This dissertation explores the concepts of naturalness, intrinsicality, and duplication. An intrinsic property is had by an object purely in virtue of the way that object is considered in itself. Duplicate objects are exactly similar, considered as they are in themselves. The perfectly natural properties are the most fundamental properties of the world, upon which the nature of the world depends. In this dissertation I develop a theory of intrinsicality, naturalness, and duplication and explore their philosophical applications. Chapter 1 introduces (...) the notions, gives a preliminary survey of some proposed conceptual connections between the notions, and sketches some of their proposed applications. Chapter 2 gives my background assumptions and introduces notational conventions. In chapter 3 I present a theory of naturalness. Although I take ‘natural’ as a primitive, I clarify this notion by distinguishing and explicating various conceptions of naturalness. In chapter 4 I give a theory of various notions related to naturalness, especially intrinsicality and duplication. I show that ‘intrinsic’ and ‘duplicate’ are interde nable, and then give analyses of these and other notions in terms of naturalness. If, as I think likely, naturalness cannot be analyzed, then what is the proper response? David Lewis suggests: accept naturalness as a primitive. I am sympathetic to this proposal, but not to the form Lewis gives it: chapter 5 contains an argument against Lewis’s theory of naturalness. In chapter 6 I reject the idea that naturalness is analyzable in terms of immanent universals. I focus on the work of D. M. Armstrong. I also criticize Armstrong’s arguments against transcendent universals. (shrink)

Traditionally, this puzzle has been solved in various ways. Aristotle, for example, distinguished between “accidental” and “essential” changes. Accidental changes are ones that don't result in a change in an objects' identity after the change, such as when a house is painted, or one's hair turns gray, etc. Aristotle thought of these as changes in the accidental properties of a thing. Essential changes, by contrast, are those which don't preserve the identity of the object when it changes, such as when (...) a house burns to the ground and becomes ashes, or when someone dies. Armed with these distinctions, Aristotle would then say that, in the case of accidental changes, (1) and (2) are both false—a changing thing can really change one of its “accidental properties” and yet literally remain one and the same thing before and after the change. (shrink)

Arnold Cusmariu ABSTRACT: Degas, Manet, Picasso, Dali and Lipchitz produced works of art exemplifying a seeming impossibility: Not only combining incompatible attributes but doing so consistently with aesthetic strictures Horace formulated in Ars Poetica. The article explains how these artists were able to do this, achieving what some critics have called ‘a new art,’ ‘a...