Abstract

Nelson Goodman’s disparate writings are often discussed and written about only within their own particular discipline, such that the epistemology is discussed in contrast to others’ epistemology, the aesthetics is contrasted with more traditional aesthetics, and the ontology and logic is viewed in opposition to both other contemporary philosophers and to his historical predecessors. This book argues that that is not an adequate way to view Goodman. The book is divided into three sections: The Metaphysics, The Epistemology, The Aesthetics. I demonstrate, firstly, the dependency of his epistemology and aesthetics on his early metaphysical and ontological writings, and secondly, that it is the very application of those metaphysical and ontological positions to the rest of his philosophical writings that is the source of much of which fails to be completely satisfactory in his aesthetics. They are sequential sections within each providing the ground rules for the next section and, furthermore, providing the reasons for limitations on the terms available to the subsequent section(s). Thus the Metaphysics is an explication of Gooodman’s basic nominalist ontology and logic, and it is upon those principles that he builds his epistemology. It is the sum of both the metaphysics and the epistemology, with the nominalist principle as the guiding force, which constructs the aesthetics. At the end of each section, the consequent limitations imposed on his terms and concepts available to him are explicated, such that, by the end of the book, I am able to delineate the constraints imposed upon the aesthetics by both the metaphysics and the epistemology.