5 ideas
| 21238 | Later phenomenologists tried hard to incorporate social relationships [Bakewell] |
| Full Idea: Ever since Husserl, phenomenologists and existentialists had been trying to stretch the definition of existence to incorporate our social lives and relationships. | |
| From: Sarah Bakewell (At the Existentialist Café [2016], 08) | |
| A reaction: I see a parallel move in Wittgenstein's Private Language Argument. Husserl's later work seems to have been along those lines. Putnam's Twin Earth too. |
| 21237 | Phenomenology begins from the immediate, rather than from axioms and theories [Bakewell] |
| Full Idea: Traditional philosophy often started with abstract axioms or theories, but the German phenomenologists went straight for life as they experienced it, moment to moment. | |
| From: Sarah Bakewell (At the Existentialist Café [2016], 01) | |
| A reaction: Bakewell gives this as the gist of what Aron said to Sartre in 1933, providing the bridge from phenomenology to existentialism. The obvious thought is that everybody outside philosophy starts from immediate experience, so why is this philosophy? |
| 3061 | Anaxarchus said that he was not even sure that he knew nothing [Anaxarchus, by Diog. Laertius] |
| Full Idea: Anaxarchus said that he was not even sure that he knew nothing. | |
| From: report of Anaxarchus (fragments/reports [c.340 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 09.10.1 |
| 20422 | The experience of expression and communication are intermingled in art [Croce] |
| Full Idea: It is very difficult to perceive the frontier between expression and communication in actual fact, for the two processes usually alternate rapidly and are almost intermingled. | |
| From: Benedetto Croce (The Essence of Aesthetic [1912]), quoted by Gary Kemp - Croce and Collingwood | |
| A reaction: [text unsure] I think he is getting at seeing the painting (or whatever) as a physical object, and seeing it as the experience which results from the object. The alternation of the objective and subjective views. Reminds me of Thomas Nagel. |
| 7270 | Historical interpretation aims to recapture the author's view of the work [Croce] |
| Full Idea: Historical interpretation enables us to see a work of art as its author saw it in the moment of production. | |
| From: Benedetto Croce (Aesthetic as Science of Expression [1902], §II), quoted by W Wimsatt/W Beardsley - The Intentional Fallacy §II | |
| A reaction: Wimsatt and Beardsley quote this as the romantic antithesis of their own view, but there is a blurring between understanding a work and judging. Personally I consider intentions essential for understanding, and valuable for judgement. |