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  1. Günter Abel (1991). Logic, Art, and Understanding in the Philosophy of Nelson Goodman. Inquiry 34 (3 & 4):311 – 321.
    This paper contains a reconstruction and discussion of some central subjects in Nelson Goodman's philosophical work. Goodman's creative symbol-constructional philosophy concerns fundamental aspects of human cognition and practice. It is argued that this provides us with the intellectual tools for constructing a genuine relationship between logic, knowledge, art, and understanding. This is shown by focusing on subjects ranging from the projectibility of predicates and nominalistic mereology to constructive relativity, ways of worldmaking and a general theory of symbols.
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  2. Jonathan Adler (1990). Reconceptions in Philosophy and Other Arts and Sciences by Nelson Goodman and Catherine Z. Elgin. Journal of Philosophy 87 (12):711-716.
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  3. Virgil C. Aldrich (1982). Making Something of Something. Review of Metaphysics 36 (2):303 - 317.
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  4. J. E. J. Altham (1968). A Note on Goodman's Paradox. British Journal for the Philosophy of Science 19 (3):257.
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  5. Sabine Ammon (2007). Nelson Goodman in der Diskussion. Deutsche Zeitschrift für Philosophie 55 (1):158-161.
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  6. Douglas Arrell (1990). Nelson Goodman and Catherine Z. Elgin, Reconceptions in Philosophy and Other Arts and Sciences Reviewed By. Philosophy in Review 10 (8):313-316.
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  7. Douglas Arrell (1987). What Goodman Should Have Said About Representation. Journal of Aesthetics and Art Criticism 46 (1):41-49.
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  8. Sidney Axinn (1978). Kant and Goodman on Possible Individuals. The Monist 61 (3):476-482.
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  9. J. Baetens (1988). Autograph/Allograph-a Distinction Made by Goodman, Nelson. Revue Philosophique De Louvain 86 (70):192-199.
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  10. Jan Baetens (1988). Autographe/allographe (À propos d'une distinction de Nelson Goodman). Revue Philosophique De Louvain 86 (2):192-199.
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  11. Christoph Baumberger (2014). Gebaute Zeichen. Zu den Bedeutungsweisen von Bauwerken. In Jörg H. Gleiter (ed.), Symptom Design. Vom Zeigen und Sich-Zeigen der Dinge. Transkript 93-113.
    Architekturkritiker und -historiker verwenden eine Vielzahl von Ausdrücken, um anzugeben, was Bauwerke bedeuten. Es ist beispielsweise die Rede davon, dass sie etwas ausdrücken, repräsentieren, zitieren, manifestieren, darstellen oder aussagen; man kann von Gebäuden lesen, die mehrdeutig sind, als Metaphern fungieren oder auf etwas anspielen. In diesem Aufsatz frage ich, wie Bauwerke bedeuten können, um die Grundzüge einer Theorie der Bedeutungsweisen von Bauwerken und ihren Teilen vorzustellen, die als Rahmen für Einzelanalysen und historische Untersuchungen verwendet werden kann. Anstatt die meist unklaren (...)
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  12. Christoph Baumberger & Georg Brun (2013). Identität, Charakter und Stil von Bauwerken. In Architekturphilosophie. Grundlagentexte. Mentis 141-166.
    In der Architekturtheorie ist häufig von der Identität von Bauwerken oder Städten die Rede. Der Ausdruck „Identität“ bezieht sich dabei auf etwas, was man „spezifischen Charakter“ nennen könnte. Wir schlagen eine symboltheoretische Explikation dieses Identitätsbegriffs vor und zeigen, in welchem Sinn ein Bauwerk verschiedene, sich verändernde oder gar konfligierende Identitäten haben kann. Identitäten von Bauwerken werden oft als mehr oder weniger klar, positiv, angemessen oder stark bewertet. Solche Attribute diskutieren wir, indem wir epistemische, materielle und strukturelle Bewertungen von Identitäten unterscheiden. (...)
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  13. Christoph Baumberger & Georg Brun (2012). Identities of Artefacts. Theoria 78 (1):47-74.
    In non-philosophical discourse, “identity” is often used when the specific character of artefacts is described or evaluated. We argue that this usage of “identity” can be explicated as referring to the symbol properties of artefacts as they are conceptualized in the symbol theory of Goodman and Elgin. This explication is backed by an analysis of various uses of “identity”. The explicandum clearly differs from the concepts of numerical identity, qualitative identity and essence, but it has a range of similarities with (...)
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  14. Monroe C. Beardsley (1970). Book Review:Languages of Art: An Approach to a Theory of Symbols Nelson Goodman. [REVIEW] Philosophy of Science 37 (3):458-.
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  15. Diego Bermejo (1999). Antirrealismo y pluralismo en N. Goodman. Cuadernos Salmantinos de Filosofía 26:245-284.
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  16. Carrie-Ann Biondi (2010). Lenn E. Goodman and Robert B. Talisse, Eds., Aristotle's Politics Today. Journal of Value Inquiry 44 (1):93-98.
  17. Simon Blackburn (1969). Goodman's Paradox. In Peter Achinstein (ed.), Studies in the Philosophy of Science. Oxford, Published by Basil Blackwell with the Cooperation of the University of Pittsburg 128--42.
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  18. Ben Blumson (2011). Depictive Structure? Philosophical Papers 40 (1):1-25.
    This paper argues against definitions of depiction in terms of the syntactic and semantic properties of symbol systems. In particular, it is argued that John Kulvicki's definition of depictive symbol systems in terms of relative repleteness, semantic richness, syntactic sensitivity and transparency is susceptible to similar counterexamples as Nelson Goodman's in terms of syntactic density, semantic density and relative repleteness. The general moral drawn is that defining depiction requires attention not merely to descriptive questions about syntax and semantics, but also (...)
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  19. Ben Blumson (2008). Depiction and Convention. Dialectica 62 (3):335-348.
    By defining both depictive and linguistic representation as kinds of symbol system, Nelson Goodman attempts to undermine the platitude that, whereas linguistic representation is mediated by convention, depiction is mediated by resemblance. I argue that Goodman is right to draw a strong analogy between the two kinds of representation, but wrong to draw the counterintuitive conclusion that depiction is not mediated by resemblance.
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  20. Benjamin Boretz (1970). Nelson Goodman's Languages of Art From a Musical Point of View. Journal of Philosophy 67 (16):540-552.
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  21. B. L. Bunch (1980). Rescher on the Goodman Paradox. Philosophy of Science 47 (1):119-123.
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  22. Samuel Cabanchik (2006). Ficciones en las artes, Los mitos, Los sueños: Un enfoque semántico. Ideas Y Valores 55 (131):73-95.
    El o los mundos en que vivimos -no haré profesión de fe pluralista en este trabajo- contienen tanto objetos reales como símbolos. A su vez, nos servimos de esos símbolos tanto para denotar y clasificar objetos reales, como para referirnos a ficciones, en las artes, los juegos, los mitos, las práctic..
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  23. Samuel Cabanchik (2005). El irrealismo es un humanismo: de Nelson Goodman a William James. Manuscrito 28 (1):37-75.
    Mis principales objetivos en este artículo consisten en exponer el pluralismo irrealista de Goodman y argumentar en favor del origen jamesiano de algunos de sus principales contenidos . El hilo conductor será la concepción del conocimiento en Goodman y James. Finalmente, concluiré que es posible integrar el irrealismo y el pragmatismo humanista en un punto de vista filosófico global.My main goals in this paper are, first, to explain Goodman's irrealist pluralism and, second, to show the jamesian sources of some of (...)
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  24. William J. Callaghan (1979). "The Structure of Appearance," by Nelson Goodman, 3rd Ed., with an Introduction by Geoffrey Hellman. Modern Schoolman 56 (3):288-289.
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  25. Keith Campbell (1994). Nelson Goodman's Assimilation of Literary and Scientific Knowledge. Literature & Aesthetics 4:7-16.
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  26. Rudolf Carnap (1963). Nelson Goodman on Der Logische Aufbau der Welt. In Paul Arthur Schilpp (ed.), The Philosophy of Rudolf Carnap. La Salle, Ill.,Open Court 944--947.
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  27. Rudolf Carnap (1948). Reply to Nelson Goodman. Philosophy and Phenomenological Research 8 (3):461-462.
  28. David Carrier (1974). A Reading of Goodman on Representation. The Monist 58 (2):269-284.
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  29. Curtis L. Carter (2000). A Tribute to Nelson Goodman. Journal of Aesthetics and Art Criticism 58 (3):251-253.
    Presents a tribute to American philosopher Nelson Goodman who died on November 25, 1998 in Needham, Massachusetts. Contributions of Goodman to analytic philosophy; Career background; Range of interest from philosophy to art collecting; Major publications on the work of Goodman; Role of Goodman as a gallery director and private art collector.
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  30. Alon Chasid (2004). Why the Pictorial Relation is Not Reference. British Journal of Aesthetics 44 (3):226-247.
    Nelson Goodman argued that the pictorial relation is reducible to reference. After explaining why previous attempts to refute this thesis of reduction have failed, I argue that in order to show that the thesis is indeed wrong we must find an aspect of pictures that is incompatible with it. I proceed to argue that there is indeed such an element to pictures. Ordinarily, a picture depicts its subject as having aesthetic properties. I show that the depiction of these properties requires (...)
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  31. Nader Chokr (1985). Nelson Goodman on Truth. Indian Philosophical Quarterly 12 (2):163.
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  32. Mark Sydney Cladis (1991). Durkheim, Goodman, Rorty, and Mild-Mannered Pragmatism French and American Style.
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  33. Bowman L. Clarke (1963). Goodman On Quality Classes In The AUFBAU. Southern Journal of Philosophy 1 (3):15-19.
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  34. W. C. Clement (1956). Quality Orders. Mind 65 (April):184-199.
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  35. Ted Cohen (1981). The Facts of Narrative: A Response to Nelson Goodman. Synthese 46 (3):351 - 354.
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  36. Daniel Cohnitz (2009). The Unity of Goodman's Thought. In G. Ernst, J. Steinbrenner & O. Scholz (eds.), From Logic to Art: Themes from Nelson Goodman. Ontos 7--33.
    I argue that Goodman’s philosophy should not be characterised in opposition to the philosophy of the logical empiricists, but is more fruitfully interpreted as a continuation of their philosophical programme. In particular, understanding Goodman’s philosophy as a continuation of the ideal language tradition makes explicable how a radical ontological relativist could be such a staunch nominalist at the same time.
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  37. Daniel Cohnitz & Marcus Rossberg (2006). Nelson Goodman. Routledge.
    Nelson Goodman's acceptance and critique of certain methods and tenets of positivism, his defence of nominalism and phenomenalism, his formulation of a new riddle of induction, his work on notational systems, and his analysis of the arts place him at the forefront of the history and development of American philosophy in the twentieth-century. However, outside of America, Goodman has been a rather neglected figure. In this first book-length introduction to his work Cohnitz and Rossberg assess Goodman's lasting contribution to philosophy (...)
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  38. James Collins (1969). Languages of Art. By Nelson Goodman. Modern Schoolman 46 (4):350-352.
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  39. Jp Cometti (1993). Conceptions and Revised Conceptions Taken the Wrong Way+ the Philosophy of Goodman, Nelson. Revue Internationale de Philosophie 47 (185):213-227.
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  40. J. C. Cooley (1958). A Somewhat Adverse Reply to Professor Goodman. Journal of Philosophy 55 (4):159-166.
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  41. John C. Cooley (1957). Professor Goodman's Fact, Fiction, & Forecast. Journal of Philosophy 54 (10):293-311.
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  42. Damian Cox (2003). Goodman and Putnam on the Making of Worlds. Erkenntnis 58 (1):33 - 46.
    Hilary Putnam and Nelson Goodman are two of the twentieth century's most persuasive critics of metaphysical realism, however they disagree about the consequences of rejecting metaphysical realism. Goodman defended a view he called irrealism in which minds literally make worlds, and Putnam has sought to find a middle path between metaphysical realism and irrealism. I argue that Putnam's middle path turns out to be very elusive and defend a dichotomy between metaphysical realism and irrealism.
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  43. Xavier de Donato-Rodríguez (2009). Construction and Worldmaking. Theoria 24 (2):213-225.
    Goodman’s style may be elusive sometimes, so that it may result difficult to interpret what he really has in mind. This is a consequence of his masterful use of irony and metaphorical language. This difficulty of interpretation affects important parts of his philosophical thoughts and had led to misunderstandings. In the present article, I discuss the significance of Goodman’s pluralism, one of his most relevant theses. I try to show that Goodman’s pluralism does not lead to skepticism or the relativism (...)
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  44. Lieven Decock & Igor Douven (2011). Similarity After Goodman. Review of Philosophy and Psychology 2 (1):61-75.
    In a famous critique, Goodman dismissed similarity as a slippery and both philosophically and scientifically useless notion. We revisit his critique in the light of important recent work on similarity in psychology and cognitive science. Specifically, we use Tversky’s influential set-theoretic account of similarity as well as Gärdenfors’s more recent resuscitation of the geometrical account to show that, while Goodman’s critique contained valuable insights, it does not warrant a dismissal of similarity.
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  45. Cora Diamond (1959). Mr. Goodman on Relevant Conditions and the Counterfactual. Philosophical Studies 10 (3):42 - 45.
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  46. John Dilworth (2003). A Refutation of Goodman's Type-Token Theory of Notation. Dialectica 57 (3):330–336.
    In Languages of Art, Nelson Goodman presents a general theory of symbolic notation. However, I show that his theory could not adequately explain possible cases of natural language notational uses, and argue that this outcome undermines, not only Goodman’s own theory, but any broadly type versus token based account of notational structure. Given this failure, an alternative representational theory is proposed, in which different visual or perceptual aspects of a given physical inscription each represent a different letter, word, or other (...)
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  47. Randall R. Dipert (1996). Reflections on Iconicity, Representation, and Resemblance: Peirce's Theory of Signs, Goodman on Resemblance, and Modern Philosophies of Language and Mind. Synthese 106 (3):373 - 397.
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  48. Igor Douven (2011). Similarity After Goodman. Review of Philosophy and Psychology 2 (1):61-75.
    In a famous critique, Goodman dismissed similarity as a slippery and both philosophically and scientifically useless notion. We revisit his critique in the light of important recent work on similarity in psychology and cognitive science. Specifically, we use Tversky’s influential set-theoretic account of similarity as well as Gärdenfors’s more recent resuscitation of the geometrical account to show that, while Goodman’s critique contained valuable insights, it does not warrant a dismissal of similarity.
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  49. M. P. Drost (1994). Husserl and Goodman on the Role of Resemblance in Pictorial Representation. International Studies in Philosophy 26 (4):17-27.
  50. M. E. Dummett (1955). GOODMAN, N. - The Structure of Appearance. [REVIEW] Mind 64:101.
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