This challenging study places fiction squarely at the centre of the discussion of metaphysics. Philosophers have traditionally treated fiction as involving a set of narrow problems in logic or the philosophy of language. By contrast Amie Thomasson argues that fiction has far-reaching implications for central problems of metaphysics. The book develops an 'artifactual' theory of fiction, whereby fictional characters are abstract artifacts as ordinary as laws or symphonies or works of literature. By understanding fictional characters we come to understand how (...) other cultural and social objects are established on the basis of the independent physical world and the mental states of human beings. (shrink)

This book is a defense of modal realism; the thesis that our world is but one of a plurality of worlds, and that the individuals that inhabit our world are only a few out of all the inhabitants of all the worlds. Lewis argues that the philosophical utility of modal realism is a good reason for believing that it is true.

I sketch here an intuitive picture of repeatable artworks as created types, which are individuated in part by historical paths (re)production. Although attractive, this view has been rejected by a number of authors on the basis of general claims about abstract objects. On consideration, however, these general claims are overgeneralizations, which whilst true of some abstracta, are not true of all abstract objects, and in particular, are not true of created types. The intuitive picture of repeatable artworks as created types (...) is, then, left in place. (shrink)

Under what conditions are two utterances utterances of the same word? What are words? That these questions have not received much attention is rather surprising: after all, philosophers and linguists frequently appeal to considerations about word and sentence identity in connection with a variety of puzzles and problems that are foundational to the very subject matter of philosophy of language and linguistics.1 Kaplan’s attention to words is thus to be applauded. And there is no doubt that his discussion contains many (...) useful insights. Nevertheless, we find his picture deeply flawed for a variety of crosscutting reasons. Our aim in this paper is to further advance an understanding of the nature of words, both by remedying the problems with Kaplan’s account, and also by achieving a suitable perspective on what the metaphysical investigation of word identity can hope to achieve. Our discussion divides into four parts. In Part One, we examine and critique Kaplan’s discussion of a contrast integral to his own account: that between the type-token and the stage-continuant conceptions of words. In Part Two, we present three constraints on any account of words and two further themes in Kaplan’s discussion central to his conception of words – the role of repetition and the constitutive authority of intentions. While these ideas have laudable motivations, we argue they are far from the best way of making good on the insights that drive them. The final two sections take a skeptical turn. In Part Three, we express doubt about Kaplan’s presumption of the importance of what he calls ‘common currency names’, thus raising a suspicion that he may be in pursuit of chimera. Finally, in Part Four, we express pessimism about whether interesting answers to question above will be forthcoming, and suggest that the legitimacy of our word ontology need not depend on the availability of such answers. Along the way, we tease apart a number of metaphysical questions in the vicinity of the topic of word individuation – questions that are often not disentangled – and consider how the discussion of the previous parts bears on them.. (shrink)

Software is a ubiquitous artifact, yet not much has been done to understand its ontological nature. There are a few accounts offered so far about the nature of software. I argue that none of those accounts give a plausible picture of the nature of software. I draw attention to the striking similarities between software and musical works. These similarities motivate to look more closely on the discussions regarding the nature of the musical works. With the lessons drawn from the ontology (...) of musical works I offer a novel account of the nature of software. In this account, software is an abstract artifact. I elaborate the conditions under which software comes into existence; how it persists; how and on which entities its existence depends. (shrink)

What defines a work of art and determines the way in which we respond to it?

In this book, Linda Wetzel examines the distinction between types and tokens and argues that types exist (as abstract objects, since they lack a unique ...

The distinction between a type and its tokens is a useful metaphysical distinction. In §1 it is explained what it is, and what it is not. Its importance and wide applicability in linguistics, philosophy, science and everyday life are briefly surveyed in §2. Whether types are universals is discussed in §3. §4 discusses some other suggestions for what types are, both generally and specifically. Is a type the sets of its tokens? What exactly is a word, a symphony, a species? (...) §5 asks what a token is. §6 considers the relation between types and their tokens. Do the type and all its tokens share the same properties? Must all the tokens be alike in some or all respects? §7 explains some problems for the view that types exist, and some problems for the view that they don't. §8 elucidates a distinction often confused with the type-token distinction, that between a type (or token) and an occurrence of it. It also discusses some problems that occurrences might be thought to give rise to, and one way to resolve them. (shrink)

In this article, I assume that musical works are abstract types, and I raise and address a new question concerning musical ontology that may take the types view at least a step further: When do musical works cease to exist? I then propound my view about musical works as types, which is somewhat like the Aristotelian Realist position concerning universals. Next, I address some objections to that view. Finally, I provide some grounds for rejecting alternative views that see Western classical (...) musical works before 1950 (the sorts of musical works the discussion here is restricted to) either as classes or else as kinds. (shrink)

'Ontological dependence' is a term of philosophical jargon which stands for a rich family of properties and relations, often taken to be among the most fundamental ontological properties and relations. Notions of ontological dependence are usually thought of as 'carving reality at its ontological joints', and as marking certain forms of ontological 'non-self-sufficiency'. The use of notions of dependence goes back as far as Aristotle's characterization of substances, and these notions are still widely used to characterize other concepts and to (...) formulate metaphysical claims. This paper first gives an overview of the varieties of these notions, and then discusses some of their main applications. (shrink)

In _Realistic Rationalism_, Jerrold J. Katz develops a new philosophical position integrating realism and rationalism. Realism here means that the objects of study in mathematics and other formal sciences are abstract; rationalism means that our knowledge of them is not empirical. Katz uses this position to meet the principal challenges to realism. In exposing the flaws in criticisms of the antirealists, he shows that realists can explain knowledge of abstract objects without supposing we have causal contact with them, that numbers (...) are determinate objects, and that the standard counterexamples to the abstract/concrete distinction have no force. Generalizing the account of knowledge used to meet the challenges to realism, he develops a rationalist and non-naturalist account of philosophical knowledge and argues that it is preferable to contemporary naturalist and empiricist accounts. The book illuminates a wide range of philosophical issues, including the nature of necessity, the distinction between the formal and natural sciences, empiricist holism, the structure of ontology, and philosophical skepticism. Philosophers will use this fresh treatment of realism and rationalism as a starting point for new directions in their own research. (shrink)

This essay provides an opinionated survey of some recent developments in the literature on ontological dependence. Some of the most popular definitions of ontological dependence are formulated in modal terms; others in non-modal terms (e.g., in terms of the explanatory connective, ‘because’, or in terms of a non-modal conception of essence); some (viz., the existential construals of ontological dependence) emphasise requirements that must be met in order for an entity to exist; others (viz., the essentialist construals) focus on conditions that (...) must be satisfied in order for an entity to be the very entity it is at each time at which it exists; some are rigid, in the sense that they concern a relation between particular entities; others are generic, in the sense that they involve only a relation between an entity and some entities or other, which bear certain characteristics. I identify three potential measures of success with respect to which these different definitions of ontological dependence can be evaluated and consider the question of how well they in fact meet these desiderata. I end by noting that certain challenges face even the most promising essentialist construals of ontological dependence. (shrink)

Jerrold Katz develops a new philosophical position integrating realism and rationalism.

In _Realistic Rationalism_, Jerrold J. Katz develops a new philosophical position integrating realism and rationalism. Realism here means that the objects of study in mathematics and other formal sciences are abstract; rationalism means that our knowledge of them is not empirical. Katz uses this position to meet the principal challenges to realism. In exposing the flaws in criticisms of the antirealists, he shows that realists can explain knowledge of abstract objects without supposing we have causal contact with them, that numbers (...) are determinate objects, and that the standard counterexamples to the abstract/concrete distinction have no force. Generalizing the account of knowledge used to meet the challenges to realism, he develops a rationalist and non-naturalist account of philosophical knowledge and argues that it is preferable to contemporary naturalist and empiricist accounts. The book illuminates a wide range of philosophical issues, including the nature of necessity, the distinction between the formal and natural sciences, empiricist holism, the structure of ontology, and philosophical skepticism. Philosophers will use this fresh treatment of realism and rationalism as a starting point for new directions in their own research. (shrink)

I defend the conception of musical works as indicated temporally initiated types against Julian Dodd's recent argument that all types are eternal and uncreated. In doing so, I develop a new account of both cultural and natural types. While types are in a certain sense determined by the properties that underlie them, not all properties determine types; and properties such as being indicated by Beethoven exist only once the temporally initiated entities that those properties essentially involve exist. A cultural type (...) such as Beethoven's Fifth Symphony is a sound pattern that has the essential property of being used in the way specified by Beethoven's singling out of that pattern. (Natural types, such as bird songs or biological species, are patterns having places in actual causal chains in nature.) Given this framework, the Fifth Symphony is an indicated type that was, in a straightforward literal sense, created by Beethoven in 1804–1808. (shrink)

Charles S. Peirce introduces the distinction between a token and a type into semiotics and philosophy by using as an example two ways of individuating words:(P1) A common mode of estimating the amount of matter in a MS. or printed book is to count the number of words. There will ordinarily be about twenty the's on a page, and of course they count as twenty words. In another sense of the word "word," however, there is but one word "the" in (...) the English language; and it is impossible that this word should lie visibly on a page or be heard in any voice, for the reason that it is not a Single thing or Single event. It does not exist; it only determines things that do exist. Such a definitely significant Form, I propose.. (shrink)

The ontological status of theories themselves has recently re-emerged as a live topic in the philosophy of science. We consider whether a recent approach within the philosophy of art can shed some light on this issue. For many years philosophers of aesthetics have debated a paradox in the (meta)ontology of musical works (e.g. Levinson [1980]). Taken individually, there are good reasons to accept each of the following three propositions: (i) musical works are created; (ii) musical works are abstract objects; (iii) (...) abstract objects cannot be created. However it seems clear that, if one wants to avoid inconsistency, one cannot commit to all three. Following up recent developments courtesy of Cameron ([2008a]), we consider how one might respond to the corresponding set of propositions in the (meta)ontology of scientific theories. 1 Introduction2 Setting up the Problem3 What to Reject? 3.1 Scientific theories are not created? 3.2 Scientific theories are not abstract objects? 3.3 Abstract objects can be created?4 A Fourth Way: Truth-maker Theory5 Objections and Replies 5.1 What are the truth-makers? 5.2 Objections from World 3 5.3 Fictionalism 5.4 Concrete/abstract6 Conclusion. (shrink)

The distinction between a type and its tokens is auseful metaphysical distinction. In §1 it is explained what itis, and what it is not. Its importance and wide applicability inlinguistics, philosophy, science and everyday life are brieflysurveyed in §2. Whether types are universals is discussed in§3. §4 discusses some other suggestions for what types are,both generally and specifically. Is a type the sets of its tokens?What exactly is a word, a symphony, a species? §5 asks what atoken is. §6 considers (...) the relation between types and theirtokens. Do the type and all its tokens share the same properties? Mustall the tokens be alike in some or all respects? §7 explains someproblems for the view that types exist, and some problems for the viewthat they don’t. §8 elucidates a distinction often confused withthe type-token distinction, that between a type and anoccurrence of it. It also discusses some problems thatoccurrences might be thought to give rise to, and one way to resolvethem. (shrink)