The Quaestio super universalia is, therefore, a well-structured and original work in its basic approach and in many of the theses it supports, since Sharpe, unlike other realist authors of the second half of the 14th century, tackles the problem of universals from a purely semantic point of view. This attitude leads him to place the question of universals in the wider context of the problem of meaning and to treat it in relation to the latter. Hence, he frequently rejects as worthless certain solutions typical of the realism of the period. In other ways, however, the Quaestio is also a ‘school’ product, as it represents one of the most interesting results of the process of revision of the principles and theses of realism by their most open-minded and intelligent supporters – a process of revision begun in the early years of the 14th century due to Ockham’s devastating criticisms of traditional realist strategies. There are also evident similarities between Sharpe’s doctrine and those of Alyngton, Whelpdale, Penbygull, Milverley, and Tarteys, with whom he shares a certain dependence on Wyclif, whose theory of universals and predication appears to be the main point of reference for the metaphysics of these thinkers. However, for Sharpe, unlike other Oxonian thinkers who were his contemporaries, Wyclif’s Tractatus de universalibus and, in general, his writings on logic and metaphysics, are a point of reference in theory only – this despite the fact that he is clearly familiar with Wyclif, discussing and criticizing his views elsewhere.  Although many of the arguments he lists quod sic  and quod non are to be found in other 14th and early 15th century authors (though in linguistically quite different forms), we have no positive evidence that Sharpe had their works in front of him when he wrote his Quaestio super universalia. It seems rather that he draws on a whole repertoire of arguments, examples, questions, and opinions on universals that were in general circulation at Oxford during the time and which appears to have been largely drawn from the works of the most famous English masters of the 14th century: Scotus, Ockham, Burley, and Wyclif himself.