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)

The primary intention of this book is to elucidate the relations between sensory perception and art as a form of knowledge. This enables us to understand how different kinds of art are given their meaning not only from observation, resemblance and reason but also from an artist’s sensitivity to the inner form of sensory experience as it is realized in perception, reflection, memory and imagination. By assuming a number of different points of view, Part 1 shows how the physical object (...) and the act of sensory perception are logically interdependent, and I give my elaboration of this argument two kinds of emphasis. In the first place, it opposes all arguments that support a merging of the mental and physical, as in idealism, materialism, neutral monism and panpsychism. A conceptual distinction is observed because sensory perception gives the physical object its identity. This idea also implies that the physical object is only realized by sentient life - self-aware inner life and a world become possible simultaneously. The second emphasis concerns the mind-body problem, and towards the end of Part 1 I offer an argument which places this problem in a certain light by representing the brain not as a physical counterpart to inner experience but as essentially instrumental to perception and self-awareness, and related experience. The argument in Part 2 is distinguished by a sense of continuity between the nature of sensory perception and the formal resources of artists in both physical and literary media. Hence, in a discussion of Titian’s Assumption of the Virgin, I indicate ways in which the painter conveys the inner experience and character of the figures in the painting by means of compositional design, light and colour, and thereby uses these and other sensuous resources to portray human life and experience. This is followed by a discussion of two sonnets by Shakespeare, in which the same general aim is pursued by using the literary resources of figurative language. Finally, a discussion of Hamlet shows how, in this work, the augmentation of figurative language by dramatic form strengthens the view that art can provide a form of knowledge that is based as completely upon intuition about our sensory experience as it is upon reason and observation. Just as my (true) perception of a cup as a vessel for drinking tea or coffee arises immediately from past experience, so the dramatist can see immediately from his or her past experience how a character might perceive things and behave. -/- . (shrink)

This chapter focuses on one of the common fallacies in Western philosophy called the 'is/ought fallacy (IOF)'. Some philosophers conclude that the IOF is not a logical problem but an epistemological one, meaning that even if inferences like this one are logically valid, they cannot be used epistemologically to warrant anyone's real‐life moral beliefs. Arguments do not warrant their conclusions unless the premises of those arguments are themselves warranted, and in the real world, they say, no one would ever be (...) warranted in believing premise. Charles Pigden argues for the illegitimacy of the move from is to ought, saying that we should understand David Hume as pointing to the conservativeness of logic. According to Pigden, logic is conservative in that “the conclusions of a valid inference are contained within the premises. You do not get out what you have not put in”. (shrink)

In his new foreword to this edition, Hilary Putnam forcefully rejects these nativist claims.

Many students ask, 'What is the point of learning formal logic?' This book gives them the answer. Using the methods of deductive logic, Nelson Lande introduces each new element in exquisite detail, as he takes students through example after example, proof after proof, explaining the thinking behind each concept. Shaded areas and appendices throughout the book provide explanations and justifications that go beyond the main text, challenging those students who wish to delve deeper, and giving instructors the (...) option of confining their course to the basics, or expanding it, when they wish, to more rigorous levels. Lande encourages students to think for themselves, while at the same time providing them with the level of explanation they need to succeed. It is a rigorous approach presented in a style that is informal, engaging, and accessible. Students will come away with a solid understanding of formal logic and why it is not only important, but also interesting and sometimes even fun. It is a text that brings the human element back into the teaching of logic. --Hans Halvorson, Princeton University. (shrink)

How to use truth tables to narrow down the number of possible candidates for missing premise. and, how to use philosophical analysis to pick the most plausible candidate from among those. this activity is a nice capstone to a course in logic for it combines formal and informal procedures.

One of the scholars that made sustained contributions to the development of philosophy of history is Georg Wilhelm Friedrich Hegel. Hegel offers a dialectical conception of history in which the absolute spirit moves towards self-actualization. However, Hegel’s idea of history appears prejudiced and misguided because he not only derided and battered Africans using his imprudent racial schemes, he even excluded Africa from historical considerations in his uncouth racial agenda. This paper uses the critical analytic model to deleted ultimately show that (...) not only was Hegel uninformed to comment on the ontology of Africa and Africans, but that even the system was self-defeating. That is, it was a case of _Hegel against Hegel._ This is the novelty of this paper since a Hegelian system that is against itself cannot muster the necessary guts and logic to lampoon and destroy another system, worse still, thoughtlessly and irrationally too. The paper also argued that the disposition to colour-brand people using racial scheme is uncritical and inhumane. (shrink)

During the last third of the 20C, public discourse in the United States has become increasingly acerbic. Parallel to this development there has been an increasing enrollment in College level logic courses, courses that focus on arguments and their appraisal. Could there be a connection? A number of majorphilosophers do not just see arguments as either 100% correct or 100% incorrect. Notable in this regard are Plato, Aquinas and Hume. Their approach to “logic” and that of others is (...) offered as a palliative to the types of logic that we now teach. (shrink)

Obviously, subject is what is said, style is how. A little less obviously, that formula is full of faults. Architecture and nonobjective painting and most of music have no subject. Their style cannot be a matter of how they say something, for they do not literally say anything; they do other things, they mean in other ways. Although most literary works say something, they usually do other things, too; and some of the ways they do some of these things are (...) aspects of style. Moreover, the what of one sort of doing may be part of the how of another. Indeed, even where the only function in question is saying, we shall have to recognize that some notable features of style are features of the matter rather than the manner of the saying. In more ways than one, subject is involved in style. For this and other reasons, I cannot subscribe to the received opinion that style depends upon an artist's conscious choice among alternatives. And I think we shall also have to recognize that not all differences in ways of writing or painting or composing or performing are differences in style. Nelson Goodman, professor of philosophy at Harvard University, has written The Structure of Appearance; Fact, Fiction and Forecast; Languages of Art: An Approach to a Theory of Symbols; Problems and Projects; and numerous articles. Logic and Art: Essays in Honor of Nelson Goodman was published in 1972. His contributions to Critical Inquiry include "Metaphor as Moonlighting" , "Twisted Tales; or, Story, Study, and Symphony" , and "The Telling and the Told". (shrink)

There are three distinct questions associated with Simpson's paradox, (i) Why or in what sense is Simpson's paradox a paradox? (ii) What is the proper analysis of the paradox? (iii) How one should proceed when confronted with a typical case of the paradox? We propose a "formar" answer to the first two questions which, among other things, includes deductive proofs for important theorems regarding Simpson's paradox. Our account contrasts sharply with Pearl's causal (and questionable) account of the first two questions. (...) We argue that the "how to proceed question?" does not have a unique response, and that it depends on the context of the problem. We evaluate an objection to our account by comparing ours with Blyth's account of the paradox. Our research on the paradox suggests that the "how to proceed question" needs to be divorced from what makes Simpson's paradox "paradoxical.". (shrink)

There are three distinct questions associated with Simpson’s paradox. Why or in what sense is Simpson’s paradox a paradox? What is the proper analysis of the paradox? How one should proceed when confronted with a typical case of the paradox? We propose a “formal” answer to the first two questions which, among other things, includes deductive proofs for important theorems regarding Simpson’s paradox. Our account contrasts sharply with Pearl’s causal account of the first two questions. We argue that the “how (...) to proceed question?” does not have a unique response, and that it depends on the context of the problem. We evaluate an objection to our account by comparing ours with Blyth’s account of the paradox. Our research on the paradox suggests that the “how to proceed question” needs to be divorced from what makes Simpson’s paradox “paradoxical.”. (shrink)

In this paper I want to explore the arguments for so-called ‘unarticulated constituents’ (UCs). Unarticulated constituents are supposed to be propositional elements, not presented in the surface form of a sentence, nor explicitly represented at the level of its logical form, yet which must be interpreted in order to grasp the (proper) meaning of that sentence or expression. Thus, for example, we might think that a sentence like ‘It is raining’ must contain a UC picking out the place at which (...) the speaker of the sentence asserts it to be raining. In §1 I will explore the nature of UCs a little further, and, in §2, suggest that we can recognise two different forms of argument for them.. (shrink)