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A Critical Exposition of Nelson Goodman's A critical exposition of Nelson Goodman’s concept of metaphorical exemplification COLDRON, J. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/2526/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/2526/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. 1 A CRITICAL EXPOSITION OF NELSON GOODMAN’S CONCEPT OF METAPHORICAL EXEMPLIFICATION A thesis submitted for the degree of Master of Philosophy by John H. Coldron The Department of Philosophy University of Sheffield September 1982 2 for my parents Stan and Cicely Coldron PLEASE NOTE: THIS FILE HAS BEEN SCANNED FROM THE HARD COPY AND PROOF READ BUT MAY STILL CONTAIN SOME SCANNING ERRORS. I WOULD BE GRATEFUL IF YOU WOULD INFORM ME OF ANY ERRORS YOU FIND. Contact details: Professor John Coldron Sheffield Hallam University Email: [email protected] Tele: +44 (0)1142255555 Or 25 Sterndale Road Sheffield S7 2LB Tele: +44 (0)1142369297 September 2010 3 A Critical Exposition of Nelson Goodman’s Concept of Metaphorical Exemplification A thesis submitted by John H. Coldron for the degree of Master of Philosophy Summary In tackling the concept of expression in Languages of Art Goodman first defines the concept of exemplification and then that of metaphor. The terms being presented, he proceeds to define expression as a metaphorical sub-species of the relation of exemplification. I follow Goodman in first considering exemplification. In doing so I also look at his theory of notation in so far as this introduces aspects of indeterminacy of reference. I consider criticisms of Goodman by Peltz, Brentlinger and Jensen and use an actual musical example to try first to clarify some of the technical terms by applying them and secondly to analyse the various modes of reference used simultaneously in a small part of one work. I then expound and assess his theory of metaphor. In order to do this his theory of projection has to be carefully examined. A crucial equivocation is exposed in his appeal to similarity to explain the operation of metaphor. I introduce the notion of an affinitive projection as a necessary and useful amendment to avoid the problems discovered. Before proceeding to examine in detail how he formulates and applies the notion of metaphorical exemplification I pause to provide an historical account of the idea of expression, identifying the main threads that contribute to this strand of modem aesthetic thought. The theories of five influential expressive theorists are briefly outlined in order to set Goodman's account in an historical context. His account is then examined and assessed. An interpretation of Goodman‟s theory of art as interactive is developed and certain difficulties arising from the earlier equivocation are noted. His relation to the earlier historical accounts is traced and the success of his account discussed. 4 Contents Preface V I Introduction 1 II Exemplification 1. Why exemplification? 7 2. What is the relation of exemplification? 11 3. The exemplification of non-verbal labels 22 4. A further source of indeterminacy 32 III Metaphor 1. Reconnaissance 62 2. The actual 66 3. The literal/metaphorical distinction 98 4. How does Goodman relate the literal usage to the metaphorical? 102 5. Good and bad metaphors 120 IV Expression 1. Introduction 133 2. Imagination and Articulacy 134 3. Access to the inaccessible 138 4. Emotion and self-expression 144 5. Tolstoy 147 6. Croce 154 7. Collingwood 159 8. Dewey 166 9. Langer 173 10. Art and therapy 181 V Expression as metaphorical exemplification 1. The formal definition 184 2. Expression, arbitrariness and the process of interaction 188 3. Expression and the freezing of metaphor 197 4. Art and the expression of emotions 203 5. Art and self-expression 209 6. Art as therapy and as access to the inaccessible 211 7. Art as immediate 211 8. Art as articulation 213 9. Concluding remarks 215 Notes and References 220 Bibliography 233 5 Preface …………..; and, for the sage, Let spear-grass and the spiteful thistle wage War on his temples. Do not all charms fly At the mere touch of cold philosophy? There was an awful rainbow once in heaven: We know her woof, her texture; she is given In the dull catalogue of common things. Philosophy will clip an Angel's wings, Conquer all mysteries by rule and line, Empty the haunted air, and gnomed mine - Unweave a rainbow,………….. from Lamia by John Keats I was sufficiently aware in myself of the apparent incompatibility between philosophical understanding and the artistic way of knowing for it to trouble me. Perhaps it was partly for this reason that I was intrigued by the systematic approach of Goodman. After a long time I can say that this issue still interests me and a close critical study of Goodman's works has led me to a clearer understanding of what is involved in the contradiction. Both my ability to approach the real issues at stake and the description I would give of them have changed considerably. What has not changed is my feeling that it is, on the whole, a good strategy to attempt to understand what a person has said, or is trying imperfectly to say, before condemning what you imagine he or she has said. In the case of Goodman the effort required adequately to comprehend is considerable. I hope I have met the challenge satisfactorily. This piece of work has been long in the making. Many thanks are owed not all of which can be properly paid. Throughout, the firm but unobtrusive support of my supervisor, Merilys Lewis, has been invaluable. Heartfelt thanks go to her. I am immensely grateful to Ruby Symonds for undertaking so professionally the mammoth task of typing at a time of deep personal trouble. In my circumstances, practical and financial help was very important and I must thank Barnsley M.D.C. for allowing me to take two terms leave. Without these my thesis would not now be finished. My parents also helped to make my leave possible - my thanks to them. The only way I can thank my family, Sue, David, Joanna and Tom, for their support is in innumerable practical ways that I shall take great pleasure in now fulfilling. John Coldron September 1982 6 1. Introduction The concept of metaphorical exemplification is introduced by Nelson Goodman in his book Languages of Art. It is just one of the results of Goodman's attempt to, take some steps toward a systematic study of symbols and symbol systems and the ways they function in our perceptions and actions and arts and sciences, and thus in the creation and comprehension of our worlds. (1) Preceding this final comment of the book is a subtle system of concepts designed to extricate our thought about the arts and related matters from the confusion and chaos that Goodman finds there. It is an attempt to extend our understanding of the, varieties and functions of symbols (and their) use in the operations of the understanding. (2) As such it is not exclusively concerned with that cluster of problems traditionally called Aesthetics. For example there is little concern with the question of artistic merit and evaluation. He is instead concerned with modes of symbolising and rather than converging towards an explanation only of works of art he gives his attention to characteristics shared by many modes of symbolising in both the sciences and the arts. Goodman‟s claims are not modest. Although his style is disarmingly direct, Languages of Art is a remarkable intellectual endeavour. He clearly hopes that the system he has developed will be found not only to account for significant features of pre-systematic usage and thought on these subjects but also that the clarity, simplicity, cogency, consistency and usefulness of his concepts will form for the future a systematic basis for an aesthetic philosophy which is at the moment confused. (3) Neither should it be forgotten that Professor Goodman‟s view of this philosophical method is far from naive. In his work on logic, epistemology and the philosophy of science the status of the conditions required of a system and their relationship to truth and verification are exposed to careful analysis. The result is a body of thought of great strength and vigour – strength because the parts are interconnected and create an 7 interlocking pattern of concepts, vigour because the penetrating quality of such careful analysis provides new and fruitful insight. Even when new concepts are not forthcoming it is hoped that certain confusions surrounding old problems are cleared so as to allow work to continue less hindered than before. The attempt to make at least part of aesthetics systematic cannot be easily dismissed. It is the conscious application of a sophisticated philosophical technique. One of the advantages of a systematic or constructive approach is that certain kinds of problems are more readily perceived. By this I mean, for example that the demands of being systematic make any departure from self-consistency more susceptible to detection. In addition any worthwhile system is already going to be complex and therefore the temptation to tolerate unnecessary complexity is likely to be minimised. The system must account for the facts as consistently and as simply as possible.
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