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Julian Dodd
University of Manchester
  1. Negative Truths and Truthmaker Principles.Julian Dodd - 2007 - 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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  2. Truthmakers: The Contemporary Debate.Helen Beebee & Julian Dodd (eds.) - 2005 - Clarendon Press.
    This volume will be the starting point for future discussion and research.
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  3. Deflationism Trumps Pluralism!Julian Dodd - 2013 - In Nikolaj Jang Lee Linding Pedersen & Cory D. Wright (eds.), Truth and Pluralism: Current Debates. Oxford University Press. pp. 298.
  4.  73
    An Identity Theory of Truth.Julian Dodd - 2000 - 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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  5.  47
    What 4′33″ Is.Julian Dodd - 2017 - Australasian Journal of Philosophy 96 (4):629-641.
    ABSTRACTWhat is John Cage's 4′33″? This paper disambiguates this question into three sub-questions concerning, respectively, the work's ontological nature, the art form to which it belongs, and the genre it is in. We shall see that the work's performances consist of silence, that it is a work of performance art, and that it belongs to the genre of conceptual art. Seeing the work in these ways helps us to understand it better, and promises to assuage somewhat the puzzlement and irritation (...)
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  6.  28
    Types, Tokens, and Talk About Musical Works.Julian Dodd & Philip Letts - 2017 - Journal of Aesthetics and Art Criticism 75 (3):249-263.
    It has recently been suggested that the type/token theorist concerning musical works cannot come up with an adequate semantic theory of those sentences in which we purport to talk about such works. Specifically, it has been claimed that, since types are abstract entities, a type/token theorist can only account for the truth of sentences such as “The 1812 Overture is very loud” and “Bach's Two Part Invention in C has an F-sharp in its fourth measure” by adopting an untenable semantic (...)
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  7. Works of Music: An Essay in Ontology.Julian Dodd - 2007 - 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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  8.  9
    A Minimalist Explanation of Truth's Asymmetry.Julian Dodd - 2018 - American Philosophical Quarterly 55 (4):389-404.
    Suppose that Eleanor is drowsy. Truth's asymmetry is illustrated by the following fact: while we accept that <Eleanor is drowsy> is true because Eleanor is drowsy, we do not accept that Eleanor is drowsy because <Eleanor is drowsy> is true. This asymmetry requires an explanation, but it has been alleged, notably by David Liggins, that the minimalist about truth cannot provide one. This paper counteracts this pessimism by arguing that the minimalist can successfully explain the asymmetry conceptually, rather than metaphysically. (...)
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  9.  75
    Performing Works of Music Authentically.Julian Dodd - 2015 - 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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  10. Works of Music: An Essay in Ontology.Julian Dodd - 2008 - Journal of Aesthetics and Art Criticism 66 (2):201-203.
     
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  11.  75
    Is Truth Supervenient on Being?Julian Dodd - 2001 - 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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    Upholding Standards: A Realist Ontology of Standard Form Jazz.Julian Dodd - 2014 - 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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  13. Musical Works as Eternal Types.Julian Dodd - 2000 - British Journal of Aesthetics 40 (4):424-440.
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  14.  90
    Adventures in the Metaontology of Art: Local Descriptivism, Artefacts and Dreamcatchers.Julian Dodd - 2013 - 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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  15. Introduction.Helen Beebee & Julian Dodd - 2005 - In Helen Beebee & Julian Dodd (eds.), Truthmakers: The Contemporary Debate. Clarendon Press.
  16.  92
    Farewell to States of Affairs.Julian Dodd - 1999 - Australasian Journal of Philosophy 77 (2):146 – 160.
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  17. Mysticism and Nonsense in the Tractatus.Michael Morris & Julian Dodd - 2009 - European Journal of Philosophy 17 (2):247-276.
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  18. The Is/Ought Gap, the Fact/Value Distinction and the Naturalistic Fallacy.Julian Dodd & Suzanne Stern-Gillet - 1995 - Dialogue 34 (4):727-.
  19. The Possibility of Profound Music.Julian Dodd - 2014 - 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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  20.  48
    On a Proposed Test for Artistic Value.Julian Dodd - 2014 - 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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  21. Musical Works: Ontology and Meta-Ontology.Julian Dodd - 2008 - 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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    Defending Musical Platonism.Julian Dodd - 2002 - 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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  23. An Identity Theory of Truth.Julian Dodd - 2003 - Philosophical Quarterly 53 (210):120-123.
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  24. McDowell and Identity Theories of Truth.Julian Dodd - 1955 - 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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  25. Types, Continuants, and the Ontology of Music.Julian Dodd - 2004 - 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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  26. There is No Norm of Truth: A Minimalist Reply to Wright.Julian Dodd - 1999 - Analysis 59 (4):291–299.
  27.  1
    An Identity Theory of Truth.Julian Dodd - 2003 - Mind 112 (445):112-119.
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  28.  32
    Artistic Value and Sentimental Value: A Reply to Robert Stecker.Julian Dodd - 2013 - Journal of Aesthetics and Art Criticism 71 (3):282-288.
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  29. Confessions of an Unrepentant Timbral Sonicist.Julian Dodd - 2010 - 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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  30.  94
    Cinema, Philosophy, Bergman: On Film as Philosophy, by Paisley.Julian Dodd - 2012 - Mind 121 (483):484.
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  31. McDowell's Identity Conception of Truth: A Reply to Fish and MacDonald.Julian Dodd - 2008 - Analysis 68 (1):76–85.
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  32.  69
    The Identity Theory of Truth: Reply to Baldwin.Julian Dodd & Jennifer Hornsby - 1992 - Mind 101 (402):319-322.
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    In Advance of the Broken Theory: Philosophy and Contemporary Art.Sherri Irvin & Julian Dodd - 2017 - Journal of Aesthetics and Art Criticism 75 (4):375-386.
    We discuss how analysis of contemporary artworks has shaped philosophical theories about the concept of art, the ontology of art, and artistic media. The rapid expansion, during the contemporary period, of the kinds of things that can count as artworks has prompted a shift toward procedural definitions, which focus on how artworks are selected, and away from definitions that focus exclusively on artworks’ features or effects. Some contemporary artworks challenge the traditional art–ontological dichotomy between physical particulars and repeatable entities whose (...)
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  34. Truth and Truth-Making. [REVIEW]Julian Dodd - 2010 - Analysis 70 (3):567-571.
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    Hornsby on the Identity Theory of Truth.Julian Dodd - 1999 - Proceedings of the Aristotelian Society 99 (2):225–232.
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  36.  23
    'The World is the Totality of Things, Not of Facts': A Strawsonian Reply to Searle.Julian Dodd - 2002 - 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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  37.  10
    Of Affairs.Julian Dodd - 2009 - In Robin Le Poidevin (ed.), The Routledge Companion to Metaphysics. Routledge. pp. 322.
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  38. On a Davidsonian Objection to Minimalism.Julian Dodd - 1997 - Analysis 57 (4):267–272.
  39. Sounds, Instruments and Works of Music.Julian Dodd - 2007 - In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. Oxford University Press.
     
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  40.  96
    Teaching & Learning Guide For: Musical Works: Ontology and Meta-Ontology.Julian Dodd - 2009 - 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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    Recent Work on Truth.Julian Dodd - 2002 - Philosophical Books 43 (4):279-291.
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  42.  76
    Countering the Counting Problem: A Reply to Holton.Julian Dodd - 1996 - Analysis 56 (4):239–245.
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    Indirect Speech, Parataxis and the Nature of Things Said.Julian Dodd - 1997 - 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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    Musical Understandings and Other Essays on the Philosophy of Music, by Stephen Davies.Julian Dodd - 2013 - Australasian Journal of Philosophy 91 (3):625 - 625.
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  45.  17
    Resurrecting the Identity Theory of Truth.Julian Dodd - 1996 - Bradley Studies 2 (1):42-50.
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    Facing Facts. [REVIEW]Julian Dodd - 2003 - Philosophy 78 (1):123-145.
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  47.  17
    Facing Facts by Stephen Neale Oxford University Press, 2001. Pp. XV + 254. £25.Julian Dodd - 2003 - Philosophy 78 (1):123-145.
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  48. Events, Facts, and States of Affairs.Julian Dodd - 2009 - In Robin Le Poidevin (ed.), The Routledge Companion to Metaphysics. Routledge.
     
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  49.  2
    Indirect Speech, Parataxis and the Nature of Things Said.Julian Dodd - 1997 - 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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    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]Julian Dodd - 2013 - Australasian Journal of Philosophy:1-1.
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