Julian Dodd

John R. Searle claims that P.F. Strawson's well known objections to correspondence theories of truth can be side‐stepped, if we regard the correspondence theorist's facts as ‘conditions in the world’ rather than as complex objects. In response, I claim both that Searle's notion of a ‘condition in the world’ is obscure, and that such conditions cannot be the facts of a correspondence theorist on account of their being unsuited for truthmaking.The failure of Searle's attempt to come up with a correspondence theory which evades Strawson's objections does not indicate that we should seek to formulate a correspondence theory in some other way. I argue that that the correspondence theorists's truthmaker axiom is improperly motivated, and, in the light of this, suggest that facts be treated as true propositions rather than as items which make propositions true. The article ends with a defence of this position against two recent objections.

The ontological nature of works of music has been a particularly lively area of philosophical debate during the past few years. This paper serves to introduce the reader to some of the most fertile and interesting issues. Starting by distinguishing three questions – the categorial question, the individuation question, and the persistence question – the article goes on to focus on the first: the question of which ontological category musical works fall under. The paper ends by introducing, and briefly considering, meta-ontological questions in the ontology of music.