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Julian Dodd [46]James Dodd [36]J. Dodd [9]Jordan Dodd [2]
J. M. N. Dodd [1]
See also:
Profile: Julian Dodd (University of Manchester)
Profile: Josh Dodd (London School of Economics)
Profile: Jordan Dodd
  1.  35
    Jordan Dodd (forthcoming). Hope, Knowledge, and Blindspots. Synthese:1-13.
    Roy Sorensen introduced the concept of an epistemic blindspot in the 1980s. A proposition is an epistemic blindspot for some individual at some time if and only if that proposition is consistent but unknowable by that individual at that time. In the first half of this paper, I extend Sorensen work on blindspots by arguing that there exist blindspots that essentially involve hopes. In the second half, I show how such blindspots can contribute to and impair different pursuits of self-understanding. (...)
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  2.  90
    Helen Beebee & Julian Dodd (eds.) (2005). Truthmakers: The Contemporary Debate. Clarendon.
    This volume will be the starting point for future discussion and research.
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  3. Julian Dodd (2014). The Possibility of Profound Music. British Journal of Aesthetics 54 (3):299-322.
    Peter Kivy has become convinced that it is impossible for pure, instrumental music to be profound. This is because he takes works of such music to be incapable of meeting what he claims to be two necessary conditions for artistic profundity: that the work denotes something profound, and that the work expresses profound propositions about its profound denotatum. The negative part of this paper argues as follows. Although works of pure, instrumental music do, indeed, fail to meet these conditions, the (...)
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  4. Julian Dodd (2013). Deflationism Trumps Pluralism! In Nikolaj Jang Lee Linding Pedersen & Cory D. Wright (eds.), Truth and Pluralism: Current Debates. Oxford University Press 298.
  5. Julian Dodd (2007). Negative Truths and Truthmaker Principles. Synthese 156 (2):383-401.
    This paper argues that a consideration of the problem of providing truthmakers for negative truths undermines truthmaker theory. Truthmaker theorists are presented with an uncomfortable dilemma. Either they must take up the challenge of providing truthmakers for negative truths, or else they must explain why negative truths are exceptions to the principle that every truth must have a truthmaker. The first horn is unattractive since the prospects of providing truthmakers for negative truths do not look good neither absences, nor totality (...)
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  6.  52
    Julian Dodd (2000). An Identity Theory of Truth. St. Martin's Press.
    This book argues that correspondence theories of truth fail because the relation that holds between a true thought and a fact is that of identity, not correspondence. Facts are not complexes of worldly entities which make thoughts true they are merely true thoughts. According to Julian Dodd, the resulting modest identity theory, while not defining truth, correctly diagnoses the failure of correspondence theories, and thereby prepares the ground for a defensible deflation of the concept of truth.
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  7. Jordan Dodd (2014). Realism and Anti-Realism About Experiences of Understanding. Philosophical Studies 168 (3):745-767.
    Strawson (1994) and Peacocke (1992) introduced thought experiments that show that it seems intuitive that there is, in some way, an experiential character to mental events of understanding. Some (e.g., Siewert 1998, 2011; Pitt 2004) try to explain these intuitions by saying that just as we have, say, headache experiences and visual experiences of blueness, so too we have experiences of understanding. Others (e.g., Prinz 2006, 2011; Tye 1996) propose that these intuitions can be explained without positing experiences of understanding. (...)
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  8.  97
    Julian Dodd (2007). Works of Music: An Essay in Ontology. Oxford University Press.
    Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered -- (...)
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  9.  59
    Julian Dodd (2001). Is Truth Supervenient on Being? Proceedings of the Aristotelian Society 102 (1):69–85.
    This paper asks whether we should accept a weakened version of the truthmaker principle: namely, the claim that truth supervenes on being, in which 'being' is understood as whether things are. I consider a number of positive answers to this question, including the following: that the truthmaker principle is a requirement of any plausible explanation of truth; that the principle must be accepted, if we are to do justice to the Wittgensteinian insight that the world is the totality of facts, (...)
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  10.  89
    Julian Dodd (2012). Cinema, Philosophy, Bergman: On Film as Philosophy, by Paisley. Mind 121:484.
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  11. James Dodd (2009). Violence and Phenomenology. Routledge.
    Introduction: Reflections on violence -- Schmitt's challenge (Clausewitz, Schmitt) -- On violence (Arendt, Sartre) -- On the line (Junger, Heidegger) -- Violence and responsibility (Patoka) -- Conclusion: Six problems of violence.
     
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  12. Julian Dodd & Suzanne Stern-Gillet (1995). The Is/Ought Gap, the Fact/Value Distinction and the Naturalistic Fallacy. Dialogue 34 (04):727-.
  13. Julian Dodd (2000). Musical Works as Eternal Types. British Journal of Aesthetics 40 (4):424-440.
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  14. Julian Dodd (2008). Musical Works: Ontology and Meta-Ontology. Philosophy Compass 3 (6):1113-1134.
    The ontological nature of works of music has been a particularly lively area of philosophical debate during the past few years. This paper serves to introduce the reader to some of the most fertile and interesting issues. Starting by distinguishing three questions – the categorial question, the individuation question, and the persistence question – the article goes on to focus on the first: the question of which ontological category musical works fall under. The paper ends by introducing, and briefly considering, (...)
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  15. Julian Dodd (1995). McDowell and Identity Theories of Truth. Analysis 55 (3):160 - 165.
    The main thesis of this paper is that John McDowell (in his Mind and World) tries to occupy a position that is not coherently statable; namely, that facts have objects and properties as constituents and are yet identical with true (Fregean) Thoughts. This position is contrasted with two other identity theories of truth: the robust theory, in which true propositions are identified with facts (which are understood to have objects and properties as constituents); and the modest theory, in which facts (...)
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  16.  65
    Julian Dodd (1999). Farewell to States of Affairs. Australasian Journal of Philosophy 77 (2):146 – 160.
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  17. James Dodd & Edmund Husserl (2004). Crisis and Reflection an Essay on Husserl's Crisis of the European Sciences. Monograph Collection (Matt - Pseudo).
     
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  18. J. Dodd (2005). Critical Study: Artworks and Generative Performances. British Journal of Aesthetics 45 (1):69-87.
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  19.  44
    J. Dodd (2012). Defending the Discovery Model in the Ontology of Art: A Reply to Amie Thomasson on the Qua Problem. British Journal of Aesthetics 52 (1):75-95.
    According to the discovery model in the ontology of art, the facts concerning the ontological status of artworks are mind-independent and, hence, are facts about which the folk may be substantially ignorant or in error. In recent work Amie Thomasson has claimed that the most promising solution to the ‘ qua problem’—a problem concerning how the reference of a referring-expression is fixed—requires us to give up the discovery model. I argue that this claim is false. Thomasson's solution to the qua (...)
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  20.  64
    James Dodd (2005). Reading Husserl's Time-Diagrams From 1917/18. Husserl Studies 21 (2):111-137.
    In his reflections on inner time consciousness written in the years 1917–1918, Husserl makes use of an illustrative device he apparently developed in fits and starts between 1905–1911 2: the so-called “time-diagram.” It proves to be an important instrument for several of the texts published in Husserliana XXXIII, in particular Text Nr. 2: “Die Komplexion von Retention und Protention. Gradualitäten der Erfüllung und das Bewusstsein der Gegenwart. Graphische Darstellung des Urprozesses”. More, the diagram appears in these texts in a much (...)
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  21.  26
    Julian Dodd (2014). On a Proposed Test for Artistic Value. British Journal of Aesthetics 54 (4):395-407.
    In a recent paper, Robert Stecker proposes the following test for whether a value possessed by an artwork is artistic or not: ‘Does one need to understand the work to appreciate its being valuable in that way? If so, it is an artistic value. If not, it is not.’ An important question here is what Stecker means by ‘appreciation’ in this context. Stecker himself says little about this, but I offer him two accounts of the nature of appreciation, both of (...)
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  22.  70
    Julian Dodd (2010). Confessions of an Unrepentant Timbral Sonicist. British Journal of Aesthetics 50 (1):33-52.
    Simplifying somewhat, sonicists believe that works of music are individuated purely in terms of how they sound. For them, exact sound-alikes are identical. Stephen Davies, in his ‘Musical Works and Orchestral Colour’ ( BJA 48 (2008), pp. 363–375) took me to task for defending a version of sonicism. In this paper I seek to explain why Davies's objections miss their mark. In the course of the discussion, I make some methodological remarks about the ontology of music.
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  23.  59
    J. Dodd (2012). Work and Object: Explorations in the Metaphysics of Art, by Peter Lamarque. Mind 121 (484):1088-1095.
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  24.  98
    J. Dodd (2010). Truth and Truth-Making. Analysis 70 (3):567-571.
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  25.  94
    J. Dodd (2006). Review: True to Life: Why Truth Matters. [REVIEW] Mind 115 (458):440-443.
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  26. Jan Patocka & James Dodd (1998). Body, Community, Language, World.
     
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  27.  84
    Julian Dodd (1999). There is No Norm of Truth: A Minimalist Reply to Wright. Analysis 59 (4):291–299.
  28.  52
    Julian Dodd (2002). Defending Musical Platonism. British Journal of Aesthetics 42 (4):380-402.
    This paper sees me clarify, elaborate, and defend the conclusions reached in my ‘Musical Works as Eternal Types’ in the wake of objections raised by Robert Howell, R. A. Sharpe, and Saam Trivedi. In particular, I claim that the thesis that musical works are discovered rather than created by their composers is obligatory once we commit ourselves to thinking of works of music as types, and once we properly understand the ontological nature of types and properties. The central argument of (...)
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  29. Julian Dodd (2004). Types, Continuants, and the Ontology of Music. British Journal of Aesthetics 44 (4):342-360.
    Are works of music types of performance or are they continuants? Types are unchanging entities that could not have been otherwise; continuants can undergo change through time and could have been different. Picking up on this distinction, Guy Rohrbaugh has recently argued that musical works are continuants rather than performance-types. This paper replies to his arguments and, in the course of so doing, elaborates and defends the conception of musical works as types of performance. I end the article by arguing (...)
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  30.  55
    Julian Dodd (2013). Adventures in the Metaontology of Art: Local Descriptivism, Artefacts and Dreamcatchers. [REVIEW] Philosophical Studies 165 (3):1047-1068.
    Descriptivism in the ontology of art is the thesis that the correct ontological proposal for a kind of artwork cannot show the nascent ontological conception of such things embedded in our critical and appreciative practices to be substantially mistaken. Descriptivists believe that the kinds of revisionary art ontological proposals propounded by Nelson Goodman, Gregory Currie, Mark Sagoff, and me are methodologically misconceived. In this paper I examine the case that has been made for a local form of descriptivism in the (...)
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  31. Jan Patocka & James Dodd (1996). Heretical Essays in the Philosophy of History.
     
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  32.  49
    Julian Dodd (2008). McDowell's Identity Conception of Truth: A Reply to Fish and MacDonald. Analysis 68 (297):76–85.
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  33.  89
    Michael Morris & Julian Dodd (2009). Mysticism and Nonsense in the Tractatus. European Journal of Philosophy 17 (2):247-276.
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  34.  59
    J. Dodd (2007). Review: Experience and the World's Own Language: A Critique of John McDowell's Empiricism. [REVIEW] Mind 116 (464):1114-1119.
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  35.  31
    James Dodd (2004). The Philosophical Significance of Hope. Review of Metaphysics 58 (1):117 - 146.
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  36.  26
    James Dodd (2012). The Depth of Signs. Graduate Faculty Philosophy Journal 33 (1):3-26.
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  37.  43
    Julian Dodd & Jennifer Hornsby (1992). The Identity Theory of Truth: Reply to Baldwin. Mind 101 (402):319-322.
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  38.  66
    Julian Dodd (2009). Teaching & Learning Guide For: Musical Works: Ontology and Meta-Ontology. Philosophy Compass 4 (6):1044-1048.
    A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...)
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  39.  37
    Julian Dodd (2015). Performing Works of Music Authentically. European Journal of Philosophy 23 (3):485-508.
    This paper argues that, within the Western ‘classical’ tradition of performing works of music, there exists a performance value of authenticity that is distinct from that of complying with the instructions encoded in the work's score. This kind of authenticity—interpretive authenticity—is a matter of a performance's displaying an understanding of the performed work. In the course of explaining the nature of this norm, two further claims are defended: that the respective values of interpretive authenticity and score compliance can come into (...)
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  40. Julian Dodd (2007). Sounds, Instruments and Works of Music. In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press
     
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  41.  53
    Julian Dodd (1996). Countering the Counting Problem: A Reply to Holton. Analysis 56 (4):239–245.
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  42.  57
    Julian Dodd (1997). On a Davidsonian Objection to Minimalism. Analysis 57 (4):267–272.
  43.  22
    Julian Dodd (2002). Recent Work on Truth. Philosophical Books 43 (4):279-291.
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  44.  24
    Julian Dodd (1999). Hornsby on the Identity Theory of Truth. Proceedings of the Aristotelian Society 99 (2):225–232.
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  45.  18
    Julian Dodd (2013). Artistic Value and Sentimental Value: A Reply to Robert Stecker. Journal of Aesthetics and Art Criticism 71 (3):282-288.
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  46.  22
    James Dodd (2001). On Dan Zahavi's Self-Awareness and Alterity. Graduate Faculty Philosophy Journal 23 (1):191-198.
  47.  16
    Julian Dodd (2002). 'The World is the Totality of Things, Not of Facts': A Strawsonian Reply to Searle. Ratio 15 (2):176–193.
    John R. Searle claims that P.F. Strawson's well known objections to correspondence theories of truth can be side‐stepped, if we regard the correspondence theorist's facts as ‘conditions in the world’ rather than as complex objects. In response, I claim both that Searle's notion of a ‘condition in the world’ is obscure, and that such conditions cannot be the facts of a correspondence theorist on account of their being unsuited for truthmaking.The failure of Searle's attempt to come up with a correspondence (...)
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  48.  8
    Julian Dodd (2014). Upholding Standards: A Realist Ontology of Standard Form Jazz. Journal of Aesthetics and Art Criticism 72 (3):277-290.
    In “All Play and No Work,” Andrew Kania claims that standard form jazz involves no works, only performances. This article responds to Kania by defending one of the alternative ontological proposals that he rejects, namely, that jazz works are ontologically continuous with works of classical music. I call this alternative “the standard view,” and I argue that it is the default position in the ontology of standard form jazz. Kania has three objections to the standard view. The bulk of the (...)
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  49.  16
    James Dodd (1996). Phenomenon and Sensation: A Reflection on Husserl's Concept ofSinngebung. [REVIEW] Man and World 29 (4):419-439.
    Husserl's idea of a self-enclosed region of pure consciousness, a transcendental subjectivity that is at once absolute being and a sense-giving synthesis of experience, has enjoyed few, if any, enthusiastic defenders. In a recent book on Husserl, David Bell struggles in vain to find anything of worth in Husserl's "transcendental ontology. ''1 To be sure, Bell is reading Husserl with Fregean eyes; yet much dissatisfaction can be found among continental thinkers as well. Jacques Derrida, for example, argues that the self-presence (...)
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  50.  14
    James Dodd (2014). Sophie Loidolt: Anspruch Und Rechtfertigung: Eine Theorie des Rechtlichen Denkens Im Anschluss an Die Phänomenologie Husserls. [REVIEW] Husserl Studies 30 (1):65-69.
    The lifeworld is saturated with claims, justifications, assertions, validities, values and reasons; it is, in a manifold of senses, the very domain of right. In this brilliantly argued book, Sophie Loidolt advances the compelling thesis that these structures of right and justification, broadly construed, not only shape lived experience, but are, as “fundamentale Weisen der Welterschließung,” constitutive of subjectivity itself (p. 1).Loidolt takes as her point of departure the phenomenology of Edmund Husserl and offers a detailed reconstruction of Husserl’s genetic (...)
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