A. Primary Works (in Aesthetics)

A.1 Books

• 1968a, Languages of Art: An Approach to a Theory of Symbols, Indianapolis: The Bobbs-Merrill Company.
• 1972a, (with Perkins, David, and Howard Gardner), Basic Abilities Required for Understanding and Creation in the Arts: Final Report, Cambridge, Mass.: Harvard University, Graduate School of Education: Project No. 9–0283.
• 1972b, Problems and Projects, Indianapolis: The Bobbs-Merrill Company.
• 1976, Languages of Art: An Approach to a Theory of Symbols, 2nd edition, Indianapolis: Hackett Publishing Company.
• 1978a, Ways of Worldmaking, Indianapolis: Hackett Publishing Company.
• 1984, Of Mind and Other Matters, Cambridge, Mass.: Harvard University Press.
• 1988, (with Catherine Z. Elgin), Reconceptions in Philosophy and Other Arts and Sciences, London: Routledge.

A.2 Articles

• 1966, “Merit as Means,” in Sidney Hook (ed.), Art and Philosophy, New York: New York University Press, reprinted in Goodman, 1972b. (Scholar)
• 1968b, “Art and Inquiry” (Presidential Address), Proceedings and Addresses of The American Philosophical Association, Eastern Division, 41, Yellow Springs, OH: Antioch. (Scholar)
• 1970a, “Some Notes on Languages of Art. Reply to Richard Wollheim,” Journal of Philosophy, 67, reprinted in Goodman, 1972b. (Scholar)
• 1970b, (with Howard Gardner), “The Randolph Museum Case,” prepared for the Institute in Arts Administration, Harvard University. (Scholar)
• 1971, “On J. J. Gibson’s New Perspective,” Leonardo, 4. (Scholar)
• 1972c, “Art and Understanding: The Need for a Less Simple-Minded Approach,” Music Educators Journal 58. (Scholar)
• 1974a, “On Reconceiving Cognition,” The Monist (Supplement), 58. (Scholar)
• 1974b, “On Some Questions Concerning Quotation,” The Monist, 58. (Scholar)
• 1975a, “A Message from Mars,” The Arts Spectrum, Office of the Arts, Harvard University, 2. (Scholar)
• 1975b, “The Status of Style,” Critical Inquiry, 1. (Scholar)
• 1975c, “Words, Works, Worlds,” Erkenntnis, 9, reprinted in Goodman, 1978a. (Scholar)
• 1977, “When Is Art?” In Perkins, David, and Barbara Leondar (eds.), The Arts and Cognition, Baltimore: Johns Hopkins University Press. (Scholar)
• 1978b, “Comments on Wollheim’s Paper: ‘Are the Criteria of Identity that Hold for a Work of Art in the Different Arts Aesthetically Relevant?’” Ratio, 20. (Scholar)
• 1978c, “Reply to Beardsley,” Erkenntnis, 12, reprinted in Goodman, 1984. (Scholar)
• 1978d, “Reply to Eberle,” Erkenntnis, 12, reprinted in Goodman, 1984. (Scholar)
• 1978e, “Reply to Kjørup,” Erkenntnis, 12, reprinted in Goodman, 1984. (Scholar)
• 1978f, “Reply to Robinson,” Erkenntnis, 12, reprinted in Goodman, 1984. (Scholar)
• 1978g, “Reply to Rudner,” Erkenntnis, 12, reprinted in Goodman, 1984. (Scholar)
• 1978h, “Stories upon Stories; or, Reality in Tiers,” originally presented at the Conference on Levels of Reality, Florence, reprinted in Goodman, 1984.
• 1979a, “J. J. Gibson’s Approach to the Visual Perception of Pictures,” Leonardo, 12. (Scholar)
• 1979b, “Metaphor as Moonlighting,” Critical Inquiry, 6, reprinted in Goodman, 1984. (Scholar)
• 1980, “Twisted Tales—or, Story, Study, and Symphony,” Critical Inquiry, 7. (Scholar)
• 1981a, “Routes of Reference”, Critical Inquiry, 8, reprinted in Goodman, 1984.
• 1981b, “Perspective as a Convention—on the Views of Goodman and Gombrich,” Leonardo, 14. (Scholar)
• 1981c, “Routes of Reference.” Critical Inquiry, 8, reprinted in Goodman, 1984. (Scholar)
• 1981d, “The Telling and the Told,” Critical Inquiry, 7. (Scholar)
• 1981e, “Ways of Worldmaking,” Leonardo, 14. (Scholar)
• 1982a, “Fiction for Five Fingers,” Philosophy and Literature, 6, reprinted in Goodman, 1984. (Scholar)
• 1982b, “Implementation of the Arts,” Journal of Aesthetics and Art Criticism, 40. (Scholar)
• 1983a, “Afterword: An Illustration,” in Copeland, Roger, and Marshall Cohen (eds.), What Is Dance? Oxford: Oxford University Press. (Scholar)
• 1983b, “Modes of Symbolization,” in Copeland, Roger, and Marshall Cohen (eds.), What Is Dance? Oxford: Oxford University Press. (Scholar)
• 1983c, “Realism, Relativism, and Reality,” New Literary History, 14. (Scholar)
• 1983d, (with Menachem Brinker), “Representation and Realism in Art,” printed in Hebrew as “Yitzog v’ realizem b’omanut,” Iyyun, 32. (Scholar)
• 1983e, “The Role of Notations,” in Copeland, Roger, and Marshall Cohen (eds.), What Is Dance? Oxford: Oxford University Press. (Scholar)
• 1985a, “How Buildings Mean,” Critical Inquiry, 11, reprinted in Goodman, Elgin, 1988. (Scholar)
• 1985b, “Statements and Pictures,” Erkenntnis 22. (Scholar)
• 1985c, “The End of the Museum?” Journal of Aesthetic Education, 19. (Scholar)
• 1986a, “A Note on Copies,” Journal of Aesthetics and Art Criticism, 44, pp. 291–292. (Scholar)
• 1986b, (with Catherine Z. Elgin), “Interpretation and Identity—Can the Work Survive the World?” Critical Inquiry, 12. (Scholar)
• 1986c, “The Nature and Function of Architecture,” Domus, 672. (Scholar)
• 1987a, with Catherine Z. Elgin, “Changing the Subject,” Journal of Aesthetics and Art Criticism, 46, reprinted with modifications in Shusterman, Richard (ed.), Analytic Aesthetics, Oxford: Blackwell, 1989. (Scholar)
• 1987b, “Variations on Variation—or Picasso Back to Bach,” Acta Philosophica Fennica, 43. (Scholar)
• 1988, “Aims and Claims,” Journal of Aesthetic Education, 22. (Scholar)
• 1988, “On What Should Not Be Said about Representation,” Journal of Aesthetics and Art Criticism 46. (Scholar)
• 1991a, “On Capturing Cities,” Journal of Aesthetic Education, 25. (Scholar)
• 1991b, “Retrospections,” Journal of Aesthetic Education, 25. (Scholar)
• 1992, “Contraverting a Contradiction, A Note On Metaphor And Simile, Reply To Kulka, Tomas,” Poetics Today, 13. (Scholar)
• 1994, (with T. Kulka), “How Metaphor Works its Wonders,” in Czech, Filosoficky Casopis, 42. (Scholar)
• 1996, “Authenticity,” in Turner, Jane Shoaf (ed.), The Grover Dictionary of Art, Oxford: Oxford University Press. (Scholar)
• 1997, “Some Reflections on My Philosophies,” Philosophia Scientiae, 2. (Scholar)

A.3 Multimedia Works

• 1972, Hockey Seen: A Nightmare in Three Periods and Sudden Death, first performed in Cambridge, Mass. Drawings by Katharine Sturgis; author and producer, Nelson Goodman; choreographer, Martha Gray; composer, John C. Adams.
• 1973, Rabbit, Run, dance version of John Updike’s novel, first performed at the Agassiz Theatre, Harvard University. Author and producer, Nelson Goodman; choreographer, Martha Gray; composer, Joel Kabakov. (Scholar)
• 1985d, Variations: An Illustrated Lecture Concert, including live or taped performance of David Alpher’s “Las Meninas” Theme and Variations for piano, guitar, oboe, and cello, synchronized with presentation of slides of Las Meninas by Velazquez and of Picasso’s painted variations on it, first performed at the University of Helsinki. Conceptual design by Nelson Goodman.

B. Secondary Works

B.1 References

• Black, Max, 1954, “Metaphor,” Proceedings of the Aristotelian Society, 55, pp. 273–294. (Scholar)
• Borges, Jorge, 1962, “Pierre Menard, Author of the Quixote,” Labyrinths, New York: New Directions, pp. 36–44. (Scholar)
• Budd, Malcolm, 1993, “How Pictures Look.” In Knowles, Dudley, and John Skorupski (eds.), Virtue and Taste, Cambridge: Blackwell. (Scholar)
• Currie, Gregory, 1989, An Ontology of Art, New York: Saint Martin’s Press. (Scholar)
• Dodd, Julian, 2013, “Adventures in the Metaontology of Art: Local Descriptivism, Artefacts and Dreamcatchers,” Philosophical Studies, 165: 1047–68. (Scholar)
• Dutton, Denis, 1983, The Forger’s Art, Berkeley, Calif.: University of California Press. (Scholar)
• Giovannelli, Alessandro, 1997, “Pictures and Reference in Nelson Goodman,” (in Italian), Annali del Dipartimento di Filosofia di Firenze, 1996-1997, pp. 91–131. (Scholar)
• Gombrich, Ernst, 1960, Art and Illusion, London: Phaidon Press. (Scholar)
• Goodman, Nelson, 1941, A Study of Qualities, Ph.D. Dissertation, Harvard University; in book form, New York: Garland (Harvard Dissertations in Philosophy Series, 1990). (Scholar)
• –––, 1951, The Structure of Appearance, Cambridge, Mass.: Harvard University Press (3rd edition), Boston: Reidel, 1977. (Scholar)
• –––, 1954, Fact, Fiction, and Forecast, University of London: Athlone Press. 4th ed. Cambridge, MA: Harvard University Press, 1983. (Scholar)
• Levinson, Jerrold, 1980. “Autographic and Allographic Art Revisited,” Philosophical Studies, 38: 367–84. (Scholar)
• Pillow, Kirk, 2003. “Did Goodman’s Distinction Survive LeWitt?” Journal of Aesthetics and Art Criticism, 61, pp. 365–80. (Scholar)
• Ridley, Aaron, 2013, “Brilliant Performances,” Royal Institute of Philosophy Supplement, 71: 209–27. (Scholar) (Scholar)
• Robinson, Jenefer, 2000, “Languages of Art at the Turn of the Century,” Journal of Aesthetics and Art Criticism, 58, pp. 213–218. (Scholar)
• Walton, Kendall, 1990, Mimesis as Make-Believe, Cambridge, Mass.: Harvard University Press. (Scholar)
• Wollheim, Richard, 1968, Art and Its Objects: An Introduction to Aesthetics, New York: Harper and Row (2nd edition), Cambridge: Cambridge University Press, 1980. (Scholar)
• Wollheim, Richard, 1987, Painting as an Art, London: Thames and Hudson. (Scholar)

B.2 Festschrifts and Symposia

• The Monist, Special issue dedicated to Languages of Art, 1974, 58. Includes: Margolis, Joseph, “Art as Language”; Sparshot, F. E., “Goodman on Expression”; Tormey, Alan, “Indeterminacy and of Identity in Art”; Kjørup, Søren. “George Inness and the Battle of Hastings, or Doing Things with Pictures”; Walton, Kendall L., “Are Representations Symbols?”; Bennett, John G., “Depiction and Convention”; Carrier, David, “A Reading of Goodman on Representation”; Ross, Stephanie, “Caricature”; Goodman, Nelson. “On Some Questions Concerning Quotation.” 294–306; Howard, V. A., “On Musical Quotation.” (Scholar)
• The Monist, Supplement, Symposium on Skills and Symbols, 1974, 58. Includes: Gardner, Howard, “A Psychological Investigation of Nelson Goodman’s Theory of Symbols”; Wartowsky, Marx W., “Art, Action and Ambiguity”; Goodman, Nelson, “On Reconceiving Cognition.” (Scholar)
• Erkenntnis, Special issue dedicated to The Philosophy of Nelson Goodman, 1978, 12. Includes: Eberle, Rolf A., “Goodman on Likeness and Difference of Meaning”; Wartowsky, Marx W., “Rules and Representation: The Virtues of Constancy and Fidelity Put in Perspective”; Robinson, Jenefer. “Two Theories of Representation”; Kjørup, Søren, “Pictorial Speech Acts”; Howard, V. A., “Music and Constant Comment”; Sagoff, Mark, “Historical Authenticity”; Beardsley, Monroe C., “Languages of Art and Art Criticism”; Morawski, Stefan, “Three Observations on Languages of Art”; Rudner, Richard S., “Show or Tell: Incoherence among Symbol Systems”; Goodman, Nelson, “Replies”. (Scholar)
• The Journal of Aesthetics and Art Criticism, Symposium: Aesthetics and Worldmaking: An Exchange with Nelson Goodman, 1981, 39. Includes: Ackerman, James S., “Worldmaking and Practical Criticism”; Kulenkampff, Jens, “Music Considered as a Way of Worldmaking”; Martin, Richard, “On Some Aesthetic Relations”; Nagel, Alan F., “‘Or as a Blanket’ Some Comments and Questions on Exemplification”; Margolis, Joseph, “What is When? When is What? Two Questions for Nelson Goodman”; Silvers, Anita, “The Secret of Style”; Hernadi, Paul.“More Questions Concerning Quotations”; Goodman, Nelson, “Replies.” (Scholar)
• Journal of Aesthetic Education, Symposium on More Ways of Worldmaking, 1991, 25. Includes: Hernadi, Paul, “More Ways of Worldmaking”; Goodman, Nelson, “On Capturing Cities”; Elgin, Catherine Z., “Sign, Symbol and System”; Mitchell, W.J.T., “Realism, Irrealism and Ideology—A Critique of Nelson Goodman”; Wollheim, Richard, “The Core of Aesthetics”; Hernadi, Paul, “Reconceiving Notation and Performance”; Ullian, J. S. “Truth”; Bruner, Jerome, “Self-Making and World-Making”; Hawley, A., “A Venerable Museum Faces the Future—Guided Tour Through the Gardner and its Director’s Mind”; Elgin, Catherine Z., “What Goodman Leaves Out”; Goodman, Nelson, “Retrospections”; Berka, Sigrid, “An International Bibliography of Works by and Selected Works about Nelson Goodman.” (Scholar)
• The Journal of Aesthetics and Art Criticism, Symposium: The Legacy of Nelson Goodman, 2000, 58. Includes: Carter, Curtis, “Nelson Goodman: Obituary”; Robinson, Jenefer, “Languages of Art at the End of the Century”; Elgin, Catherine Z., “Reorienting Aesthetics, Reconceiving Cognition”; Lopes, Dominic McIver, “From Languages of Art to Art in Mind”; Cometti, Jean-Pierre, “Activating Art: A View from France”; Kivy, Peter, “How to Forge a Musical Work”; Gardner, Howard, “Project Zero: Nelson Goodman’s Legacy in Arts Education.” (Scholar)

B.3 Books

• Cohnitz, Daniel, and Rossberg, Marcus, 2006, Nelson Goodman, Montreal: McGill-Queen’s University Press. (Scholar)
• Douglas, Mary, and David Hull, 1992, How classification works: Nelson Goodman among the social sciences, Edinburgh: Edinburgh University Press. (Scholar)
• Elgin, Catherine, 1983, With Reference to Reference, Indianapolis: Hackett. (Scholar)
• Elgin, Catherine, 1997, Nelson Goodman’s Philosophy of Art (The Philosophy of Nelson Goodman: Selected Series series). New York: Garland Publishing. (Scholar)
• Ernst, Gerhard, Steinbrenner, Jakob, and Scholz, Oliver (eds.), 2009, From Logic to Art: Themes from Nelson Goodman, Philosophical Research (Philosophische Forschung), Vol. 7, Frankfurt: Ontos Verlag. (Scholar)
• Morizot, Jacques, 1996, La philosophie de l’art de Nelson Goodman, Nîmes: Éd. J. Chambon. (Scholar)
• Paetzold, Heinz, 1997, The Symbolic Language of Culture, Fine arts, and Architecture: Consequences of Cassirer and Goodman: Three Trondheim Lectures, Trondheim: FF Edition. (Scholar)
• Reimer, B., and J. E. Wright (eds.), 1992, On the Nature of Musical Experience, Niwot, Co.: University Press of Colorado. (Scholar)
• Rudner, Richard, and Israel Scheffler (eds.), 1972, Logic and Art: Essays in Honor of Nelson Goodman, Indianapolis: Bobbs-Merrill Company. (Scholar)
• Shottenkirk, Dena, 2009, Nominalism and Its Aftermath: The Philosophy of Nelson Goodman, (Synthese Library), New York: Springer. (Scholar)

B.4 Articles and Book Chapters

• Ackerman, James, 1981. “Worldmaking and Practical Criticism,” Journal of Aesthetics and Art Criticism, 39: 249–54. (Scholar)
• Arrell, Douglas, 1990. “Exemplification Reconsidered,” British Journal of Aesthetics, 30: 233–43. (Scholar)
• –––, 1987. “What Goodman Should Have Said About Representation,” Journal of Aesthetics and Art Criticism, 46: 41–9. (Scholar)
• Bach, Kent, 1970. “Part of What a Picture Is,” British Journal of Aesthetics, 10: 119–37. (Scholar)
• Beardsley, Monroe, 1978. “Languages of Art and Art Criticism,” Erkenntnis: An International Journal of Analytic Philosophy, 12: 95–118. (Scholar)
• –––, 1973. “Semiotic Aesthetics and Aesthetic Education,” Philosophic Exchange: Annual Proceedings, 1: 155–71. (Scholar)
• –––, 1973. “What Is an Aesthetic Quality?” Theoria: A Swedish Journal of Philosophy, 39: 50–70. (Scholar)
• Bender, John, 1996. “Realism, Supervenience, and Irresolvable Aesthetic Disputes,” Journal of Aesthetics and Art Criticism, 54: 371–81. (Scholar)
• Bennett, John, 1974. “Depiction and Convention,” Monist: An International Quarterly Journal of General Philosophical Inquiry, 58: 255–68. (Scholar)
• Blumson, Ben, 2008. “Depiction and Convention,” Dialectica: International Journal of Philosophy of Knowledge, 62: 335–48. (Scholar)
• Boretz, Benjamin, 1970. “Nelson Goodman’s Languages of Art from a Musical Point of View,” Journal of Philosophy, 67: 540–52. (Scholar)
• Brown, Lee, 1980. “Philosophy, Rhetoric, and Style,” Monist: An International Quarterly Journal of General Philosophical Inquiry, 63: 425–44. (Scholar)
• –––, 1996. “Musical Works, Improvisation, and the Principle of Continuity,” Journal of Aesthetics and Art Criticism, 54: 353–69. (Scholar)
• Bruner, Jerome, 1991. “Self-Making and World-Making,” Journal of Aesthetic Education: 67–78. (Scholar)
• Bull, Malcolm, 1994. “Scheming Schemata,” British Journal of Aesthetics, 34: 207–17. (Scholar)
• Campbell, Keith, 1994. “Nelson Goodman’s Assimilation of Literary and Scientific Knowledge,” Literature and Aesthetics: The Journal of the Sydney Society of Literature and Aesthetics, 4: 7–15. (Scholar)
• Cantrick, Robert, 1993. “Is the Constructionalist Program Still Relevant?” Journal of Aesthetics and Art Criticism, 51: 71–2. (Scholar)
• Capdevila-Werning, Remei, 2011. “Can Buildings Quote?,” Journal of Aesthetics and Art Criticism, 69: 115–24. (Scholar)
• Carrier, David, 1982. “Art Without Its Artists?” British Journal of Aesthetics, 22: 233–44. (Scholar)
• –––, 1974. “A Reading of Goodman on Representation,” Monist: An International Quarterly Journal of General Philosophical Inquiry, 58: 269–84. (Scholar)
• Carter, Curtis, 2000. “A Tribute to Nelson Goodman,” Journal of Aesthetics and Art Criticism, 58: 251–3. (Scholar)
• Charlton, William, 1979. “The Art of Apelles,” Aristotelian Society: Supplementary Volume, Suppl. 53: 167–186. (Scholar)
• Chasid, Alon, 2004. “Why the Pictorial Relation Is Not Reference,” British Journal of Aesthetics, 44: 226–47. (Scholar)
• Cohen, Ted, 1981. “The Facts of Narrative: A Response to Nelson Goodman,” Synthese: An International Journal for Epistemology, Methodology and Philosophy of Science, 46: 351–4. (Scholar)
• Coldron, John, 1982. “Peltz on Goodman on Exemplification,” Journal of Aesthetic Education, 16: 87–94. (Scholar)
• Cometti, Jean-Pierre, 2000. “Activating Art,” Journal of Aesthetics and Art Criticism, 58: 237–43. (Scholar)
• Cooper Wengrowicz, Monica, 2002. “Poetry and Scientific Exposition: An analysis of Two Forms of Symbolic Representation,” Journal of Aesthetic Education, 36: 86–99. (Scholar)
• Davies, David, 1996. “Interpretive Pluralism and the Ontology of Art,” Revue Internationale De Philosophie, 50: 577–92. (Scholar)
• –––, 1991. “Works, Texts, and Contexts: Goodman on the Literary Artwork,” Canadian Journal of Philosophy, 21(3): 331–46. (Scholar)
• D’Cruz, Jason, and P.D., Magnus, 2014. “Are Digital Images Allographic?,” Journal of Aesthetics and Art Criticism, 72: 417–27. (Scholar)
• Derksen, Anthony, 2005. “Linear Perspective as a Realist Constraint,” Journal of Philosophy, 102: 235–58. (Scholar)
• Dickie, George, 1985. “Evaluating Art,” British Journal of Aesthetics, 25: 3–16. (Scholar)
• Drost, Mark, 1994. “Husserl and Goodman on the Role of Resemblance in Pictorial Representation,” International Studies in Philosophy 26: 17–27. (Scholar)
• Eaton, Marcia, 1977. “Metaphor and the Causal Theory of Expression,” Personalist, 58: 358–68. (Scholar)
• Elgin, Catherine Z., 1991. “What Goodman Leaves Out,” Journal of Aesthetic Education, 25: 89–96. (Scholar)
• –––, 1993. “Relocating Aesthetics,” Revue Internationale De Philosophie, 46: 171–86. (Scholar)
• –––, 2000. “Interpretation and Understanding,” Erkenntnis: An International Journal of Analytic Philosophy, 52: 175–83. (Scholar)
• –––, 2000. “Reorienting Aesthetics, Reconceiving Cognition,” Journal of Aesthetics and Art Criticism, 58: 219–25. (Scholar)
• Elkins, James, 1993. “From Original to Copy and Back Again,” British Journal of Aesthetics, 33: 113–20. (Scholar)
• Falk, B., 1975. “Portraits and Persons,” Proceedings of the Aristotelian Society, 75: 181–200. (Scholar)
• Files, Craig, 1996. “Goodman’s Rejection of Resemblance,” British Journal of Aesthetics, 36: 398–412. (Scholar)
• Gardner, Howard, 2000. “Project Zero: Nelson Goodman’s Legacy in Arts Education,” Journal of Aesthetics and Art Criticism, 58: 245–9. (Scholar)
• Giordani, A., Frigerio, A., Mari, L., 2013. “On Representing Information: A Characterization of the Analog/Digital Distinction,” Dialectica: International Journal of Philosophy of Knowledge, 67: 455–483. (Scholar)
• Giovannelli, Alessandro, 2012. “Nelson Goodman (1906–1998),” in A. Giovannelli (ed.), Aesthetics: The Key Thinkers, London: Continuum, 166–80. (Scholar)
• Goodrich, R. A., 1988. “Goodman on Representation and Resemblance,” British Journal of Aesthetics, 28: 48–58. (Scholar)
• Gover, K. E., 2015. “Are All Multiples the Same? The Problematic Nature of the Limited Edition,” Journal of Aesthetics and Art Criticism, 73: 69–80. (Scholar)
• Harris, N. G. E., 1973. “Goodman’s Account of Representation,” Journal of Aesthetics and Art Criticism, 31: 323–7. (Scholar)
• Hernadi, Paul, 1981. “More Questions Concerning Quotation,” Journal of Aesthetics and Art Criticism, 39: 271–3. (Scholar)
• Hester, Marcus, 1972. “Are Paintings and Photographs Inherently Interpretative?” Journal of Aesthetics and Art Criticism, 31: 235–46. (Scholar)
• Hopkins, Robert, 2005. “Aesthetics, Experience, and Discrimination,” Journal of Aesthetics and Art Criticism, 63: 119–33. (Scholar)
• Howard, V. A., 1978. “Music and Constant Comment,” Erkenntnis: An International Journal of Analytic Philosophy, 12: 73–82. (Scholar)
• –––, 1972. “On Representational Music,” Noûs, 6: 41–53. (Scholar)
• Hyman, John, 2013. “Depiction,” Royal Institute of Philosophy Supplement, 71: 129–50. (Scholar)
• Innis, Robert, 1977. “Art, Symbol, and Consciousness: A Polanyi Gloss on Susan Langer and Nelson Goodman,” International Philosophical Quarterly, 17: 455–76. (Scholar)
• Jacquette, Dale, 2000. “Goodman on the Concept of Style,” British Journal of Aesthetics, 40: 452–66. (Scholar)
• Janaway, Christopher, 1999. “What a Musical Forgery Isn’t,” British Journal of Aesthetics, 39: 62–71. (Scholar)
• Jensen, Henning, 1973. “Exemplification in Nelson Goodman’s Aesthetic Theory,” Journal of Aesthetics and Art Criticism, 32: 47–51. (Scholar)
• Kivy, Peter, 2000. “How to Forge a Musical Work,” Journal of Aesthetics and Art Criticism, 58: 233–5. (Scholar)
• Kotrozo-Donnell, Carol, 1982. “Representation as Denotation,” Journal of Aesthetics and Art Criticism, 40: 361–8. (Scholar)
• Kulenkampff, Jens, 1981. “Music Considered as a Way of Worldmaking,” Journal of Aesthetics and Art Criticism, 39: 254–8. (Scholar)
• Kulka, Tomas, 2005. “Forgeries and Art Evaluation: An Argument for Dualism in Aesthetics,” Journal of Aesthetic Education, 39: 58–70. (Scholar)
• Kulvicki, John, 2003. “Image Structure,” Journal of Aesthetics and Art Criticism, 61: 323–40. (Scholar)
• Lammenranta, Markus, 1992. “Goodman’s Semiotic Theory of Art,” Canadian Journal of Philosophy, 22: 339–51. (Scholar)
• –––, 1988. “Nelson Goodman on Emotions in Music,” Acta Philosophica Fennica, 43: 210–6. (Scholar)
• Laner, Iris, 2015. “Practical Aesthetic Knowledge: Goodman and Husserl on the Possibilities of Learning from Aesthetic Practices,” Estetika: The Central European Journal of Aesthetics, 52: 164–89. (Scholar)
• –––, 2014. “Learning by Viewing: Towards a Phenomenological Understanding of the Practical Value of Aesthetic Experience,” Proceedings of the European Society for Aesthetics, 6: 208–28. (Scholar)
• Lauter, H. A., 1988. “Cognitive Art,” Philosophical Inquiry: International Quarterly, 10: 85–95. (Scholar)
• Levinson, Jerrold, 1980. “Autographic and Allographic Art Revisited,” Philosophical Studies: An International Journal for Philosophy in the Analytic Tradition, 38: 367–84. (Scholar)
• Lewis, Douglas, 1971. “Analog and Digital,” Noûs, 5: 321–8. (Scholar)
• Lopes, Dominic M. McIver, 2000. “From Languages of Art to Art in Mind,” Journal of Aesthetics and Art Criticism, 58: 227–31. (Scholar)
• Lord, Catherine, and José A. Benardete, 1991. “Baxandall and Goodman,” in Kemal, Samil, and Ivan Gaskell (eds.), The Language of Art History, New York: Cambridge Univ Press. (Scholar)
• Manns, James, 1977. “Goodman on Metaphor,” Personalist, 58: 173–8. (Scholar)
• Margolis, Joseph, 1970. “Numerical Identity and Reference in the Arts,” British Journal of Aesthetics, 10: 138–46. (Scholar)
• –––, 1976. “Aesthetic Appreciation and the Imperceptible,” British Journal of Aesthetics, 16: 305–12. (Scholar)
• –––, 1981. “What is When, When is What: Two Questions for Nelson Goodman,” Journal of Aesthetics and Art Criticism, 39: 266–8. (Scholar)
• –––, 1984. “Artworks and the History of Production,” Communication and Cognition: An Interdisciplinary Quarterly Journal, 17: 89–106. (Scholar)
• –––, 1998. “Farewell to Danto and Goodman,” British Journal of Aesthetics, 38: 353–74. (Scholar)
• Martin, Richard, 1981. “On Some Aesthetic Relations,” Journal of Aesthetics and Art Criticism, 39: 258–64. (Scholar)
• McCormick, Peter. 1987. “Real Fictions,” Journal of Aesthetics and Art Criticism, 46: 259–70. (Scholar)
• Mitchell, W. J. T., 1991. “Realism, Irrealism, and Ideology: A Critique of Nelson Goodman,” Journal of Aesthetic Education, 25(1): 21–35. (Scholar)
• Mitias, Michael, 1994. “Expression in Architecture,” in Mitias, M. (ed.), Philosophy and Architecture, Amsterdam: Rodopi. (Scholar)
• Morawski, Stefan, 1978. “Three Observations on Languages of Art,” Erkenntnis: An International Journal of Analytic Philosophy, 12: 119–28. (Scholar)
• –––, 1974. “On Mimesis,” Ajatus: Yearbook of the Philosophical Society of Finland, 36: 201–34. (Scholar)
• Morizot, Jacques, 2011. “Phenomenalism in Epistemology and Physicalism in Aesthetics,” Principia: Revista Internacional de Epistemologia, 15: 439–52. (Scholar)
• Morton, Luise, and Thomas R. Foster, 1991. “Goodman, Forgery, and the Aesthetic,” Journal of Aesthetics and Art Criticism, 49: 155–9. (Scholar)
• Newall, Michael, 2010. “Pictorial Resemblance,” Journal of Aesthetics and Art Criticism, 68: 91–103. (Scholar)
• Novitz, David, 1975. “Picturing,” Journal of Aesthetics and Art Criticism, 34: 145–55. (Scholar)
• Nozick, Robert, 1972. “Goodman, Nelson, on Merit, Aesthetic,” Journal of Philosophy, 21: 783–5. (Scholar)
• Pearce, David, 1988. “Musical Expression: Some Remarks on Goodman’s Theory,” Acta Philosophica Fennica, 43: 228–43. (Scholar)
• Peltz, Richard, 1972. “Nelson Goodman on Picturing, Describing, and Exemplifying,” Journal of Aesthetic Education, 6: 71–86. (Scholar)
• Pillow, Kirk, 2003. “Did Goodman’s Distinction Survive LeWitt?” Journal of Aesthetics and Art Criticism, 61: 365–80. (Scholar)
• Pole, David, 1974. “Goodman and the ‘Naïve’ View of Representation,” British Journal of Aesthetics, 14: 68–80. (Scholar)
• Predelli, Stefano, 1999. “Goodman and the Wrong Note Paradox,” British Journal of Aesthetics, 39: 364–75. (Scholar)
• –––, 1999. “Goodman and the Score,” British Journal of Aesthetics, 39: 138–47. (Scholar)
• Ralls, Anthony, 1972. “The Uniqueness and Reproducibility of a Work of Art: A Critique of Goodman’s Theory,” Philosophical Quarterly, 86: 1–18. (Scholar)
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