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Profile: Julian Dodd (University of Manchester)
  1. 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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  2. 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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  3. 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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  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 (2013). Musical Understandings and Other Essays on the Philosophy of Music, by Stephen Davies. Australasian Journal of Philosophy 91 (3):625 - 625.
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  6. Julian Dodd (2013). Musical Understandings and Other Essays on the Philosophy of Music, by Stephen Davies: Oxford: Oxford University Press, 2011, Pp. 256,£ 40.00/US $75.00 (Hardcover). [REVIEW] Australasian Journal of Philosophy:1-1.
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  7. Julian Dodd (2012). Cinema, Philosophy, Bergman: On Film as Philosophy, by Paisley. Mind 121:484.
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  8. Julian Dodd (2012). Performing Works of Music Authentically. European Journal of Philosophy 21 (2):n/a-n/a.
    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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  9. 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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  10. Julian Dodd (2009). Events, Facts, and States of Affairs. In Robin Le Poidevin (ed.), The Routledge Companion to Metaphysics. Routledge.
     
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  11. Julian Dodd (2009). Of Affairs. In Robin Le Poidevin (ed.), The Routledge Companion to Metaphysics. Routledge. 322.
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  12. 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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  13. Michael Morris & Julian Dodd (2009). Mysticism and Nonsense in the Tractatus. European Journal of Philosophy 17 (2):247-276.
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  14. Julian Dodd (2008). McDowell's Identity Conception of Truth: A Reply to Fish and MacDonald. Analysis 68 (297):76–85.
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  15. 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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  16. Helen Beebee & Julian Dodd (eds.) (2007). Reading Metaphysics: Selected Texts with Interactive Commentary. Wiley-Blackwell.
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  17. 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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  18. 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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  19. 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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  20. Helen Beebee & Julian Dodd (2005). Introduction. In Helen Beebee & Julian Dodd (eds.), Truthmakers: The Contemporary Debate. Clarendon.
  21. 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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  22. 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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  23. Julian Dodd (2003). Facing Facts by Stephen Neale Oxford University Press, 2001. Pp. XV + 254. £25. Philosophy 78 (1):123-145.
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  24. 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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  25. Julian Dodd (2002). 'The World is the Totality of Things, Not of Facts': A Strawsonian Reply to Searle. Ratio 15 (2):176–193.
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  26. Julian Dodd (2002). Recent Work on Truth. Philosophical Books 43 (4):279-291.
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  27. 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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  28. 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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  29. Julian Dodd (2000). Musical Works as Eternal Types. British Journal of Aesthetics 40 (4):424-440.
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  30. Julian Dodd (1999). Farewell to States of Affairs. Australasian Journal of Philosophy 77 (2):146 – 160.
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  31. Julian Dodd (1999). Hornsby on the Identity Theory of Truth. Proceedings of the Aristotelian Society 99 (2):225–232.
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  32. Julian Dodd (1999). There is No Norm of Truth: A Minimalist Reply to Wright. Analysis 59 (4):291–299.
  33. Julian Dodd (1997). Indirect Speech, Parataxis and the Nature of Things Said. Journal of Philosophical Research 22:211-227.
    This paper makes the following recommendation when it comes to the IogicaI form of sentences in indirect speech. Davidson’s paratactic account shouId stand, but with one emendation: the demonstrative ‘that’ should be taken to refer to the Fregean Thought expressed by the utterance of the content-sentence, rather than to that utterance itseIf. The argument for this emendation is that it is the onIy way of repIying to the objections to Davidson’s account raised by Schiffer, McFetridge and McDowell.Towards the end of (...)
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  34. Julian Dodd (1997). On a Davidsonian Objection to Minimalism. Analysis 57 (4):267–272.
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  35. Julian Dodd (1996). Countering the Counting Problem: A Reply to Holton. Analysis 56 (4):239–245.
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  36. Julian Dodd (1996). Resurrecting the Identity Theory of Truth. Bradley Studies 2 (1):42-50.
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  37. 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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  38. Julian Dodd & Suzanne Stern-Gillet (1995). The Is/Ought Gap, the Fact/Value Distinction and the Naturalistic Fallacy. Dialogue 34 (04):727-.
  39. Julian Dodd & Jennifer Hornsby (1992). The Identity Theory of Truth: Reply to Baldwin. Mind 101 (402):319-322.
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