Although the relationship of part to whole is one of the most fundamental there is, this is the first full-length study of this key concept. Showing that mereology, or the formal theory of part and whole, is essential to ontology, Simons surveys and critiques previous theories--especially the standard extensional view--and proposes a new account that encompasses both temporal and modal considerations. Simons's revised theory not only allows him to offer fresh solutions to long-standing problems, but also has far-reaching consequences for (...) our understanding of a host of classical philosophical concepts. (shrink)

For most of the history of metaphysics, the subject has been dominated by the concept of substance. There is an everyday commonsense notion of substance which is perfectly harmless and which I shall defend against attempts to remove it or revise it away. But I deny that substance has to be construed as a primitive even in everyday terms. Borrowing Strawson’s distinction between descriptive and revisionary metaphysics, I press the legitimate claims of revisionary metaphysics and argue that there is no (...) place for a fundamental concept of substance within it, although aspects of the concept are likely to find their place therein. (shrink)

A realist theory of truth for a class of sentences holds that there are entities in virtue of which these sentences are true or false. We call such entities ‘truthmakers’ and contend that those for a wide range of sentences about the real world are moments (dependent particulars). Since moments are unfamiliar, we provide a definition and a brief philosophical history, anchoring them in our ontology by showing that they are objects of perception. The core of our theory is the (...) account of truthmaking for atomic sentences, in which we expose a pervasive ‘dogma of logical form’, which says that atomic sentences cannot have more than one truthmaker. In contrast to this, we uphold the mutual independence of logical and ontological complexity, and the authors outline formal principles of truthmaking taking account of both kinds of complexity. (shrink)

What has traditionally been labelled ‘Aristotle's theory of causes’ would be more intelligible if construed as ‘Aristotle's theory of explanations’, where the term ‘explanation’ has substantially the sense of Hempel and Oppenheim, who construe explanations as deductions. For Aristotle, specifying ‘causes’ is constructing demonstrations.

The relationship of part to whole is one of the most fundamental there is; this is the first and only full-length study of this concept. This book shows that mereology, the formal theory of part and whole, is essential to ontology. Peter Simons surveys and criticizes previous theories, especially the standard extensional view, and proposes a more adequate account which encompasses both temporal and modal considerations in detail. 'Parts could easily be the standard book on mereology for the next twenty (...) or thirty years.' Timothy Williamson, Grazer Philosophische Studien. (shrink)

Thema der Arbeit ist der ontologische Status von Werken sowie die Beziehung zwischen Werken einerseits und Aufführungen, Manuskripten, Partituren, Schallplatten, Gemälden, Gebäuden, Drucken etc. andererseits. Es wird angeknüpft an den phänomenologischen Ansatz von Roman Ingarden (aber auch an den von Alexius Meinung). Diese Ansätze werden unter Verwendung moderner logischer Hilfsmittel weiterentwickelt und, wo notwendig, revidiert. Im ersten Kapitel wird ausführlich begründet, warum Werke (und zwar Werke aller Gattungen) abstrakte, typenartige Gegenstände sein müssen, die in konkreten Einzeldingen (z. B. Aufführungen) realisiert (...) sein können, jedoch von diesen Realisierungen in ihrer Existenz nicht abhängig sind. Diese These ist im weiteren Verlauf der Arbeit eine nicht mehr hinterfragte Grundvoraussetzung. Im zweiten Kapitel werden die formalen Grundlagen einer Typenontologie des Werks entwickelt. Zwei Hauptfragen stehen dabei im Vordergrund: (a) Wie kann ein Werk (also ein abstrakter Gegenstand) sinnliche Eigenschaften (z. B. Klangeigenschaften, Farbeigenschaften) haben? (b) Was macht einen Gegenstand zu einer Realisierung eines Werks? Welche Bedingungen müssen erfüllt sein, damit etwas eine Realisierung eines gegebenen Werks ist? Neben dem Begriff des Werks beruht die in dieser Arbeit entwickelte Theorie auf drei weiteren Grundbegriffen: Realisierungen, Konkretisierungen und Aktualisierungen. Realisierungen sind jene Gegenstände, in denen Werke realisiert sind. Konkretisierungen sind abstrakte Gegenstände, die durch "Vervollständigung" aus Werken hervorgehen. Sie sind immer noch unvollständig bestimmt, aber vollständiger bestimmt als die Werke, deren Konkretisierungen sie sind. Beispiele für Konkretisierungen sind Inszenierungen im Theater oder musikalische Interpretationen. Aktualisierungen sind die intentionalen Korrelate von Rezeptionsvorgängen. Sie entstehen im Verlauf der Rezeption eines Werks und werden von den Rezipienten erzeugt. Ein und dasselbe Werk kann auf verschiedene Weisen aktualisiert werden (z. B.: ein Musikstück kann auf verschiedene Weisen "gehört" werden). In eigenen Kapiteln werden Probleme der Mereologie, der Identität, des Darstellens und der Beziehung zwischen dem darstellenden Werk und dem Dargestellten erörtert. (shrink)

The objects we encounter in ordinary life and scientific practice - cars, trees, people, houses, molecules, galaxies, and the like - have long been a fruitful source of perplexity for metaphysicians. The Structure of Objects gives an original analysis of those material objects to which we take ourselves to be committed in our ordinary, scientifically informed discourse. Koslicki focuses on material objects in particular, or, as metaphysicians like to call them "concrete particulars", i.e., objects which occupy a single region of (...) space-time at each time at which they exist and which have a certain range of properties that go along with space-occupancy, such as weight, shape, color, texture, and temperature. The Structure of Objects focuses in particular on the question of how the parts of such objects, assuming that they have parts, are related to the wholes which they compose. (shrink)

Roman Ingarden (1893 -- 1970) was a Polish phenomenologist, ontologist and aesthetician. A student of Edmund Husserl's from the Göttingen period, Ingarden was a realist phenomenologist who spent much of his career working against what he took to be Husserl's turn to transcendental idealism. As preparatory work for narrowing down possible solutions to the realism/idealism problem, Ingarden developed ontological studies unmatched in scope and detail, distinguishing different kinds of dependence and different modes of being. He is best known, however, for (...) his work in aesthetics, particularly on the ontology of the work of art and the status of aesthetic values, and is credited with being the founder of phenomenological aesthetics. His work.. (shrink)

During the realist revival in the early years of this century, philosophers of various persuasions were concerned to investigate the ontology of truth. That is, whether or not they viewed truth as a correspondence, they were interested in the extent to which one needed to assume the existence of entities serving some role in accounting for the truth of sentences. Certain of these entities, such as the Sätze an sich of Bolzano, the Gedanken of Frege, or the propositions of Russell (...) and Moore, were conceived as the bearers of the properties of truth and falsehood. Some thinkers however, such as Russell, Wittgenstein in the Tractatus, and Husserl in the Logische Untersuchungen, argued that instead of, or in addition to, truth-bearers, one must assume the existence of certain entities in virtue of which sentences and/or propositions are true. Various names were used for these entities, notably 'fact', 'Sachverhalt', and 'state of affairs'. (1) In order not to prejudge the suitability of these words we shall initially employ a more neutral terminology, calling any entities which are candidates for this role truth-makers. (shrink)