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  1. Paul Thom (forthcoming). . Review of Terence Parsons, Articulating Medieval Logic:1-3.
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  2. Paul Thom (forthcoming). Review of Terence Parsons, Articulating Medieval Logic. [REVIEW] History and Philosophy of Logic:1-3.
  3. Paul Thom (2014). Avicenna’s Deliverance Logic Translation and Notes by Asad Q. Ahmed. [REVIEW] Journal of Islamic Studies 25 (1):55-56.
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  4. Henrik Lagerlund & Paul Thom (eds.) (2012). A Companion to the Philosophy of Robert Kilwardby. Brill.
    In this book we present the first study of all of his philosophical works from logic and grammar to metaphysics and ethics. It contains a substantial introduction about Kilwardby's life and work as well as a comprehensive bibliography.
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  5. John Bigelow, Raymond D. Bradley, Andrew Brennan, Tony Coady, Peter Forrest, James Franklin, Karen Green, Russell Grigg, Matthew Sharpe, Jeanette Kennett, Neil Levy, Catriona Mackenzie, Gary Malinas, Chris Mortensen, Robert Nola, Paul Patton, Charles R. Pidgen, Val Plumwood, Graham Priest, Greg Restall, Jack Reynolds, Paul Thom & Michelle Boulous Walker (2011). The Antipodean Philosopher: Public Lectures on Philosophy in Australia and New Zealand. Lexington Books.
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  6. Paul Thom (2011). Aesthetics of Opera. Philosophy Compass 6 (9):575-584.
    An inclusive sense of ‘opera’ is distinguished from the Western high‐art sense. The problem of aesthetic unity in opera is discussed in relation to hybrid art forms ; specific operatic styles ; individual operatic productions and performances . The article includes links to video clips from operatic performances.
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  7. Paul Thom (2011). Categories. In H. Lagerlund (ed.), Encyclopedia of Medieval Philosophy. Springer. 197--201.
  8. Paul Thom (2011). Performance Practice. In Theodore Gracyk & Andrew Kania (eds.), The Routledge Companion to Philosophy and Music. Routledge. 91.
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  9. Paul Thom (2010). Three Conceptions of Formal Logic. Vivarium 48 (1-2):228-242.
    Aristotle's logical and metaphysical works contain elements of three distinct types of formal theory: an ontology, a theory of consequences, and a theory of reasoning. His formal ontology (unlike that of certain later thinkers) does not require all propositions of a given logical form to be true. His formal syllogistic (unlike medieval theories of consequences) was guided primarily by a conception of logic as a theory of reasoning; and his fragmentary theory of consequences exists merely as an adjunct to the (...)
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  10. Paul Thom (2010). Abharī on the Logic of Conjunctive Terms. Arabic Sciences and Philosophy 20 (1):105-117.
    The Persian philosopher Atn al-Abharwriting mann al-sRevealing Thoughts’s various logics of complex terms with modern treatments.
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  11. Paul Thom (2010). Four Conceptions of Musical Content. Philosophia 39 (1).
    When someone makes music, the content of their music-making is the song they sing, or the piece they play. The idea of musical content is sometimes analyzed in terms of the notion of a type whose tokens occur when that content is played or sung. Such an analysis can be associated with different assumptions about the ontology of types. I consider four such assumptions; and I argue they give rise to four different conceptions of musical content. Finally, I consider the (...)
     
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  12. Paul Thom (2009). The Necessity of Theater: The Art of Watching and Being Watched by Woodruff, Paul. Journal of Aesthetics and Art Criticism 67 (3):349-351.
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  13. Paul Thom (2009). Works, Pieces, and Objects Performed. Journal of Aesthetic Education 43 (3):pp. 67-79.
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  14. Paul Thom (2008). Al-Fārābī on Indefinite and Privative Names. Arabic Sciences and Philosophy 18 (2):193-209.
    In his Short Treatise and his Commentary on the Peri hermeneias, al-Fbī offers two different but related accounts of indefinite terms and the propositions that contain them. In both works he presents a series of different senses that an indefinite term may have, commencing with a sense in which such a term would be equivalent to a privative term, and concluding with a sense in which it would determine the logical complement of the corresponding definite term. I offer an interpretation (...)
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  15. Paul Thom (2007). Logic and Ontology in the Syllogistic of Robert Kilwardby. Brill.
    The first full-length study of Robert Kilwardby's commentary on Aristotle's Prior Analytics, based on a study of the medieval manuscripts.
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  16. Paul Thom (2006). Toward a Broad Understanding of Musical Interpretation. Revue Internationale de Philosophie 4:437-452.
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  17. Paul Thom (2003). De Re Modality and the New Essentialism: A Dilemma. Notre Dame Journal of Formal Logic 44 (4):189-199.
    In his book The Philosophy of Nature, Ellis presents "the new essentialism" as resting on the notions of a property, an intrinsic property, an essential property, natural necessity and possibility, a natural kind, a fixed natural kind, and a natural law. The present paper argues that the central notions in this group are susceptible of a logical analysis, Ellis's notion of natural possibility has a historical precedent in the work of Abéelard, the notion of natural possibility contains both de re (...)
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  18. Paul Thom (2003). Medieval Modal Systems Problems and Concepts. Monograph Collection (Matt - Pseudo).
     
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  19. Paul Thom (2003). The Interpretation of Music in Performance. British Journal of Aesthetics 43 (2):126-137.
    Musical performance, as an interpretive activity, has to be understood as relative to the material that is being interpreted. This material may or may not have the determinacy, fixity, and definitiveness of a work. Performative interpretation cannot be identified simply with what performers add to the material being performed. However, if interpretation is the assigning of significance, then in applying certain (theatrical, rhetorical, and biological) significance-endowing metaphors to integrated elements of a musical performance we commit ourselves to thinking of that (...)
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  20. Paul Thom (2000). Making Sense: A Theory of Interpretation. Rowman & Littlefield Publishers.
    Critics and artists claim the title of 'interpreter' for themselves. Scientists do not so readily describe themselves in this way. But is the formulation of explanatory hypotheses in science so different from the interpretive work of artists? Making Sense recognizes that whenever interpretation occurs there may be a plurality of competing successful interpretations. It offers a philosophical theory that views the interpretive enterprise as an attempt to make sense of things by representing them in ways that can be accommodated within (...)
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  21. Paul Thom (2000). On Changing the Subject. Metaphilosophy 31 (1-2):63-74.
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  22. Paul Thom (1999). The Logic of Essentialism: An Interpretation of Aristotle's Modal Syllogistic. Studia Logica 62 (3):429-431.
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  23. Paul Thom (1999). The Principle of Non-Contradiction in Early Greek Philosophy. Apeiron 32 (3):153 - 170.
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  24. Paul Thom (1998). How to Base Apodeictic Syllogistic on Essentialist Theory. Logical Analysis and History of Philosophy 1.
    Essentialist theories are based on notions of necessity and essentiality. Kinds and Quasi-Kinds can be defined in terms of these notions. Aristotle's essentialism asserts that Kinds are unions of Quasi-Kinds, Kinds that can overlap are necessarily included in a common Kind, and Kinds partition into sub-Kinds. Truth-conditions for the apodeictic propositions of Aristotle's modal syllogistic are stated in terms of necessity and essentiality, but independent of theses -. While the basic insights motivating Patterson's and Nortmann's interpretations of modal syllogistic are (...)
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  25. Paul Thom (1998). Ion the Interpreter. Philosophical Inquiry 20 (1-2):29-35.
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  26. Paul Thom (1996). Book Reviews. [REVIEW] British Journal of Aesthetics 36 (3):325-326.
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  27. Paul Thom (1993). Apodeictic Ecthesis. Notre Dame Journal of Formal Logic 34 (2):193-208.
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  28. Paul Thom (1993). For an Audience: A Philosophy of the Performing Arts. Temple University Press.
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  29. Paul Thom (1993). Truth and Materials in the Paradoxe Sur le Comédien. Diderot Studies 25:119 - 133.
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  30. Paul Thom (1992). Parmenides, Plato, and the Semantics of Not-Being. Canadian Journal of Philosophy 22 (4):573-586.
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  31. Paul Thom (1991). The Two Barbaras. History and Philosophy of Logic 12 (2):135-149.
    This paper examines three recent discussions of Aristotle's system of syllogisms with apodeictic and assertoric premisses. Though they contain no cross-references, and though they arrive at disparate interpretations, all three pieces share a common aim. That aim is to construct an intuitively graspable interpretation of Aristotle's modal syllogistic which is based on metaphysical considerations. I argue that none of these authors has succeeded in this; nevertheless, I share their broad aim, and attempt to show that a more satisfactory interpretation can (...)
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  32. Paul Thom (1990). Works for Performance. Grazer Philosophische Studien 38:139-156.
    The paper criticizes Platonistic accounts of musical works as sound-structures. It rejects their view that the authoring of such works is a kind of 'discovery' (Kivy) or 'selection' (Wolterstorff) or 'indication' (Levinson). Instead, the paper proposes that the authoring of any work for performance consists in the production of a token performance-directive. Works for performance are then defined as the contents of such directives.
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  33. Paul Thom (1989). Book Review. [REVIEW] History and Philosophy of Logic 10 (1):85-86.
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  34. Paul Thom (1986). A Lesniewskian Reading of Ancient Ontology: Parmenides to Democritus. History and Philosophy of Logic 7 (2):155-166.
    Parmenides formulated a formal ontology, to which various additions and alternatives were proposed by Melissus, Gorgias, Leucippus and Democritus. These systems are here interpreted as modifications of a minimal Le?niewskian ontology.
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  35. Paul Thom (1985). Analytical Philosophy and the History of Logic. Critical Philosophy 2 (1):29.
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  36. Paul Thom (1983). The Corded Shell Strikes Back. Grazer Philosophische Studien 19:93-108.
    Peter Kivy has developed a general philosophical account of musical expressiveness based on baroque writings. But he omitted the association which baroque accounts make between the arts of music and rhetoric. It will be argued that one cannot capture the specifics of baroque musical expressiveness without taking account of baroque rhetorical theory. The detailed analysis of an example will demonstrate how rhetorical analysis of baroque music can fill in the details of Kivy's schematic account of musical expressiveness.
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  37. Paul Thom (1983). The Worlds of Art and the World. Grazer Philosophische Studien 19:93-108.
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  38. Peter M. Simons, Paul Thom & Michael Clark (1982). The Syllogism.The Place of Syllogistic in Logical Theory. Philosophical Quarterly 32 (127):175.
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  39. Paul Thom (1982). Conversion of Propositions Containing Singular or Quantified Terms in Pseudo-Scotus. History and Philosophy of Logic 3 (2):129-149.
    A formal analysis is offered of Pseudo-Scotus's theory of the conversion of (i) propositions containing singular terms (including propositions with a singular term as predicate): and (ii) propositions with a quantified predicate. An attempt is made to steer a middle course between using the Aristotelian logic as a framework for the analysis, and using a Fregean framework.
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  40. Paul Thom (1982). The Place of Syllogistic in Logical Theory. Philosophical Books 23 (2):73-76.
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  41. Paul Thom (1981). The Syllogism. Philosophia.
  42. Paul Thom (1979). Aristotle's Syllogistic. Notre Dame Journal of Formal Logic 20 (4):751-759.
  43. Paul Thom (1977). Termini Obliqui and the Logic of Relations. Archiv für Geschichte der Philosophie 59 (2):143-155.
  44. Paul Thom (1976). Ecthesis. Logique Et Analyse 74 (76):299-310.
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  45. Paul Thom (1976). Stiff Cheese for Women. Philosophical Forum 8 (1):94.
     
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  46. Paul Thom (1975). Time-Travel and Non-Fatal Suicide. Philosophical Studies 27 (3):211 - 216.
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  47. Paul Thom (1971). AMBLIN, C. L.: Fallacies. [REVIEW] Australasian Journal of Philosophy 49:106.
     
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