Manometric measurements of photosynthesis in the marine alga Gigratina

A manometric method for measuring photosynthesis in marine algae is described. Photosynthesis in the red alga Gigartina harveyana is shown to be similar in all important respects to photosynthesis in Chlorella and other Chlorophyceae

BMQ

BMQ: Boston Medical Quarterly was published from 1950-1966 by the Boston University School of Medicine and the Massachusetts Memorial Hospitals

BMQ

BMQ: Boston Medical Quarterly was published from 1950-1966 by the Boston University School of Medicine and the Massachusetts Memorial Hospitals

GOODMAN AND THE SEMIOTIC THEORY OF ART (AESTHETICS, SYMBOLISM)

This dissertation is a systematic explication and critique of Nelson Goodman\u27s philosophy of art. The first three chapters examine Goodman\u27s application of his theory of symbol systems to the topics of pictorial representation, expressive qualities, the identity of artworks, and the nature of aesthetic experience and value (as presented in Languages of Art, 1968). The fourth and final chapter is a critique of the central concept in Goodman\u27s aesthetics, \u27exemplification.\u27 I argue that, although the concept of exemplification is a significant contribution to both aesthetics and semiotics, it is incapable of generating a comprehensive theory of the arts as symbol systems, as conceived by Goodman. Throughout Goodman and the Semiotic Theory of Art, I draw historical and conceptual links between \u27exemplification\u27 and \u27iconic signification\u27--in particular, as employed within the aesthetic theories of Charles Morris and Susanne Langer. Three main theses are argued: (1) \u27exemplification\u27 successfully explicates (and definitionally eliminates) art-theoretical uses of \u27iconic signification\u27; (2) \u27exemplification\u27 is pressed beyond its explanatory powers, and its significance obscured, within Goodman\u27s theory of art, which is therefore in need of modification; (3) more judiciously applied, and accompanied by adequate theories of sign-production and interpretation, \u27exemplification\u27 has important applications within the study of the nature and value of art. Interspersed within my explications and criticisms, I suggest ways in which \u27exemplification\u27 can be more fruitfully applied within aesthetics. I briefly sketch a synthesis of \u27exemplification\u27 with some concepts from Umberto Eco\u27s semiotics (A Theory of Semiotics, 1976). It is suggested that, reconstructed in this way, \u27exemplification\u27 has more substantive application to works of art as symbols

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