Explains the difference between pictorial and linguistic meaning, examines the works of Titian, Poussin, Ingres, Manet, Picasso, and de Kooning, and discusses art's psychological impact.

. . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." -- Richard Rorty, The Yale Review.

Nelson Goodman and, following him, Catherine Z. Elgin and Keith Lehrer have claimed that sometimes a sample is a symbol that stands for the property it is a sample of. The relation between the sample and the property it stands for is called 'exemplification' (Goodman, Elgin) or 'exemplarisation' (Lehrer). Goodman and Lehrer argue that the notion of exemplification sheds light on central problems in aesthetics and the philosophy of mind. However, while there seems to be a phenomenon to be captured, (...) Goodman's account of exemplification has several flaws. In this paper I will offer an alternative account of exemplification that is inspired by Grice's idea that one can communicate something by providing one's audience with intention-independent evidence and letting them draw the obvious conclusion for themselves. This explication of exemplification will solve the problems that arose for Goodman's theory in the spirit of his approach.1. (shrink)

Yet while all features of reality are dependent upon discourse, are there perhaps some features of discourse that are independent of reality the differences, for example, between the ways two discourses may say exactly the same thing? The old and ugly notion of synonomy rattles a warning here: Can there ever be two different discourses that say exactly the same thing in different ways, or does every difference between discourses make a difference in what is said? Luckily, we can pass (...) over that general question here. We are concerned only with the specific question whether organization into referential chains and levels is purely conventional, independent of everything beyond discourse. And the plain answer is that such organization of discourse participates notably in the organization of a reality. A label in any nonnull application, literal or metaphorical, marks off entities of a certain kind, and even where the denotation is null, the label marks off labels of a certain kind that apply to that label. Just such marking off or selection of entities and relevant kinds makes them such as distinguished from the results of alternative organizations.Nelson Goodman, emeritus professor of philosophy at Harvard University and the author of, among other works, The Structure of Appearance, Ways of Worldmaking, and Problems and Projects, is currently working on projects in the performing arts and on a new collection of essays. His previous contributions to Critical Inquiry are "The Status of Style' , "Metaphor as Moonlighting" , "Twisted Tales; or, Story, Study, and Symphony" , and "The Telling and the Told". (shrink)

The acknowledged difficulty and even impossibility of finding a literal paraphrase for most metaphors is offered by [Donald] Davidson1 as evidence that there is nothing to be paraphrased - that a sentence says nothing metaphorically that it does not say literally, but rather functions differently, inviting comparisons and stimulating thought. But paraphrase of many literal sentences also is exceedingly difficult, and indeed we may seriously question whether any sentence can be translated exactly into other words in the same or any (...) other language. Let's agree, though, that literal paraphrase of metaphor is on the whole especially hard. That is easily understood since the metaphorical application of terms has the effect, and usually the purpose, of drawing significant boundaries that cut across ruts worn by habit, of picking out new relevant kinds for which we have no simple and familiar literal descriptions. We must note in passing, though, that the metaphorical application may nevertheless be quite clear. For just as inability to define "desk" is compatible with knowing which articles are desks, so inability to paraphrase a metaphorical term is compatible with knowing what it applies to, And as I have remarked elsewhere,2 whether a man is metaphorically a Don Quixote or a Don Juan is perhaps easier to decide than whether he is literally a schizoid or a paranoiac. · 1. In "What Metaphors Mean," Critical Inquiry 5 : 31-47.· 2. In "Stories upon Stories; or, Reality on Tiers," delivered at the conference Levels of Reality, in Florence, Italy, September 1978. Nelson Goodman, emeritus professor of philosophy at Harvard, has written The Structure of Appearance; Fact, Fiction, and Forecast; Languages of Art: An Approach to a Theory of Symbols; Problems and Projects; and, most recently, Ways of Worldmaking. His contributions to Critical Inquiry include "The Status of Style" , "Twisted Tales; or, Story, Study, and Symphony" , and "The Telling and the Told". (shrink)

The paper argues that an important class of aesthetic terms cannot be used as metaphors because it is impossible to commit a category mistake with them. It then uses this fact to provide a general definition of 'aesthetic property'.

Matravers examines how emotions form the bridge between our experience of art and of life. We often find that a particular poem, painting, or piece of music carries an emotional charge; and we may experience emotions toward, or on behalf of, a particular fictional character. Matravers shows that what these experiences have in common, and what links them to the expression of emotion in non-artistic cases, is the role played by feeling. He carries out a critical survey of various accounts (...) of the nature of fiction, attacks contemporary cognitivist accounts of expression, and offers an uncompromising defense of a controversial view about musical expression: that music works by expressing the emotions it causes its listeners to feel. (shrink)

The primary use of such terms as "sadness" and "joy" is to refer to the mental states of people. In such cases, the claim that someone is sad is equivalent to the claim that they feel sad. However, our use of emotion terms is broader than this; a funeral is a sad occasion, a wedding is a happy event. In such cases, a justification can be given for the use of the word. For example, it is part of what is (...) meant by "sadness" that events such as funerals are an appropriate object for such emotions and the epithet is transferred. Sometimes in criticism a similar justification can be given; it explains, for example, why the death of Little Nell is sad. On other occasions such a justification is not available. A poem can express sadness without representing a sad state of affairs. More obviously, to take a medium that is not representational, a piece of music can be sad. What we need is some way of making sense of these uses of the emotion terms. (shrink)