http://www.cla.umn.edu/jhopkins/ Taken together, twenty-four of these works constitute Nicholas of Cusa’s complete philosophical and theological treatises. They must be supplemented by studying his richly conceptual sermons, along with his ecclesiological and exegetical writings such as De Concordantia Catholica and Coniectura de Ultimis Diebus. His mathematical writings are also of interest, even though they are not of lasting importance, as Gottfried Leibniz rightly recognized.
The visual system is persistent, inventive, and sometimes rather perverse in building a world according to its own lights; the supplementation is deft, flexible, and often elaborate. [JL: Our eyes/consciousness could “fill in” things that are not there; they can also delete things that are there].
First, a brief historical trace of the developments in confirmation theory leading up to Goodman's infamous "grue" paradox is presented. Then, Goodman's argument is analyzed from both Hempelian and Bayesian perspectives. A guiding analogy is drawn between certain arguments against classical deductive logic, and Goodman's "grue" argument against classical inductive logic. The upshot of this analogy is that the "New Riddle" is not as vexing as many commentators have claimed (especially, from a Bayesian inductive-logical point of view). (...) Specifically, the analogy reveals an intimate connection between Goodman's problem, and the "problem of old evidence". Several other novel aspects of Goodman's argument are also discussed (mainly, from a Bayesian perspective). (shrink)
Article presenting basic methodological tenets in Goodman's philosophical development with their mutual connections, like the new riddle of indutcion, counterfactual conditionals and his use of reflective equilibrium as a methodological basis.
This short paper grew out of an observation—made in the course of a larger research project—of a surprising convergence between, on the one hand, certain themes in the work of Mary Hesse and Nelson Goodman in the 1950/60s and, on the other hand, recent work on the representational resources of science, in particular regarding model-based representation. The convergence between these more recent accounts of representation in science and the earlier proposals by Hesse and Goodman consists in the recognition (...) that, in order to secure successful representation in science, collective representational resources must be available. Such resources may take the form of (amongst others) mathematical formalisms, diagrammatic methods, notational rules, or—in the case of material models—conventions regarding the use and manipulation of the constituent parts. More often than not, an abstract characterization of such resources tells only half the story, as they are constituted equally by the pattern of (practical and theoretical) activities—such as instances of manipulation or inference—of the researchers who deploy them. In other words, representational resources need to be sustained by a social practice; this is what renders them collective representational resources in the first place. (shrink)
This paper explores Nicholas of Cusa’s framing of the De pace fidei as a dialogue taking place incaelo rationis. On the one hand, this framing allows Nicholas of Cusa to argue that all religious rites presuppose the truth of a single, unified faith and so temporally manifest divine logos in a way accommodated to the historically unique conventions of different political communities. On the other hand, at the end of the De pace fidei, the interlocutors in the heavenly (...) dialogue are enjoined to return to earth and lead their countrymen in a gradual conversion to the acceptance of rites which would explicitly acknowledge the metaphysically presupposed transcendent unity of all true faiths. In light of these two aspects of the literary framing of the De pace fidei, the question that motivates this paper concerns the extent to which the understanding of history subtending Cusanus’ temporal political aims is consistent with the understanding of history grounded in his metaphysical presupposition that there is una religio in omni diversitate rituum. In addressing this question, I shall argue that the literary strategy of the De pace fidei sacrifices Nicholas of Cusa’s apologetic doctrinal aims insofar as the text creates an allegorical space in which the tension between its literal and figurative dimensions assigns to its readers the task of choosing their own orientations to the significance of history as a foundation for future action. (shrink)
The contribution examines Goodman’s conception of philosophy, in particular his remark that his project can be understood as a «critique of worldmaking». It is argued that, despite dealing with epistemological questions, the general theory of symbols and worldmaking does not answer them. Rather, it can be conceived as a practical conception comparable to Kant’s critique of reason or to Wittgenstein’s critique of language games, i. e. , as a philosophy of world orientation. It is claimed that Goodman himself (...) could not articulate this dimension of his position appropriately as he kept using the language of epistemology. Yet many aspects of his thinking become much clearer if they are interpreted within a non-epistemological frame. (shrink)
Kripke's lectures, published as Wittgenstein on Rules and Private Language , posed a sceptical problem about following a rule, which he cautiously attributed to Wittgenstein. He briefly noticed an analogy between his new kind of scepticism and Goodman's riddle of induction. ‘Grue’, he said, could be used to formulate a question not about induction but about meaning: the problem would not be Goodman's about induction—‘Why not predict that grass, which has been grue in the past, will be grue (...) in the future?’—but Wittgenstein's about meaning: ‘Who is to say that in the past I did not mean grue by “green”, so that now I should call the sky, not the grass, “green”?’. (shrink)
It is now more than 50 years that the Goodman paradox has been discussed, and many different solutions have been proposed. But so far no agreement has been reached about which is the correct solution to the paradox. In this paper, I present the naturalistic solutions to the paradox that were proposed in Quine (1969, 1974), Quine and Ullian (1970/1978), and Stemmer (1971). At the same time, I introduce a number of modifications and improvements that are needed for overcoming (...) shortcomings of the solutions. The discussion of this improved version suggests that the Goodman paradox actually embodies three different problems; yet, one of them is not Goodman’s but Hume’s problem. The discussion also suggests that the naturalistic approach is probably the best for basing on it a theory of confirmation. Finally, I analyze one of Hume’s insights that seems to have been largely ignored. This insight shows a surprising similarity to a central feature of the naturalistic solutions. (shrink)
Theoria , the international Swedish philosophy journal, was founded in 1935. Its contributors in the first 75 years include the major Swedish philosophers from this period and in addition a long list of international philosophers, including A. J. Ayer, C. D. Broad, Ernst Cassirer, Hector Neri Castañeda, Arthur C. Danto, Donald Davidson, Nelson Goodman, R. M. Hare, Carl G. Hempel, Jaakko Hintikka, Saul Kripke, Henry E. Kyburg, Keith Lehrer, Isaac Levi, David Lewis, Gerald MacCallum, Richard Montague, Otto Neurath, Arthur (...) N. Prior, W. V. Quine, Nicholas Rescher, Ernest Sosa, Robert C. Stalnaker, P. F. Strawson, Patrick Suppes, Johan van Benthem, Georg Henrik von Wright and many others. Hempel's confirmation paradoxes, Ross's deontic paradox, Montague's universal grammar and Lindström's theorem are among the contributions to philosophy that were first published in Theoria. (shrink)
Hume defined ‘cause’ three times over. The two principal definitions (constant conjunction, felt determination) provide the anchors for the two main strands of the modem empiricist accounts of laws of nature 1 while the third (the counter factual definition 2) may be seen as the inspiration of the nonHumean necessitarian analyses. Corresponding to the felt determination definition is the account of laws that emphasizes human attitudes, beliefs, and actions. Latter day weavers of this strand include Nelson Goodman, A. J. (...) Ayer, and Nicholas Rescher. In Fact, Fiction and Forecast Goodman writes: “I want to emphasize the Humean idea that rather than a sentence being used for prediction because it is a law, it is called a law because it is used for prediction” (1955, p. 62). In “What is a law of nature?”, Ayer explains that the difference between ‘generalizations of fact’ and ‘generalizations of law’ “lies not so much on the side of facts which make them true, as in the attitude of those who put them forward” (1956, p. 162). And in a similar vein, Rescher maintains that lawfulness is “mind-dependent”; it is not something which is discovered but which is supplied: “Lawfulness is not found in or extracted from the evidence but superadded to it. Lawfulness is a matter of imputation” (1970, p. 107). By contrast, the constant conjunction definition promotes the view that laws are to be analyzed in terms of the de re characteristics of regularities, independently of the attitudes and actions of actual or potential knowers. (shrink)
This paper is a reaction to the book “Science and the Pursuit of Wisdom”, whose central concern is the philosophy of Nicholas Maxwell. I distinguish and discuss three concerns in Maxwell’s philosophy. The first is his critique of standard empiricism (SE) in the philosophy of science, the second his defense of aim-oriented rationality (AOR), and the third his philosophy of mind. I point at some problematic aspects of Maxwell’s rebuttal of SE and of his philosophy of mind and argue (...) in favor of AOR. (shrink)
An incorrect interpretation of Goodman’s theory of counterfactuals is persistently being offered in the literature. I find that strange. Even more so since the incorrectness is rather obvious. In this paper I try to figure out why is that happening. First I try to explain what Goodman did say, which of his claims are ignored, and what he did not say but is sometimes ascribed to him. I emphasize one of the bad features of the interpretation: it gives (...) counterfactuals some formal properties that neither Goodman nor (usually) the interpreter would accept. The usual interpretation (UI), which I claim should not be ascribed to Goodman, considers a counterfactual A>C true iff A, together with natural laws and all contingent truths cotenable with it, entails C. (UI) makes valid the law of conditional excluded middle, which Goodman clearly rejected. Among possible reasons for which the interpreters might find (UI) adequate is that (UI), as I argue, smuggles in the idea of minimal change, which is otherwise attractive, natural to many, but not to be found anywhere in Goodman’s paper. At the end I stress the significance of Goodman’s theory by arguing that we still need some of his notions to test the adequacy of our modern theories. (shrink)
For the last several decades, philosophers have wrestled with the proper place of religion in liberal societies. Usually, the debates among these philosophers have started with the articulation of various conceptions of liberalism and then proceeded to locate religion in the context of these conceptions. In the process, however, too little attention has been paid to the way religion is conceived. Drawing on the work of Robert Audi and Nicholas Wolterstorff, two scholars who are often read as holding opposing (...) views on these issues, I argue that, for the purposes of their argument about liberalism, both have implicitly accepted a concept of religion that has come under severe attack in recent work on the subject. Namely, they have accepted a concept of religion that identifies religion primarily with belief, ritual practice, and ecclesial institutions. Following recent scholarship, I suggest that religion is better conceived as a kind of culture. To conclude the essay, I gesture toward what the beginnings of a re-visioned debate about religion and liberal society might look like if one started from this revised conception of religion. (shrink)
In response to the fall of Constantinople in 1453, Nicholas of Cusa wrote De pace fidei defending a commitment to religious tolerance on the basis of the notion that all diverse rites are but manifestations of one true religion. Drawing on a discussion of why Nicholas of Cusa is unable to square the two objectives of arguing for pluralistic tolerance and explaining the contents of the one true faith, we outline why theological pluralism is compromised by its own (...) meta-exclusivism. (shrink)
Section 1 of this essay distinguishes between four interpretations of Socratic intellectualism, which are, very roughly: a version in which on any given occasion desire, and then action, is determined by what we think will turn out best for us, that being what we all, always, really desire; a version in which on any given occasion action is determined by what we think will best satisfy our permanent desire for what is really best for us; a version formed by the (...) assimilation of to, labelled the ‘standard’ version’ by Thomas C. Brickhouse and Nicholas D. Smith, and treated by them as a single alternative to their own interpretation; and Brickhouse and Smith’s own version. Section 2 considers, in particular, Brickhouse and Smith’s handling of the ‘appetites and passions’, which is the most distinctive feature of interpretation. Section 3 discusses Brickhouse and Smith’s defence of ‘Socratic studies’ in its historical context, and assesses the contribution made by their distinctive interpretation of ‘the philosophy of Socrates’. One question raised in this section, and one that is clearly fundamental to the existence of ‘Socratic studies’, is how different Brickhouse and Smith’s Socrates turns out to be from Plato himself, i.e., the Plato of the post-‘Socratic’ dialogues; to which the answer offered is that on Brickhouse and Smith’s interpretation Socratic moral psychology becomes rather less distinguishable from its ‘Platonic’ counterpart—as that is currently understood—than it is on the interpretation they oppose. (shrink)
Richard Falckenberg (1851-1920) in his book Grundzüge der Philosophie des Nicolaus Cusanus mit besonderer Berücksichtigung der Lehre vom Erkennen was among the first historians of philosophy to support the argument that Nicholas of Cusa was a modern philosopher because his innovative theory of knowledge. The Falckenberg's celebrity shall be reduced because he was later obscured by the most famous historians of philosophy as Ernst Cassirer and Joachim Ritter. In our paper we want to come back to the Falckenberg's book (...) and recover his main arguments about the proximity of Cusanus with the philosophies of Leibniz, Fichte and the positivists. (shrink)
A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)
Goodman concurs in Hume’s contention that no theory has any probability relative to any set of data, and offers two accounts, compatible with that contention, of how some inductive inferences are nevertheless justified. The first, framed in terms of rules of inductive inference, is well known, significantly flawed, and enmeshed in Goodman’s unfortunate entrenchment theory and view of the mind as hypothesizing at random. The second, framed in terms of characteristics of inferred theories rather than rules of inference, (...) is less well known, but provides a compelling view of inductive justification. Once the two accounts are clearly delineated, one can see that both are driven by a single deep conviction: that inductive justification can only be understood in terms of our actual inductive practice. (shrink)
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 and show that although some of his views may be now considered unfashionable or unorthodox, there is much in Goodman's work that is of significance today. The book begins with the "grue"-paradox, which exemplifies Goodman's way of dealing with philosophical problems. After this, the unifying features of Goodman's philosophy are presented - his constructivism, conventionalism and relativism - followed by an discussion of his central work, The Structure of Appearance and its significance in the analytic tradition. The following chapters present the technical apparatus that underlies his philosophy, his mereology and semiotics, which provides the background for discussion of Goodman's aesthetics. The final chapter examines in greater depth the presuppositions underlying his philosophy. (shrink)
The article elucidates and compares Ernst Cassirer's and Nelson Goodman's positions on the problem of cognition. They agree in rejecting the theory of reflection and accepting the concept of transformation. This transformation is not a total antithesis of reflection, but an extension of it: recognition means both creative production and imitative reflection. This eliminates the traditional epistemological dichotomy between constructing and discovering. The shared premise for both philosophers is the rejection of the primacy of facts and sense data, with (...) the result that the extended concept of cognition becomes an irrealistic concept of symbolic representation. The article examines the most important similarities and differences in views of these two thinkers. (shrink)
O artigo de Goodman “The Problem of Counterfactual Conditionals” teve um papel central no debate relativo a análise adequada dos condicionais contrafactuais. A seguir examinarei o artigo de Goodman em detalhe e discutirei algumas objeções e sugestões de Parry em seu artigo “A Reexamination of the Problem of Counterfactual Conditionals”. Restringirei minha discussão ao “problema das condições relevantes”, assim denominado por Goodman, que é o tema principal das críticas de Parry e que considero ser o problema principal (...) para a abordagem de Goodman. doi: http://dx.doi.org/10.5007 / 1808-1711.2011v15n3p383. (shrink)
En este artículo intentamos crear un lazo entre el enfoque gestáltico de Paul Goodman y el desarrollo humano a través del concepto de la participación comunitaria. La crítica social de Paul Goodman se conecta con las ideas centrales de la terapia gestáltica como una forma de mostrar la importancia de la participación comunitaria en una definición posible de desarrollo humano. La concepción de John Dewey de las instituciones como herramientas de desarrollo se utiliza como un punto de contacto (...) entre las proposiciones de Goodman y el problema de la organización social. Finalmente, mostramos la importancia de considerar la educación y la responsabilidad social como una forma de evitar un punto de vista individualista del desarrollo humano. (shrink)
Ricoeur’s reading of analytic philosophy is part of a philosophical plan that focuses on deepening his inquiry into various thematics, some theoretical in nature, others concerned with the history of philosophy. On the theoretical plane, Ricoeur’s interest in the analytic tradition is rooted in the problem of the relationship between language and the world; as regards the history of philosophy, he is interested in the shift from a transcendental philosophy to a contemporary philosophy that is concerned with the world of (...) experience and the actions of a fallible and capable human being. From this perspective, a possible way into a Ricœurian reading of analytic philosophy is through two authors: Ludwig Wittgenstein and Nelson Goodman. In both cases, Ricoeur does not so much oppose the approaches and results of an "analytic philosophy" to those of a "continental philosophy" as seek to renew his reflection on language, imagination, and reference. We can account for this evolution in two stages: first, we will focus on the comparison that Ricoeur makes between the philosophy of the later Husserl and the philosophy of the later Wittgenstein; second, we will reexamine Ricoeur’s reading of Goodman’s general theory of reference. Keywords: Analytic Philosophy, Imagination, Goodman, Language, Phenomenology, Reference, Wittgenstein. Résumé La lecture ricœurienne de la philosophie analytique sert un projet philosophique concentré sur l’approfondissement personnel d’un certain nombre de thématiques d’ordre théorique ou concernant l’histoire de la philosophie : sur le plan théorique, l’intérêt de Ricœur en direction de la tradition analytique s’ancre dans le problème de l’articulation entre le langage et le monde ; sur le plan d’un rapport à l’histoire de la philosophie, dans la question du passage d’une philosophie transcendantale à une philosophie contemporaine devant considérée de manière plus étroite le monde de l’expérience et des actions d’un homme faillible et capable. Dans cette perspective, une entrée possible dans une lecture ricœurienne de la philosophie analytique se joue à travers deux auteurs : Ludwig Wittgenstein et Nelson Goodman. Dans les deux cas, Ricœur confronte moins les approches et résultats d’une “philosophie analytique” à ceux d’une “philosophie continentale” qu’il ne cherche à renouveler sa réflexion sur le langage, l’imagination, et la référence. On pourra rendre compte de cette évolution à travers deux étapes : une première étape se concentrera sur la confrontation opérée par Ricœur entre la dernière philosophie de Husserl et la dernière philosophie de Wittgenstein ; lors d’une seconde étape, il s’agit de reconsidérer une lecture ricœurienne de la théorie générale de la référence de Goodman. Mots-clés: Goodman, Imagination, Langage, Phénoménologie, Philosophie analytique, Référence, Wittgenstein. (shrink)
Several authors argue that historical works should be viewed as relatively complex and autonomous constructions that are of interest in their own right. In the paper I follow this general approach to history and provide an analysis of historical representation inspired mainly by Nelson Goodman’s observations about symbols. In Languages of Art, Goodman makes a number of interesting claims regarding pictorial representation, exemplification and expression, which could be employed to clarify certain semantic questions of history. He convincingly shows (...) that there are two important questions about any representation: What is the representation about and what kind of representation is it? In the paper I make use of this two-questions point in order to explore the semantics of historical representation. In particular, this point helps to emphasize that historical works are not simple reports about past events but rather symbols revealing what kinds of representations they are, i.e. what they exemplify or express. (shrink)
_ Source: _Volume 55, Issue 1-3, pp 152 - 169 Previously, the author tried to show that some arguments in one of the two versions of Nicholas of Autrecourt’s _Quaestio de intensione visionis_ are taken almost verbatim from the anonymous _Tractatus de sex inconvenientibus_. This paper concentrates on the arguments themselves in order to consider two main issues: the ‘translatability’ of limit decision problems, manifest in Autrecourt’s juxtaposition of questions _de maximo et minimo, de primo et ultimo instanti_, and (...) the intension and remission of forms; the importance of Parisian discussions of limit decision problems prior to the adoption of the new analytical languages developed at Oxford. Thus, the paper is divided in two sections, the first concerning some arguments of Autrecourt’s question, the second focusing on the link between one of Autrecourt’s arguments and the medieval tradition of commentaries on Aristotle’s _De caelo_, in which it is possible to find some antecedents of the analytical approach that later Parisian scholars would apply to these problems. (shrink)
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.
This paper investigates the relation of the Calculus of Individuals presented by Henry S. Leonard and Nelson Goodman in their joint paper, and an earlier version of it, the so-called Calculus of Singular Terms, introduced by Leonard in his Ph.D. dissertation thesis Singular Terms. The latter calculus is shown to be a proper subsystem of the former. Further, Leonard’s projected extension of his system is described, and the definition of an intensional part-relation in his system is proposed. The final (...) section discusses to what extend Goodman might have contributed to the formulation of the Calculus of Individuals. (shrink)
La traduction latine des Dialoghi della historia du philosophe néo-platonicien Francesco Patrizi da Cherso est publiée à Bâle en 1570. L’étude de la circulation de ce texte et des choix de traduction permet de mieux comprendre la réception des artes historicae italiennes dans le Nord de l’Europe et les fluctuations ou limites du latin face à la montée en puissance de l’italien vernaculaire comme langue philosophique.
Nelson Goodman’s attempt to analyse the expressiveness of artworks in semantic terms has been widely criticised. In this paper I try to show how the use of an adapted version of his concept of exemplification, as proposed by Mark Textor, can help to alleviate the worst problems with his theory of expression. More particularly I argue that the recognition of an intention, which is central to Textor’s account of exemplification, is also fundamental to our understanding of expressiveness in art. (...) Moreover I propose that the recognition of this intention depends on our interpretation of the artwork – an insight Goodman tried to capture with his assertion that our attributions of expressive properties to artworks function metaphorically. The realisation of the context-dependence of our expressive judgements about art and, hence, of the central role interpretation plays in these judgements, I contend, counts in favour of theories of expression like Goodman’s that focus on semantic concerns. (shrink)
The five commentators on my paper ‘Gettier Cases in Epistemic Logic’ (GCEL) demonstrate how fruitful the topic can be. Especially in Brian Weatherson's contribution, and to some extent in those of Jennifer Nagel and Jeremy Goodman, much of the material constitutes valuable development and refinement of ideas in GCEL, rather than criticism. In response, I draw some threads together, and answer objections, mainly those in the papers by Stewart Cohen and Juan Comesaña and by Goodman.
In the introduction to his Philosophical Papers 1&2 Charles Taylor assures us that his work, while encompassing a range of issues, follows a single, tightly knit agenda. He claims that the central questions concern "philosophical anthropology". Taylor's work on these questions has been presented piecemeal, in the form of articles and papers, and the student has had to imagine what a systematic monograph by Taylor on philosophical anthropology would look like. Neither Hegel, Sources of the Self, Ethics of Authenticity, Catholic (...) Modernity nor Varieties of Religion Today, nor Taylor's forthcoming books on secularization and modern social imaginaries are such treatises on the ontology of the human being. Nicholas H. Smith's monograph Charles Taylor: Meaning, Morals and Modernity (Polity, 2002) puts forward a clear and well-argued assessment of Taylor's entire project, with details on his intellectual biography and political engagement. For the purposes of thinking through Taylor's work so far, this book is probably the best one around. It is divided into eight chapters: "Linguistic Philosophy and Phenomenology", "Science, Action and the Mind", "The Romantic Legacy", "The Self and the Good", "Interpretation and the Social Sciences", "Individual and Community", "Politics and Social Criticism", and "Modernity, Art and Religion". The chapters are thematically ordered, but the order of presentation follows roughly the temporal order of Taylor's career. In this review article, I will begin with what Smith identifies as Taylor's organizing idea, and then focus on Smith's presentation of Taylor's transcendental argumentation concerning 'human constants'. As exemplars, I will discuss two of the.. (shrink)
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 and show that although some of his views may be now considered unfashionable or unorthodox, there is much in Goodman's work that is of significance today. The book begins with the "grue"-paradox, which exemplifies Goodman's way of dealing with philosophical problems. After this, the unifying features of Goodman's philosophy are presented - his constructivism, conventionalism and relativism - followed by an discussion of his central work, The Structure of Appearance and its significance in the analytic tradition. The following chapters present the technical apparatus that underlies his philosophy, his mereology and semiotics, which provides the background for discussion of Goodman's aesthetics. (shrink)
Several philosophical problems are based on an analogy between a real situation and a probabilistic model. Such problems are based on urn analogies. The present dissertation aims to describe and implement a methodology oriented towards the resolution of philosophical problems based on an urn analogy. This methodology is based on the use of the n-universes. To this end, I describe first the n-universes in a detailed way. I also discuss the difficulties of the theory of n-universes related to the demultiplication (...) of the criteria and to the relation one/many between the objects and a given criterion. On the one hand, I present an application of the framework of n-universes to the Doomsday argument and to the problems recently appeared in the literature in keeping with the Doomsday argument. My concern is also with showing how the application of the framework of n-universes to several problems and thought experiments related to the Doomsday argument helps clarifying the problem data and making disappear the associated ambiguity. I present then an analysis of the following problems related to the Doomsday argument: the two urn case, God's Coin Toss, the Sleeping Beauty Problem, the Presumptuous Philosopher, Lazy Adam, and the Shooting-Room Paradox. I present lastly a solution to the Doomsday argument, based on a third route, by contrast to two types of solutions classically described. On the other hand, I present an application of the framework of n-universes to Goodman's paradox. I replace first Goodman's statement in the framework of n-universes. I propose then a solution to the paradox, based on a distinction between two different modelizations of Goodman's statement in two structurally different n-universes. (shrink)
During the early 1960s, Morris Goodman used a variety of immunological tests to demonstrate the very close genetic relationships among humans, chimpanzees, and gorillas. Molecular anthropologists often point to this early research as a critical step in establishing their new specialty. Based on his molecular results, Goodman challenged the widely accepted taxonomie classification that separated humans from chimpanzees and gorillas in two separate families. His claim that chimpanzees and gorillas should join humans in family Hominidae sparked a well-known (...) conflict with George Gaylord Simpson, Ernst Mayr, and other prominent evolutionary biologists. Less well known, but equally significant, were a series of disagreements between Goodman and other prominent molecular evolutionists concerning both methodological and theoretical issues. These included qualitative versus quantitative data, the role of natural selection, rates of evolution, and the reality of molecular clocks. These controversies continued throughout Goodman's career, even as he moved from immunological techniques to protein and DNA sequence analysis. This episode highlights the diversity of methods used by molecular evolutionists and the conflicting conclusions drawn from the data that these methods generated. (shrink)