Linked bibliography for the SEP article "Goodman's Aesthetics" by Alessandro Giovannelli

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A. Primary Works (in Aesthetics)

A.1 Books

  • 1968, 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.
  • 1978h, 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)
  • 1968, “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, Suppl., 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, 1978h. (Scholar)
  • 1977, “When Is Art?” In Perkins, David, and Barbara Leondar (eds.), The Arts and Cognition, Baltimore: Johns Hopkins UP. (Scholar)
  • 1978a, “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)
  • 1978b, “Reply to Beardsley,” Erkenntnis, 12, reprinted in Goodman, 1984. (Scholar)
  • 1978c, “Reply to Eberle,” Erkenntnis, 12, reprinted in Goodman, 1984. (Scholar)
  • 1978d, “Reply to Kjørup,” Erkenntnis, 12, reprinted in Goodman, 1984. (Scholar)
  • 1978e, “Reply to Robinson,” Erkenntnis, 12, reprinted in Goodman, 1984. (Scholar)
  • 1978f, “Reply to Rudner,” Erkenntnis, 12, reprinted in Goodman, 1984. (Scholar)
  • 1978g, “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 UP. (Scholar)
  • 1983b, “Modes of Symbolization,” in Copeland, Roger, and Marshall Cohen (eds.), What Is Dance? Oxford: Oxford UP. (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 UP. (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 UP. (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.
  • 1985, 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. (Scholar)

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)
  • Dutton, Denis, 1983, The Forger's Art. Berkeley, Calif.: University of California Press. (Scholar)
  • Gombrich, Ernst, 1960, Art and Illusion, London: Phaidon Press. (Scholar)
  • Goodman, Nelson, 1941, A Study of Qualities. Diss. Harvard University. In book form, New York: Garland 1990, Harvard Dissertations in Philosophy Series. (Scholar)
  • –––, 1951, The Structure of Appearance. Cambridge, Mass.: Harvard UP. 3rd ed. Boston: Reidel, 1977. (Scholar)
  • –––, 1954, Fact, Fiction, and Forecast. University of London: Athlone Press. 4th ed. Cambridge, MA: Harvard UP, 1983. (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 UP. (Scholar)
  • Wollheim, Richard, 1968, Art and Its Objects: An Introduction to Aesthetics. New York: Harper and Row. 2nd ed. Cambridge: Cambridge UP 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

B.4 Articles

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