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| goodman languages of art: Languages of Art , 1976 |
| goodman languages of art: Languages of Art Nelson Goodman, 1976-01-01 Like Dewey, he has revolted against the empiricist dogma and the Kantian dualisms which have compartmentalized philosophical thought. . . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down. --Richard Rorty, The Yale Review |
| goodman languages of art: Ways of Worldmaking Nelson Goodman, 1978-01-01 Provides a workable notion of the kinds of skills and capacities that are central for those who work in the arts. |
| goodman languages of art: The Structure of Appearance Nelson Goodman, 2012-12-06 With this third edition of Nelson Goodman's The Structure of Appear ance, we are pleased to make available once more one of the most in fluential and important works in the philosophy of our times. Professor Geoffrey Hellman's introduction gives a sustained analysis and appreciation of the major themes and the thrust of the book, as well as an account of the ways in which many of Goodman's problems and projects have been picked up and developed by others. Hellman also suggests how The Structure of Appearance introduces issues which Goodman later continues in his essays and in the Languages of Art. There remains the task of understanding Good man's project as a whole; to see the deep continuities of his thought, as it ranges from logic to epistemology, to science and art; to see it therefore as a complex yet coherent theory of human cognition and practice. What we can only hope to suggest, in this note, is the b. road Significance of Goodman's apparently technical work for philosophers, scientists and humanists. One may say of Nelson Goodman that his bite is worse than his bark. Behind what appears as a cool and methodical analysis of the conditions of the construction of systems, there lurks a radical and disturbing thesis: that the world is, in itself, no more one way than another, nor are we. It depends on the ways in which we take it, and on what we do. |
| goodman languages of art: Of Mind and Other Matters Nelson Goodman, 1984 This book displays both the remarkable diversity of Goodman's concerns and the essential unity of his thought. As a whole the volume will serve as a concise introduction to Goodman's thought for general readers, and will develop its more recent unfoldings for those philosophers and others who have grown wiser with his books over the years. |
| goodman languages of art: Pragmatism as Anti-Authoritarianism Richard Rorty, 2021-08-17 The last book by the eminent American philosopher and public intellectual Richard Rorty, providing the definitive statement of his mature philosophical and political views. Richard RortyÕs Pragmatism as Anti-Authoritarianism is a last statement by one of AmericaÕs foremost philosophers. Here Rorty offers his culminating thoughts on the influential version of pragmatism he began to articulate decades ago in his groundbreaking Philosophy and the Mirror of Nature. Marking a new stage in the evolution of his thought, RortyÕs final masterwork identifies anti-authoritarianism as the principal impulse and virtue of pragmatism. Anti-authoritarianism, on this view, means acknowledging that our cultural inheritance is always open to revision because no authority exists to ascertain the truth, once and for all. If we cannot rely on the unshakable certainties of God or nature, then all we have left to go onÑand argue withÑare the opinions and ideas of our fellow humans. The test of these ideas, Rorty suggests, is relatively simple: Do they work? Do they produce the peace, freedom, and happiness we desire? To achieve this enlightened pragmatism is not easy, though. Pragmatism demands trust. Pragmatism demands that we think and care about what others think and care about, which further requires that we account for othersÕ doubts of and objections to our own beliefs. After all, our own beliefs are as contestable as anyone elseÕs. A supple mind who draws on theorists from John Stuart Mill to Annette Baier, Rorty nonetheless is always an apostle of the concrete. No book offers a more accessible account of RortyÕs utopia of pragmatism, just as no philosopher has more eloquently challenged the hidebound traditions arrayed against the goals of social justice. |
| goodman languages of art: But Is It Art? Cynthia Freeland, 2002-02-07 In today's art world many strange, even shocking, things qualify as art. In this book, Cynthia Freeland explains why innovation and controversy are valued in the arts, weaving together philosophy and art theory with many fascinating examples. She discusses blood, beauty, culture, money, museums, sex, and politics, clarifying contemporary and historical accounts of the nature, function, and interpretation of the arts. Freeland also propels us into the future by surveying cutting-edge web sites, along with the latest research on the brain's role in perceiving art. This clear, provocative book engages with the big debates surrounding our responses to art and is an invaluable introduction to anyone interested in thinking about art. |
| goodman languages of art: Reconceptions in Philosophy and Other Arts and Sciences Nelson Goodman, Catherine Z. Elgin, 1988 Title on spine: Reconceptions in philosophy. |
| goodman languages of art: Wittgenstein, Theory and the Arts Richard Allen, Malcolm Turvey, 2011-02-25 This is the first full exploration of the implications of Wittgenstein's philosophy for understanding the arts and cultural criticism. These original essays by philosophers and critics address key philosophical topics in the study of the arts and culture, such as humanism, criticism, psychology, painting, film and ethics. All exemplify Wittgenstein's method of conceptual investigation and highlight his notion of philosophy as a cure. |
| goodman languages of art: Nominalism and Its Aftermath: The Philosophy of Nelson Goodman Dena Shottenkirk, 2009-06-25 Nelson 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. |
| goodman languages of art: The Oxford Handbook of Aesthetics Jerrold Levinson, 2003-04-03 The Oxford Handbook of Aesthetics: The most comprehensive and authoritative guide available. |
| goodman languages of art: Nelson Goodman and the Case for a Kalological Aesthetics Nikolaos Gkogkas, 2008-07-31 Epistemology delivers truths, metaphysics offers realities. In this book, aesthetics responds philosophically to the question about what one is to make of such truths and realities. How to live with them, or how to weave them together in the fabric of the self. In this sense, any aesthetics about art, beauty, and the like is translatable into a 'kalology' about degrees of meaning and layers of identity. The starting point for the book is Nelson Goodman's theory of symbols. A theory with modest aspirations that can only serve as an initial step, but a step in the right direction. |
| goodman languages of art: Mimesis as Make-Believe Kendall L. Walton, 1993-10-15 Representation—in visual arts and fiction—play an important part in our lives and culture. Walton presents a theory of representation which illuminates its many varieties and goes a long way toward explaining its importance. Walton’s theory also provides solutions to thorny philosophical problems concerning the existence of fictitious beings. |
| goodman languages of art: The Work of Art Gérard Genette, 1997 What art is?its very nature?is the subject of this book by one of the most distinguished continental theorists writing today. Informed by the aesthetics of Nelson Goodman and referring to a wide range of cultures, contexts, and media, The Work of Art seeks to discover, explain, and define how art exists and how it works. To this end, Gérard Genette explores the distinction between a work of art's immanence?its physical presence?and transcendence?the experience it induces. That experience may go far beyond the object itself. Genette situates art within the broad realm of human practices, extending from the fine arts of music, painting, sculpture, and literature to humbler but no less fertile fields such as haute couture and the culinary arts. His discussion touches on a rich array of examples and is bolstered by an extensive knowledge of the technology involved in producing and disseminating a work of art, regardless of whether that dissemination is by performance, reproduction, printing, or recording. Moving beyond examples, Genette proposes schemata for thinking about the different manifestations of a work of art. He also addresses the question of the artwork's duration and mutability. |
| goodman languages of art: Art Theory as Visual Epistemology Harald Klinke, 2014-06-26 How can we “know”? What does “knowledge” mean? These were the fundamental questions of epistemology in the 17th century. In response to continental rationalism, the British empiricist John Locke proposed that the only knowledge humans can have is acquired a posterior. In a discussion of the human mind, he argued, the source of knowledge is sensual experience – mostly vision. Since vision and picture-making are the realm of art, art theory picked up on questions such as: are pictures able to represent knowledge about the world? How does the production of images itself generate knowledge? How does pictorial logic differ from linguistic logic? How can artists contribute to a collective search for truth? Questions concerning the epistemic potential of art can be found throughout the centuries up until the present day. However, these are not questions of art alone, but of the representational value of images in general. Thus, the history of art theory can contribute much to recent discussions in Visual Studies and Bildwissenschaften by showing the historic dimension of arguments about what images are or should be. “What is knowledge?” is as much a philosophic question as “What is an image?” Visual epistemology is a new and promising research field that is best investigated using an interdisciplinary approach that addresses a range of interconnected areas, such as internal and external images and the interplay of producer and perceiver of images. This publication outlines this territory by gathering together several approaches to visual epistemology by many distinguished authors. |
| goodman languages of art: Essays on Art and Language Charles Harrison, 2003-09-12 Critical and theoretical essays by a long-time participant in the Art & Language movement. These essays by art historian and critic Charles Harrison are based on the premise that making art and talking about art are related enterprises. They are written from the point of view of Art & Language, the artistic movement based in England—and briefly in the United States—with which Harrison has been associated for thirty years. Harrison uses the work of Art & Language as a central case study to discuss developments in art from the 1950s through the 1980s. According to Harrison, the strongest motivation for writing about art is that it brings us closer to that which is other than ourselves. In seeing how a work is done, we learn about its achieved identity: we see, for example, that a drip on a Pollock is integral to its technical character, whereas a drip on a Mondrian would not be. Throughout the book, Harrison uses specific examples to address a range of questions about the history, theory, and making of modern art—questions about the conditions of its making and the nature of its public, about the problems and priorities of criticism, and about the relations between interpretation and judgment. |
| goodman languages of art: Nelson Goodman's Philosophy of Art Catherine Z. Elgin, 1997 A challenger of traditions and boundaries A pivotal figure in 20th-century philosophy, Nelson Goodman has made seminal contributions to metaphysics, epistemology, aesthetics, and the philosophy of language, with surprising connections that cut across traditional boundaries. In the early 1950s, Goodman, Quine, and White published a series of papers that threatened to torpedo fundamental assumptions of traditional philosophy. They advocated repudiating analyticity, necessity, and prior assumptions. Some philosophers, realizing the seismic effects repudiation would cause, argued that philosophy should retain the familiar framework. Others considered the arguments compelling, but despaired of doing philosophy without the framework. Goodman disagreed with both factions. Rather than regretting the loss of structure, he capitalized on the opportunities that arise when the strictures of tradition are loosened. |
| goodman languages of art: The Art of Frozen Charles Solomon, 2015-04-07 In Walt Disney Animation Studios upcoming film, Frozen, the fearless optimist Anna sets off on an epic journey—teaming up with rugged mountain man Kristoff—to find her sister Elsa, whose icy powers have trapped the kingdom of Arendelle in eternal winter. Encountering Everest-like conditions, Anna and Kristoff battle the elements in a race to save the kingdom. The Art of Frozen features concept art from the making of the film—including character studies and sculpts, color scripts, storyboards, and more—alongside interviews with the film's artists about the making of this comedy-adventure. © Disney |
| goodman languages of art: The Language of Art Ann Pelo, 2016-10-10 Typical art resources for teachers offer discrete art activities, but these don't carry children or teachers into the practice of using the languages of art. This resource offers guidance for teachers to create space, time, and intentional processes for children's exploration and learning to use art for asking questions, offering insights, exploring hypotheses, and examining experiences from unfamiliar perspectives. Inspired by an approach to teaching and learning born in Reggio Emilia, Italy, The Language of Art, Second Edition, includes: A new art exploration for teachers to gain experience before implementing the practice with childrenAdvice on setting up a studio space for art and inquirySuggestions on documenting children's developing fluency with art media and its use in inquiryInspiring photographs and ideas to show you how inquiry-based practices can work in any early childhood setting Ann Pelo is a teacher educator, program consultant, and author whose primary work focuses on reflective pedagogical practice, social justice and ecological teaching and learning and the art of mentoring. Currently, Pelo consults early childhood educators and administrators in North America, Australia, and New Zealand on inquiry-based teaching and learning, pedagogical leadership, and the necessary place of ecological identity in children's—and adults'—lives. She is the author of several books including the first edition of The Language of Art and co-author of Rethinking Early Childhood Education. |
| goodman languages of art: Life in the English Country House Mark Girouard, 1978-01-01 Based on the author's Slade lectures given at Oxford University in 1975-76. |
| goodman languages of art: Review of Nelson Goodman, Languages of art ... Josette Rey-Debove, 1971 |
| goodman languages of art: Problems and Projects Nelson Goodman, 1972 |
| goodman languages of art: Philosophical Perspectives on Metaphor Mark Johnson, 1981 Philosophical Perspectives on Metaphor was first published in 1981. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. We are, says Mark Johnson, in the midst of metaphormania. The past few years have seen an explosion of interest in metaphor as a vehicle for exploring the relations between language and thought. While a number of recent books have dealt with metaphor from the standpoints of several disciplines, there is no collection that shows the best of the work that has been done in the field of philosophy. Mark Johnson has brought together essays that define the central issues of the discussion in this field. His introductory essay offers a critical survey of historically influential treatments of figurative language (including those of Aristotle, Hobbes, Locke, Kant, and Nietzsche) and sets forth the nature of various issues that have been of interest to philosophers. Thus, it provides a context in which to understand the motivations, influences, and significance of the collected essays. An annotated bibliography serves as a catalog of all relevant literature. Philosophical Perspectives on Metaphor provides an entry point into the philosophical exploration of metaphor for students, philosophers, linguists, psychologists, artists, critics, or anyone interested in language and its relation to understanding and experience. |
| goodman languages of art: How Art Works Ellen Winner, 2019 How Art Works explores puzzles that have preoccupied philosophers as well as the general public: Can art be defined? How do we decide what is good art? Why do we gravitate to sadness in art? Why do we devalue a perfect fake? Could 'my kid have done that'? Does reading fiction enhance empathy? Drawing on careful observations, probing interviews, and clever experiments, Ellen Winner reveals surprising answers to these and other artistic mysteries. We may come away with a new understanding of how art works on us.--Jacket. |
| goodman languages of art: Interpreting Feyerabend Karim Bschir, Jamie Shaw, 2021-03-18 Provides a series of essays interpreting and critically evaluating the philosophy of Paul Feyerabend. |
| goodman languages of art: Philosophy of the Performing Arts David Davies, 2011-05-06 PHILOSOPHY OF THE PERFORMING ARTS “David Davies’s Philosophy of the Performing Arts is long-awaited. Not since Paul Thom’s For an Audience has a book in the Anglo-American philosophical tradition focused so clearly, exclusively, informatively, and fairly on all the performing arts. I will use this book in my classes.” James Hamilton, Kansas State University, author of The Art of Theater “In this outstanding philosophical study, David Davies subjects the different, conflicting literatures characterizing works, performances, and their relationships to critical review en route to developing his own integrated theory. Covering classical music to jazz, Shakespeare to Brecht, dance to performance art, this is essential reading for anyone interested in the performing arts.” Stephen Davies, University of Auckland, author of The Philosophy of Art Philosophical inquiry concerning the performing arts has tended to focus on music – specifically classical music – which is assumed to provide a model for understanding the performing arts as a whole. This book engages with this belief and critically explores how the “classical paradigm” might be extended to other musical genres, to theater, and to dance. Taking in key components of artistic performance – improvisation, rehearsal, the role of the audience, the embodied nature of the artistic performer – the book examines similarities and differences between the performing art forms and presents the key philosophical issues that they bring into play. These reflections are then applied to the disputed issue of those contemporary artworks usually classified as “performance art.” Assuming no prior knowledge of the subject matter, this book provides an accessible, yet sophisticated, introduction to the field and a comprehensive framework for thinking about the performing arts. |
| goodman languages of art: The Sense of Beauty George Santayana, 1955-01-01 The great philosopher, essayist, poet, and novelist masterfully offers his fascinating outline of Aesthetics Theory. Drawing on the art, literature, and social sciences involved, Santayana discusses the nature of beauty, form, and expression. |
| goodman languages of art: Art and Its Significance Stephen David Ross, 1984-06-30 The philosophy of art, including the theory of interpretation, has been among the most generative branches of philosophy in the latter half of the twentieth century. Remarkable, interesting, and important work has emerged on both sides of the Atlantic, from all the major sources of philosophic thought. For the first time, Stephen David Ross brings together the best of recent writing with the major historical texts and the most influential works of the past century to provide valuable insight into the nature of art and how we are to understand it. The selections in this collection comprise a remarkably wide array of positions on the nature and importance of art in human experience. A wealth of material is divided into four parts. Part I from the history of philosophy includes selections by the essential writers: Plato, Aristotle, Kant, Hegel, Nietzsche. In Part II there are significant selections from Dewey, Langer, Goodman, Heidegger, and Merleau-Ponty. The major selections in Part III are from Hirsch and Gadamer on the nature of interpretation, supplemented by selections from Pepper, Derrida, and Foucault. Selections in Part IV sharpen the issues that emerge from the more theoretical discussions in the preceeding sections. Part IV includes important psychological theories, seminal proclamations by twentieth century artists, and selections from Bullough on aesthetic distance, as well as from Marcuse, who develops an important variation on the Marxist view of art. |
| goodman languages of art: From Logic to Art Gerhard Ernst, Jakob Steinbrenner, Oliver R. Scholz, 2013-05-02 Nelson Goodman (1906-1998) was one of the outstanding thinkers of the 20th century. In a memorial note, Hilary Putnam considers him to be one of the two or three greatest analytic philosophers of the post-World War II period. Goodman has left his mark in many fields of philosophical investigation: Epistemology, Philosophy of Science, Logic, Metaphysics, the General Theory of Symbols, Philosophy of Language and Philosophy of Art, all have been challenged and enriched by the problems he has shown up, the projects he developed from them and the solutions he has suggested. In August 2006 a couple of Goodman aficionados met in Munich to celebrate the Centennial. The proceedings of the ensuing international conference are documented in this volume. The contributions attest the fact that Goodman's thinking still holds many treasures. |
| goodman languages of art: Conversations on Art and Aesthetics Hans Maes, 2017-05-12 What is art? What counts as an aesthetic experience? Does art have to beautiful? Can one reasonably dispute about taste? What is the relation between aesthetic and moral evaluations? How to interpret a work of art? Can we learn anything from literature, film or opera? What is sentimentality? What is irony? How to think philosophically about architecture, dance, or sculpture? What makes something a great portrait? Is music representational or abstract? Why do we feel terrified when we watch a horror movie even though we know it to be fictional? In Conversations on Art and Aesthetics, Hans Maes discusses these and other key questions in aesthetics with ten world-leading philosophers of art: Noël Carroll, Gregory Currie, Arthur Danto, Cynthia Freeland, Paul Guyer, Carolyn Korsmeyer, Jerrold Levinson, Jenefer Robinson, Roger Scruton, and Kendall Walton. The exchanges are direct, open, and sharp, and give a clear account of these thinkers' core ideas and intellectual development. They also offer new insights into, and a deeper understanding of, contemporary issues in the philosophy of art. |
| goodman languages of art: Visual Language Theory Kim Marriott, Bernd Meyer, 1998-06-19 A broad-ranging survey of our current understanding of visual languages and their theoretical foundations. Its main focus is the definition, specification, and structural analysis of visual languages by grammars, logic, and algebraic methods and the use of these techniques in visual language implementation. Researchers in formal language theory, HCI, artificial intelligence, and computational linguistics will all find this an invaluable guide to the current state of research in the field. |
| goodman languages of art: The Image of the Artist in Archaic and Classical Greece Guy Hedreen, 2016 This book explores the persona of the artist in Archaic and Classical Greek art and literature. Guy Hedreen argues that artistic subjectivity, first expressed in Athenian vase-painting of the sixth century BCE and intensively explored by Euphronios, developed alongside a self-consciously constructed persona of the poet. He explains how poets like Archilochos and Hipponax identified with the wily Homeric character of Odysseus as a prototype of the successful narrator, and how the lame yet resourceful artist-god Hephaistos is emulated by Archaic vase-painters such as Kleitias. In lyric poetry and pictorial art, Hedreen traces a widespread conception of the artist or poet as socially marginal, sometimes physically imperfect, but rhetorically clever, technically peerless, and a master of fiction. Bringing together in a sustained analysis the roots of subjectivity across media, this book offers a new way of studying the relationship between poetry and art in ancient Greece. |
| goodman languages of art: Symbolic Worlds Israel Scheffler, 1997 Symbolism is a primary characteristic of the mind, deployed and displayed in every aspect of our thought and culture. In this important and broad-ranging book, Israel Scheffler explores the various ways in which the mind functions symbolically. This involves considering not only the world of science and the arts, but also such activities as religious ritual and child's play. The book offers an integrated treatment of ambiguity and metaphor, analyses of play and ritual, and an extended discussion of the relations between scientific symbol systems and reality. What emerges is a picture of the basic symbol-forming character of the mind. In addition to philosophers of art and science, likely readers of this book will include students of linguistics, semiotics, anthropology, religion, and psychology. |
| goodman languages of art: Criticizing Art: Understanding the Contemporary Terry Barrett, 2000 History of art criticism - Describing and interpreting art - Judging art - Writing and talking about art - Theory and art criticism. |
| goodman languages of art: Philosophy of the Arts Gordon Graham, 2006-09-07 A new edition of this bestselling introduction to aesthetics and the philosophy of art. Includes new sections on digital music and environmental aesthetics. All other chapters have been thoroughly revised and updated. |
| goodman languages of art: Signs, Language, and Communication Roy Harris, 1996 Harris proposes a new theory of communication, beginning with the premise that the mental life of an individual should be conceived of as a continuous attempt to integrate the present with the past and future. |
| goodman languages of art: Art Worlds Howard Saul Becker, 1982-01-01 |
| goodman languages of art: The Comedy of Errors William Shakespeare, 1868 |
| goodman languages of art: Languages of Art Nelson Goodman, 2009 |
| goodman languages of art: In Convention , 1776 Resolutions from various Virginia conventions for the continuation of government. The first resolution, dated March 25, 1775, suspended the administration of justice, and suggested alternative methods. An ordinance dated July 3, 1776 to enabled the justice system to continue until legislative proceedings can provide for any changes. |
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