Given the rich diversity of research fields usually ascribed to chemistry in a broad sense, the present paper tries to dig our characteristic parts of chemistry that can be conceptually distinguished from interdisciplinary, applied, and specialized subfields of chemistry, and that may be called chemistry in a very narrow sense, or 'the chemical core of chemistry'. Unlike historical, ontological, and 'anti-reductive' approaches, I use a conceptual approach together with some methodological implications that allow to develop step by step a kind (...) of cognitive architecture for chemistry, which basically contains: (1) systematic chemical knowledge on the experimental level; (2) clarification of chemical species; (3) chemical classification systems; (4) theoretical foundation through the chemical theory of structural formulas. In a succeeding paper the results will be checked for resisting physicalistic reduction. (shrink)

By comparing chemistry to art, chemists have recently made claims to the aesthetic value, even beauty, of some of their products. This paper takes these claims seriously and turns them into a systematic investigation of the aesthetics of chemical products. I distinguish three types of chemical products - materials, molecules, and molecular models - and use a wide variety of aesthetic theories suitable for an investigation of the corresponding sorts of objects. These include aesthetics of materials, idealistic aesthetics from Plato (...) to Kant and Schopenhauer, psychological approaches of Ernst Gombrich and Rudolf Arnheim, and semiotic aesthetics of Nelson Goodman and Umberto Eco. Although the investigation does not support recent claims, I point out where aesthetics does and can play an import role in chemistry. Particularly, Eco's approach helps us understand that and how aesthetic experience can be a driving force in chemical research. (shrink)

La crisi dello strutturalismo e i confini della semiotica in un volume importante della produzione di Eco. Un libro che trova la sua continuazione ideale in 'Lector in fabula'.