their proper context, and hopefully will also encourage them to view philosophical thinking in a less truncated and departmentalized way. Full Product DetailsAuthor: Dena ShottenkirkPublisher: Springer Imprint: Springer Edition: Softcover reprint of hardcover 1st ed. 2009 Volume: 343 Dimensions: Width: 15.50cm , Height: 1.00cm , Length: 23.50cm Weight: 0.454kg ISBN: 9789048182237ISBN 10: 9048182239 Pages: 174 Publication Date: 28 October 2010 Audience: Professional and scholarly , Professional & Vocational Format: Paperback Publisher's Status: Active Availability: In Print This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us. Table of ContentsThe Metaphysics.- The Basic Problem.- Goodman’s Nominalism.- The Consequences of Goodman’s Nominalism for his Terminology.- The Epistemology.- Twentieth Century Epistemology.- Constructionalism.- The Effects of Goodman’s Nominalist Constructionalism on his Epistemology.- Influences on Goodman’s Philosophy.- The Effects of Goodman’s Epistemology on his Terminology/Concepts.- The Aesthetics.- Goodman’s Expression as Reference.- Goodman’s Metaphorical Exemplification.- Aesthetics as a Branch of Epistemology.- The Effects of Goodman’s Nominalism and Worldmaking on his Aesthetics.ReviewsThe author has given us the needed scholarly reference work on Goodman. Goodman sought to replace psychology with semantics, and showed us how far we could travel in that direction. The trip was admirably designed and guided by his genius. In end, it was genius, and not the lack of it, that showed us that the philosophy of language and languages of art will lead us back to the hardest questions in the philosophy of mind. Keith Lehrer, Regents Professor of Philosophy, The University of Arizona The author has given us the needed scholarly reference work on Goodman. Goodman sought to replace psychology with semantics, and showed us how far we could travel in that direction. The trip was admirably designed and guided by his genius. In end, it was genius, and not the lack of it, that showed us that the philosophy of language and languages of art will lead us back to the hardest questions in the philosophy of mind. Keith Lehrer, Regents Professor of Philosophy, The University of Arizona Author InformationDr. Shottenkirk, like Nelson Goodman, is not only a philosopher but also has experience within tthe artworld. She is both an exhibiting artist and an art critic who has written extensively in major art criticism publications, such as Artforum and Art in America. This uniquely positions her to understand and evaluate Goodman’s broad range of thought, most especially his aesthetics. Tab Content 6Author Website:Countries AvailableAll regions |