Words have meaning. Sentences also have meaning, but their meaning is different in kind from any collection of the meanings of the words they contain. I discuss two puzzles related to this difference. The first is how the meanings of the parts of a sentence combine to give rise to a unified sentential meaning, as opposed to a mere collection of disparate meanings (UP1). The second is why the formal ontology of linguistic meaning changes when grammatical structure is built up (...) (UP2). For example, the meaning of a sentence is a proposition evaluable for truth and falsity. In contrast, a collection of the meanings of its parts does not constitute a proposition and is not evaluable for truth. These two puzzles are closely related, since change in formal ontology is the clearest sign of the unity of meaning. The most popular strategy for answering them is taking the meanings of the parts as abstractions from primitive sentence meanings. However, I argue that, given plausible psychological constraints, sentence meanings cannot be taken as explanatory primitives. Drawing on recent work in Generative Grammar and its philosophy, I suggest that the key to both unity questions is to distinguish strictly between lexical and grammatical meaning. The latter is irreducible and determines how lexical content is used in referential acts. I argue that these referential properties determine a formal ontology, which explains why and how formal ontology changes when grammatical structure is built up (UP2). As for UP1, I suggest that, strictly speaking, lexical meanings never combine. Instead, whenever grammar specifies a formal ontology for the lexical meanings entering a grammatical derivation, further lexical (or phrasal) meanings can only specify aspects of this recursive grammatical process. In this way, contemporary grammatical theory can be used to address old philosophical problems. (shrink)

The aim of this thesis is to increase our ontological understanding of musical works in two ways. We’ll increase our understanding of their categorial nature and we’ll increase our understanding of what the identity of each musical work consists in. In chapter 1, I introduce the basic question of the thesis: what are musical works? This question is broken down into four separate questions which guide the structure and argument of the thesis. One question asks if musical works exist, the (...) other asks about the ontological category to which musical works belong. In the first half of the thesis, I argue that musical works exist and that the best explanation of their features is given by assigning them to the category of universals. I argue for this conclusion by elaborating and defending a view according to which musical works are properties. I then show that this conception is superior to the strongest rivals. One rival takes musical works to be historical individuals (Rohrbaugh 2003). The other takes them to be actions of composition (Davies 2004). In chapter 6, I turn to two questions about identity. One question asks about the identity criteria for musical works, the other question asks for an explanation of musical work identity. In the remainder of chapter 6, I argue by reference to contextualist intuitions that a superficially appealing view, sonicism is problematic. The critique of sonicism is used to draw out certain contextualist assumptions that our ontology of music ought to explain. In chapter 7, I examine a family of Levinsonian contextualist proposals. I argue that the original formulations (Levinson 1980) give incorrect results, and that attempts to modify them (Davies, S: 2001) slip into obscurity, or undermine the aims of the project (Levinson 1992). I end chapter 7 by presenting the performance theory in a more flattering light. I argue that as a theory of musical work identity, the performance theory is the best on the market because it overcomes the problems associated with the Levinsonian views and deepens our understanding of contextualist intuitions. In chapter 8, I present an account of the ontology of music which integrates the property theory of category with the performance theory of identity by construing musical works as impure relational properties. I then defend the integrated account against various objections. In this defence, I elaborate a view of compositional actions as belonging to the ontological category of processes. (shrink)

Nonreductive physicalists have a causal exclusion problem. Given certain theses all physicalists accept, including psychophysical supervenience and the causal closure of the physical realm, it is difficult to see how irreducible mental phenomena could make a causal difference to the world. The upshot, according to those who push the problem, is that we must embrace reductive physicalism. Only then is mental causation saved. -/- Grant the argument, at least provisionally. Here our focus is the conditional question: What form should one's (...) reductionism take if it is motivated in part by the exclusion problem? Must one be a type identity theorist, or are alternative reductive views available, as Jaegwon Kim has suggested more than once? (shrink)

The English version of the first chapter of Erwin Rogler and Gerhard Preyer: Materialismus, anomaler Monismus und mentale Kausalität. Zur gegenwärtigen Philosophie des Mentalen bei Donald Davidson und David Lewis »Anomaler Monismus und Mentale Kausalität. Ein Beitrag zur Debatte über Donald Davidsons Philosophie des Mentalen« is a contribution to the current debates on the philosophy of the mental and mental causality initiated from Donald Davidson's philosophy with his article »Mental Events«. It is the intent of the English version to give (...) a response to the controversy among American, British and Australian philosophers in the context of a global exchange of ideas on problems understanding the mental. Contents 1. Preliminary Remarks 2. The Critique of Property-Epiphenomenalism and Counterarguments The Enlargement of Nomological Reasoning The Counterfactual Analysis Supervenient Causality 3. Are Mental Properties real or unreal?Things and events are fundamental entities in Davidson's ontology. Less distinct is the ontological status of properties, especially of mental types. Despite of some eliminative allusions there are weighty reasons to understand Davidson's philosophy of mind as including intentional realism. With it, the question of mental causality arises. There are two striking solutions to this problem: the epiphenomenalism of mental properties and the downward causation of mental events. Davidson cannot accept either. He claims to justify the mental as supervenient causality in order to thus integrate it into physicalism. But his argument at best proves the explanatory, not the causal relevance of mental properties. For this and for other reasons, Davidson fails the aspired synthesis of a sufficiently strong physicalism and the autonomy of the mental; a project whose realization is anyhow hard to achieve. (shrink)