In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship (...) between Genette’s and Daniel Arasse’s reflections on restoration and the history of art, highlighting their similarities and differences with Cesare Brandi’s theory of restoration and, therefore, pointing out their as yet undischarged debts to Sartre’s phenomenology of image. (shrink)

The editor first approached Henry Nelson Wieman in March of 1968 about making a collection of his essays. Throughout the years Mr. Wieman have been most cooperative and helpful in the matters of verifications, editing, and structure. Mr. Wieman read several introductions for the essays by the editor. He offered significant criticisms pertaining to the interpretation of the essays in this collection. The present introduction is the outcome of taking seriously these criticisms and several rewritings of the major (...) parts of the interpretations. It is hoped that the interpretative role of the introduction has been enhanced by the changes undertaken. (shrink)

This is a summation by an outstanding American theological writer of a lifetime of thought about the course that mankind has taken. This book has taken its place in religious writing as a clear statement of the empirical religious philosophy which he has been instrumental in establishing and developing. Originally published in 1958 by the Southern Illinois University Press. Co-published with the Foundation for the Philosophy of Creativity.

pt. I. The historical growth of religion, by W. M. Horton.--pt. II. Contemporary growth of religion, by H. N. Wieman.

The thesis is two-fold: to show that to be human is to have a nature disposed to inalienable conflict of interests, and to show that creativity is the best principle by which to organize interests.

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)

How Classification Works attempts to bridge the gap between philosophy and the social sciences using as a focus some of the work of Nelson Goodman. Throughout his long career Goodman has addressed the question: are some ways of conceptualizing more natural than others? This book looks at the rightness of categories, assessing Goodman's role in modern philosophy and explaining some of his ideas on the relation between aesthetics and cognitive theory. Two papers by Nelson (...) class='Hi'>Goodman are included in the collection and there are analyses of his work by seven leading academics in anthropology, philosophy, sociology and musicology. (shrink)

With this third edition of Nelson Goodman's The Structure of Appear ance, we are pleased to make available once more one of the most in fluential and important works in the philosophy of our times. Professor Geoffrey Hellman's introduction gives a sustained analysis and appreciation of the major themes and the thrust of the book, as well as an account of the ways in which many of Goodman's problems and projects have been picked up and developed by (...) others. Hellman also suggests how The Structure of Appearance introduces issues which Goodman later continues in his essays and in the Languages of Art. There remains the task of understanding Good man's project as a whole; to see the deep continuities of his thought, as it ranges from logic to epistemology, to science and art; to see it therefore as a complex yet coherent theory of human cognition and practice. What we can only hope to suggest, in this note, is the b. road Significance of Goodman's apparently technical work for philosophers, scientists and humanists. One may say of Nelson Goodman that his bite is worse than his bark. Behind what appears as a cool and methodical analysis of the conditions of the construction of systems, there lurks a radical and disturbing thesis: that the world is, in itself, no more one way than another, nor are we. It depends on the ways in which we take it, and on what we do. (shrink)