Goodman's Work Research Articles

Tapping into the Worlds of the Target Language: A Re-Examination of L2 Learning

This article draws on Nelson Goodman's work on world-making to re-examine second-language (L2) learning. It examines Chinese English as a foreign language (EFL) learners' experience of L2 learning and use, with the aim of understanding their interaction with the relevant linguistic and sociocultural worlds. The results show that L2 learners make sense of foreign concepts by tapping into a new sociocultural world. On the other hand, learners' L1 worlds play an active role in their L2 use and learning; they provide linguistic resources and are particularly helpful for learning when the L2 is used to describe learners' familiar L1 experiences. Our experiment showed that Chinese EFL learners benefited in specific ways from their study of Chinese writers' narratives in English, and were becoming more ready to accept multiple models—native-speaking and indigenous—for their L2 learning.

The Republican Court and the Historiography of a Women’s Domain in the Public Sphere

One of the more useful recent developments in feminist historiography has been the turn away from the simple binarism of public/ private in discussions of the social activities of early modem women in western cultures. In particular Dena Goodman's work on the salons of ancien regime France has recovered the public work of women in the private institutions of sociability that operated in distinction to court and state.1Goodman's understanding of the public sphere is Habermasian in that it understands the public to have been a highly ramified ideal, entailing the antique concept of publicum as the depersonalized authority of state, the idea of public as a discursive space in which the vox populi can speak in distinction to the dictates of the state, and as an array of private institutions-clubs, coffeehouses, tea tables, salons-that constituted an autonomous region of political and cultural power. Women operated differently in light of the different forms of public in which they participated. One could make a quick and crude distinction: Women of the court in the absolutist public sphere exerted influence through secrecy, intrigue, and deception; one might say they were feminized and privatized. The salonnieres, in contrast, molded public opinion by sponsoring and participating in a liberty of conversation; they were publicizers of philosophy and maimers.What does Goodman's renovation of the understanding of women's public roles in France have to do with the historiography of the early republic? It permits us to question the all-powerful dominion of the domesticity thesis in the historiography of women.2The domesticity thesis holds that republican ideology entirely constrained woman's work within the world of the private household. Goodman's work permits us to imagine for early America a fully formed woman's domain in the public sphere, an arena of expression where domesticity does not restrict communication, or republican ideology limit women's roles to virtuous daughter, wife, and mother. She gives us as an alternative to the practice of the salon. The great salons were superintended by women who set mies for conversation, enforcing politeness by wit and quashing incivility with charm. The salonnieres promoted a colloquy between persons of state, savants, artists, and women of taste. The company was exclusive, but not so much in tenus of class or nationality as in terms of talent and conversational skill. The conversation of the salon became the crucible in which the ideas of politicians and philosophers were tried.Let us imagine for early America a space where femmes savantes might speak freely about politics with politicians, art with artists, gentility with gentlemen, and even the theory and practice of domesticity if they so chose. It should have the cosmopolitanism of the French salon-with its +heterosociability-yet there should be something more, an interest in forming a civil sorority found in certain British women's circles. We can visualize a domain of private society that, while permitting mixed conversation, also enabled women to project public concerns-to reform manners, cultivate taste, and critique culture. For the sake of argument, let us also conceive that this domain, or community, is organized so that it can project its views throughout the continent, say by means of a network of subsidiaiy provincial salons. Or let us be more concrete: Let us imagine Abigail Adams not in the meditative solitude of her household in Braintree, but at the center of a metropolitan company of men and especially women of learning, sensibility, and taste. And let us imagine this company actively publicizing an ideal of civility.Such an institution did exist during the final decade of the eighteenth century in America. It was called the Republican Court. Until the rise of the progressive historians early in this century, the Republican Court and its doings were matters of common knowledge among literate Americans. …

Disappointed but Not Resigned

"The young are honorable and see the problems," Paul Goodman wrote in 1968, "but they don't know anything because we have not taught them anything." Michael Brown's wise and eloquent essay proves him wrong. The young know quite a lot, but their elders (including the very students Goodman described) have deprived them of a sturdy tradition of social criticism that should be their birthright. The tradition of Thoreau, James, Veblen, Addams, Dewey, Bourne, and Mumford that Goodman kept alive in the postwar years has apparently become an embarrassment to those aspiring to "global citizenship" and a "post-national" consciousness: its masterworks barely figure in humanities courses. As a result, young Americans find themselves exiled from their country's moral narrative. "Tradition has been broken," Goodman wrote fifty years ago, "and yet there is no standard to affirm. Culture becomes eclectic, sensational, or phony." With luck, Jonathan Lee's forthcoming film Paul Goodman Changed My Life will lead viewers back to Goodman's work and that of the critics who inspired him. The new editions of several of his books brought out by PM Press are a good place to start.

Goodman, K. (2007). Music therapy groupwork with special needs children. Springfield, IL: Charles C. Thomas, Ltd. 302 pages. ISBN 978-0-398-07739-6 (hard) ISBN 978-0-398-07740-2 (paper). $69.95; $49.95, respectively

Goodman, K. (2007). Music therapy groupwork with special needs children. Springfield, IL: Charles C. Thomas, Ltd. 302 pages. ISBN 978-0-398-07739-6 (hard) ISBN 978-0-398-07740-2 (paper). $69.95; $49.95, respectively Get access Goodman K. ( 2007). Music therapy groupwork with special needs children. Springfield, IL: Charles C. Thomas, Ltd. 302 pages. ISBN 978-0-398-07739-6 (hard) ISBN 978-0-398-07740-2 (paper). $69.95; $49.95, respectively. Leslie L. Hunter, MME, LCAT, MT-BC Leslie L. Hunter, MME, LCAT, MT-BC Monroe #1 - BOCES, Rochester, New York Search for other works by this author on: Oxford Academic PubMed Google Scholar Music Therapy Perspectives, Volume 27, Issue 1, 2009, Pages 73–74, https://doi.org/10.1093/mtp/27.1.73 Published: 01 January 2009

Paul Goodman, 30 Years Later: Growing Up Absurd; Compulsory Mis-education, and The Community of Scholars; and The New Reformation—A Retrospective

This article is a retrospective account of the legacy of Paul Goodman's major educational works: Growing Up Absurd; Compulsory Mis-education, and The Community of Scholars; and The New Reformation. It is argued here that what remains of interest in Goodman's work is to be found in the tropes and the anarchic Zeitgeist of his work. The legacy of Goodman's educational writing is its art and the nostalgic romantic humanism that holds together its various educational tropes. Goodman's contribution to educational thought was the awakening that he brought to some elements of America's mythology—that is, freedom, liberty, individuality, and human rights. Although many of the recommendations for education in his books seem more than somewhat out of touch with today's educational issues, Goodman's texts still assert a romantic anarchic humanism coloring an educational counterstory that is a refreshing alternative to the politically correct educational agendas of conservatives and liberals alike.

Paul Goodman, 30 Years Later: Growing Up Absurd; Compulsory Mis-education, and The Community of Scholars; and The New Reformation—A Retrospective

This article is a retrospective account of the legacy of Paul Goodman's major educational works: Growing Up Absurd; Compulsory Mis-education, and The Community of Scholars; and The New Reformation. It is argued here that what remains of interest in Goodman's work is to be found in the tropes and the anarchic Zeitgeist of his work. The legacy of Goodman's educational writing is its art and the nostalgic romantic humanism that holds together its various educational tropes. Goodman's contribution to educational thought was the awakening that he brought to some elements of America's mythology—that is, freedom, liberty, individuality, and human rights. Although many of the recommendations for education in his books seem more than somewhat out of touch with today's educational issues, Goodman's texts still assert a romantic anarchic humanism coloring an educational counterstory that is a refreshing alternative to the politically correct educational agendas of conservatives and liberals alike.

A really good man: Peter Goodman and his contribution to music in Irish primary education

The writer has conducted an extensive historical investigation into music in the Irish primary school system. One individual, Peter Goodman, Ireland's first music inspector, emerged as being a character central to the introduction of music to primary schools in 1900, and to the subsequent in-service education provided for teachers. This paper outlines Goodman's work in this area, and traces his promotion of the Curwen sol-fa system, and his contribution to the promotion of church music. Goodman wrote prolifically describing his work, and his reports were included in the annual Reports of the Board of Commissioners of National Education. From these archival sources emerges a picture of an individual full of enthusiasm and zeal for his mission, and with some ideas and aspirations that are just as valid today as when he first conceived them a century ago.

Concerned Theatre Japan: The Graphic Art of the Japanese Theatre, 1960-1980 (CD-ROM) (review)

CONCERNED THEATRE JAPAN: THE GRAPHIC ART OF THE JAPANESE THEATRE, 1960-1980 (CD-ROM). By David G. Goodman. Krannert Museum and Kinkead Pavilion. Champaign: University of Illinois at Urbana-Champaign, 1998. $34. Tokyo of the 1960s and 1970s is David G. Goodman's Paris, his moveable feast. Experiencing Goodman's CD-ROM, Concerned Theatre Japan: The Graphic Art of the Japanese Theatre, 1960-1980, is like dining with him and being well satisfied. suspect that many theatre scholars have been either too busy or too entrenched in traditional methods to make better use of new electronic media in teaching and in presenting their research, especially in light of what may be the most attractive and effective way to convey information for the use of students and other scholars. Goodman presents a shining example of what to emulate and build upon. He and his digital team have created a beautifully graphic and informative digital record, a work of art in its own right that will provide others with not only an excellent reference work but a tool for the expanded classroom experience. Seven years in the making, this CD-ROM--inspired by the short-lived but memorable journal Concerned Theatre Japan, which Goodman founded and edited--features a collection of more than seventy posters documenting modern Japanese theatre of the 1960s and 1970s. These posters were a component of the touring exhibition of the same name as the CD, originally mounted at the Krannert Museum of the University of Illinois during the winter of 1998. The works represent modern Japanese art itself: visually stunning designs indicative of the zeitgeist of postwar Japan and issues of postmodernity. In these iconic posters, images of pop culture, rock music, consumerism, Japanese history, and American political and commercial hegemony--as well as advertising strategies, obsessions with the West, and the essential loss of Japanese spiritual identity--are all woven into stunning tapestries of paper and ink. Concerned Theatre Japan as an interactive CD-ROM continues Goodman's work on documentation and analysis of this period with layered images, video clips, text, essays, and a lavish virtual museum of poster art of the Japanese underground theatre (angura). The experience of entering this CD-ROM is quite dramatic. That is to say, it embodies the hushed excitement and expectation of attending the theatre. A deep black frame fades into a textural brown that opens elegantly, with bold taiko (drums), a woman singing I fell in love with a man with no chin, and her stage whisper: cheezu o hitosara (a plate of cheese). Then comes a stentorian silence. With a wave of the cursor, the left-hand contents unscroll. The obvious first choice seems to be to click onto an overview of the period. The viewer learns that the 1960s in Japan was a time of unprecedented theatrical renaissance. At the cutting edge of the avant-garde was angura, rebellious spawn of the shogekijo (little theatre movement) and gutai (artistic forerunner of American happenings). It was a time of remarkable collaboration. Members of Suzuki Tadashi, Betsuyaku Minoru, and Ono Hiroshi's Waseda Little Theatre; Satoh Makoto, Kushida Kazuyoshi, and Saito Ren's Black Tent and Freedom Theatres; Kara Juro's Situation Theatre; Terayama Shuji's Tenjo Sajiki; Maro Akaji's Dairakudakan--all shared their political and artistic aspirations in close camaraderie with graphic designers Yokoo Tadanor Tomita Shin'ichiro, Kushida Mitsuhiro, Hirano Koga, Oyobe Katsuhiro, Uno Akira, and others. Although the posters had little marketing effect for the productions they advertised, they were performances in themselves--stunning montages of alternating social imagery and histo rical moment, East and West, eroticism and the agonized flailings of the impotent. Their posters are alive with color, text (as in newspaper ads), and movement. There is no shying away from the grotesque, masochistic, and misogynistic themes of the art and the theatre of the period. …

Du style comme pratique

Style As Practice. The tardy reception of Nelson Goodman's work in France has led to reformulations of the notion of style, from Genette through Vouilloux, in manners which make re-reading Goodman essential.

Sexual Addiction: An Integrated Approach

Back to table of contents Previous article Next article Book ReviewFull AccessSexual Addiction: An Integrated ApproachDaniel J. Stein, M.D.Daniel J. SteinSearch for more papers by this author, M.D.Published Online:1 Jan 2000https://doi.org/10.1176/ps.51.1.123AboutSectionsView EPUB ToolsAdd to favoritesDownload CitationsTrack Citations ShareShare onFacebookTwitterLinked InEmail Freud, and many other illustrious founders of our field, viewed masturbation and other putative forms of sexual excess as pathological. The 1960s, of course, and the so-called sexual revolution persuaded many otherwise. DSM-III-R only mentioned the term "nonparaphilic sexual addiction" as an example of a sexual disorder not otherwise specified, and DSM-IV no longer even refers to this kind of nomenclature. In keeping with the sixties' focus on the celebration of sexuality, the emphasis is on problems of hyposexuality rather than on hypersexuality.But perhaps Freud, as in so many other instances, had at least part of the story right. Growing awareness of sexually transmitted disorders, not the least being AIDS, makes it easier to characterize unfettered sexual behavior as something that may meet the DSM-IV catch-all criterion of leading to "impairment in social, occupational, or other important areas of functioning." At the bottom line of clinical practice, we are not uncommonly confronted with patients whose chief symptom is an excessive reliance on masturbation, Internet pornography, or sex workers and who describe such symptoms as having had dramatic negative impact on their lives.Only a handful of previous books have attempted to focus the attention of clinicians and researchers on such behavior, characterizing it as "sexual addiction" or "compulsive sexual behavior." Goodman's work falls in the tradition of those who view excessive sexual fantasies, urges, or behaviors as an addiction. Indeed, Goodman adapts DSM-IV criteria for substance dependence to describe a broad range of "addictive" sexual behaviors, arguing that they too are characterized by "tolerance" and "withdrawal." Such a model is unlikely to appeal to the many clinicians who reserve terms such as "addiction," "tolerance," and "withdrawal" for the substance use disorders, and who are concerned that their expansion to a wide range of other excessive behaviors is unwarranted by theoretical considerations or empirical data.Nevertheless, such a model arguably has some heuristic value. It highlights, for example, phenomenological features such as the comorbidity of hypersexual symptoms and substance abuse. (Similarly, although obsessive-compulsive disorder clearly differs phenomenologically from many of the disorders that constitute the so-called obsessive-compulsive spectrum, the concept of this spectrum reminds clinicians to inquire about body dysmorphic disorder, hypochondriasis, and tics in patients who have obsessive-compulsive disorder.) Furthermore, this framework allows Goodman to put forward a detailed argument that similar psychodynamics underlie different "addictive" behaviors.Certainly Goodman provides an extremely valuable service to the field by collating the psychoanalytic, cognitive-behavioral, sociocultural, and biological literature in this area; by developing a sophisticated theoretical thesis, which entails not only a psychological formulation of the relevant sexual symptoms but also a roughly "isomorphic" neurobiological formulation; by describing clinical features and underlying psychodynamics of patients in a way that will be useful to many clinicians; and by detailing an integrated assessment and treatment approach for further empirical research.One hopes that this work, taken together with the empirical research it reviews, will help convince the authors of DSM-V of the need for a partial return to Freud, and the inclusion of a diagnostic entity—hypersexual disorder?—that will foster further research on the phenomenology, psychobiology, and treatment of an important group of patients.Dr. Stein is director of the Medical Research Council research unit on anxiety disorders at the University of Stellenbosch in Cape Town, South Africa.by Aviel Goodman, M.D.; Madison, Connecticut, International Universities Press, 1998, 464 pages, $65 FiguresReferencesCited byDetailsCited byNone Volume 51Issue 1 January 2000Pages 123-123 Metrics History Published online 1 January 2000 Published in print 1 January 2000

Origins, Destinations, and Association in Occupational Mobility

Although the literature on occupational mobility distinguishes between structural and circulation (or exchange) mobility, previous methods for simultaneously considering these are inadequate. In this article, nonlinear models of association are combined with linear models for logits of marginal distributions, resulting in models with parameters directly interpretable in terms of association or structural mobility. Goodman's work on combining categories in mobility tables to handle the case where the marginal distributions are also of interest is extended. Extensions to sets of mobility tables are considered next. The article shows finally how to model cross‐national variation in association and structural mobility.

What really happens in pictures? Misreading with Nelson Goodman

Abstract Nelson Goodman's work on images is problematic in two distinct senses. Within the philosophic community, it has generated a very large secondary literature devoted to expanding, challenging, and clarifying its ideas.1 Outside philosophy, in art history and criticism, Languages of Art (1967) tends to appear forbidding, dry and (Goodman himself raises this toward the end of the book, when he makes a case for the breadth and depth of analytic cognition over inchoate emotion) at the same time somewhat useless and irrelevant. For students of art history, Languages of Art is often a kind of trial by fire, and that experience later shows its effects in the way that Goodman tends to remain in our footnotes. Goodman's claims work with great clarity when they have to do with what he calls ‘notational systems,’ and they work with more or less efficacy when it comes to marginal cases such as charts and pressure gauges. But the book seems to have little to say on the central instances of visual art: paintings, drawings, and sculpture.

Honouring a Goodman

How Classification Works contains a selection of papers derived from a conference on 'The Rightness of Categories' held at Northwestern University as far back as 1984, the theme being the implications of Nelson Goodman's work for anthropology. From the papers presented at the conference, the editors have now developed a collection of essays concerned with the somewhat broader theme of the significance of Goodman's work for the social sciences.1 But as the title states, the main theme is classification. Goodman himself, we are informed, attended the 1984 conference. This book should be purchased by those who are particularly interested in the many facets of the work of Goodman, rather than those who want a text to learn how classification does in fact work. Goodman's philosophy is of great scope, from his early Structure of Appearance (published 1951, but originating before 1930 as a chip from a Carnapian workshop), through his Fact, Fiction, and Forecast (1955), his Languages of Art (1976), his Problems and Projects (1972), his Ways of Worldmaking (1978), to his Of Mind and Other Matters (1984). Ways of Worldmaking provides the chief inspiration for the present collection of essays, which shows quite admirably the way Goodman's ideas may find application in a wide range of disciplines. He is no narrow specialist, and he encourages us to try to emulate him.

Religionsantropologi: spørgsmålet om tro og viden

The discussion focuses upon a debate in anthropology over the use of the labels "belief" and "knowledge" in the translation of indigenous (religious) propositions about the cosmos. It is suggested that the words we choose in describing indigenous meaning have political implications about which we today cannot be naïve. Besides the issue of "the politics of semantics" which the use of these constructs raise, they can also imply judgments that are specific to Modernist Western concerns. without Awareness of the particularity of such valuations, about for instance judgments of Truth and the Real, their use can lead to distorted translations of idigenous meaning. It is suggested that Nelson Goodman's work, Ways of Worldmaking, is an excellent antidote to the fallacy of understanding the contrast between indigenous and (scientific) Western thought as that of belief and knowledge. The Piaroas in the Amazon, and especially the healing songs of their shamans, are used as a case study in the discussion.

Logic, art, and understanding in the philosophy of Nelson Goodman

This paper contains a reconstruction and discussion of some central subjects in Nelson Goodman's philosophical work. Goodman's creative symbol‐constructional philosophy concerns fundamental aspects of human cognition and practice. It is argued that this provides us with the intellectual tools for constructing a genuine relationship between logic, knowledge, art, and understanding. This is shown by focusing on subjects ranging from the projectibility of predicates and nominalistic mereology to constructive relativity, ways of worldmaking and a general theory of symbols.

Incomplete Contingency Tables

SUMMARY Goodman's work on quasi-independence and missing values for contingency tables is unified so as to cover in general incompleteness, as here defined. Cyclic computational procedures are provided for maximum likelihood fitting of iincomplete data. Methods are given for determining appropriate degrees of freedom, whether by identifyinig separable or semiseparable subtables or by elimination of cell isolates. There is discussion of how inicompleteness might arise in other contingency-table situations, e.g. in testing symmetry for square contingency tables. But it is suggested that use of some power-increasingf test might be preferable for detecting departures from symmetry.