Author Description

Cover -- An Ontology Of Multiple Artworks -- Copyright -- Contents -- Preface -- Acknowledgements -- Introduction -- I.1 Berthold And Magda Talk About Art -- I.2 Some Preliminary Methodological Reflections -- I.3 Nine Explananda In Search Of An Explanans -- 1. What Is A Multiple Artwork? -- 1.1 Multiple Instances And Multiple 'instances' -- 1.2 Currie's 'instance Multiplicity Hypothesis' -- 1.3 Challenges To The Imh -- 1.3.1 Levinson -- 1.3.2 Carroll -- 1.4 Conclusion -- 2. Multiple Artworks As Abstract Entities: An Introductory Overview 2.1 The Origins Of Contemporary 'type' Theories Of Multiple Artworks -- 2.1.1 Richard Wollheim On Multiple Artworks As 'types' -- 2.1.2 Nicholas Wolterstorff On Multiple Works As 'norm-kinds' -- 2.2 Julian Dodd's 'simple View' -- 2.2.1 Types Are Abstract Entities -- 2.2.3 Types Are Modally And Temporally Inflexible -- 2.2.4 Types Are Eternal Existents -- 3. Two Explananda For A Theory Of Multiples: Perceivability And Creatability -- 3.1 The Audibility Of Musical Works -- 3.2 The Creatability Of Multiples -- 4. Two Further Explananda: Fine Individuation And Performance Means 4.1 Contextualist Views Of Art -- 4.2 Levinson's Contextualist Explanandum For The Ontology Of Musical Works: 'fine Individuation' -- 4.3 Levinson's Third Explanandum For Musical Ontology: 'performance Means' -- 4.4 Dodd On Contextualism And Instrumentalism As Explananda For Musical Ontology -- 5. Methodological Interlude: The Primacy Of Practice In The Ontology Of Art -- 5.1 Introduction -- 5.2 The Dialectical Structure Of Works Of Music And The 'pragmatic Constraint' -- 5.2.1 The Appeal To 'mature Philosophical Theory' In Dodd's Arguments 5.2.2 Equivocation On The Concepts Of 'aesthetic Worth' And 'worth As Music' -- 5.3 Individuating Works, Identifying Instances Of Works, And The 'appreciation Constraint' -- 5.4 Dodd's 'meta-ontological' Argument -- 5.5 The Place Of Artistic Practice In The Ontology Of Art: The 'pragmatic Constraint' Revisited -- 5.6 Meta-onto