6 ideas
| 8044 | Goffman sees the self as no more than a peg on which to hang roles we play [Goffman, by MacIntyre] |
| Full Idea: Erving Goffman has liquidated the self into its role-playing, arguing that the self is no more than 'a peg' on which the clothes of the role are hung. | |
| From: report of Erving Goffman (Presentation of Self in Everyday Life [1959]) by Alasdair MacIntyre - After Virtue: a Study in Moral Theory Ch.3 | |
| A reaction: A rather unsympathetic expression of his view, but it seems to be a widely held view among students of sociology. But then sociologists are almost committed a priori to a social and relativist view of truth, persons, knowledge, religion etc. |
| 22693 | The works we value most are in sympathy with our own moral views [John,E] |
| Full Idea: The works we tend to value most highly are ones that are in sympathy with the moral views we actually accept. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intro) | |
| A reaction: I would have to endorse this. She admits that we may rate other works very highly, but they won't appear on our list of favourites. This fact may well distort philosophical discussions of morality and art. |
| 22694 | We should understand what is morally important in a story, without having to endorse it [John,E] |
| Full Idea: Our responses to literature should show that we grasp whatever counts as morally important within the narrative, but not necessarily that we judge and feel in the way deemed appropriate by the work. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Accommodating') | |
| A reaction: She gives as an example a story by Hemingway which places a high value on the courageous hunting of big game. A second example is the total amorality of a Highsmith novel. This idea seems exactly right to me. |
| 22695 | We value morality in art because that is what we care about - but it is a contingent fact [John,E] |
| Full Idea: Moral value is valuable in art because people care about moral value. This runs deep, but it is a contingent matter, and the value of morality in art hinges on art's need to provide something precious to us. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Contingency') | |
| A reaction: I think this is exactly right. Thrillers are written with very little moral concern, for a readership which cares about brave and exciting deeds. Even there, violence has its ethics. |
| 22692 | A work can be morally and artistically excellent, despite rejecting moral truth [John,E] |
| Full Idea: A work that rejects moral truth can be artistically excellent, in part because of its moral content. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intr) | |
| A reaction: She cites the film 'Trainspotting', about desperate drug addicts, because it gives an amoral insight into their world. |
| 7810 | The 'Eumenides' of Aeschylus shows blood feuds replaced by law [Aeschylus, by Grayling] |
| Full Idea: The 'Eumenides' of Aeschylus tells how the old rule of revenge and blood feud was replaced by a due process of law before a civil jury. | |
| From: report of Aeschylus (The Eumenides [c.458 BCE]) by A.C. Grayling - What is Good? Ch.2 | |
| A reaction: Compare Idea 1659, where this revolution is attributed to Protagoras (a little later than Aeschylus). I take the rule of law and of society to be above all the rule of reason, because the aim is calm objectivity instead of emotion. |