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  1. Ontologies for information entities: State of the art and open challenges.Emilio M. Sanfilippo - 2021 - Applied ontology 16 (2):111-135.
    Information entities are used in ontologies to represent engineering technical specifications, health records, pictures or librarian data about, e.g., narrative fictions, among others. The literature in applied ontology lacks a comparison of the state of the art, and foundational questions on the nature of information entities remain open for research. The purpose of the paper is twofold. First, to compare existing ontologies with both each other and theories proposed in philosophy, semiotics, librarianship, and literary studies in order to understand how (...)
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  • Fictionalism about musical works.Anton Killin - 2018 - Canadian Journal of Philosophy 48 (2):266-291.
    The debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop (...)
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  • The Historical Ontology of Art.Rafael De Clercq - 2020 - Philosophical Quarterly 70 (279).
    In this article, I argue that our ontology of art has undergone a major change in the course of modern history. While we currently think of artworks as parts arranged in a certain way, there was a time when artworks were thought of as metaphysically more akin to ordinary artefacts such as tables and chairs; that is, as wholes having replaceable parts. This change in our ontology of art is reflected in our approach to art restoration. But what explains the (...)
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  • Some Neglected Aspects of the Rococo: Berkeley, Vico, and Rococo Style.Bennett Gilbert - 2012 - Dissertation, Portland State University
    The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the (...)
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