Nominalism and Its Aftermath: The Philosophy of Nelson Goodman

Nelson Goodman's disparate writings are often considered separately. This book argues that the separate disciplines of ontology, epistemology and aesthetics should been seen as sequential, interdependent steps within his thought.

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.

Explains the interdependence of all of Goodman's thought First book to offer a complete analysis of the effects of Goodman's nominalism on his epistemology and aesthetics Gives the reader a genuine understanding of Goodman's aesthetics because it is placed within the context of his ontology and epistemology Demonstrates that aesthetics is not a field isolated and afar from the rest of philosophy In arguing for aesthetics as a branch of epistemology, this book demonstrates the reliance of the former on the latter

Auteur

Dr. 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.

Contenu
The 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.