59 ideas
| 8013 | In the Reformation, morality became unconditional but irrational, individually autonomous, and secular [MacIntyre] |
| Full Idea: Three concepts about morality emerge from the Reformation period: that moral rules are unconditional demands that lack rational justification; that moral agents are sovereign in choices; and that secular powers have their own norms and justifications. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch.10) | |
| A reaction: I get the impression that a rather frank admission of the role of self-interest emerged at that time as well. It is only in the late seventeenth century that the possibility of a secular altruism begins to be investigated. But there's Shakespeare... |
| 8021 | The Levellers and the Diggers mark a turning point in the history of morality [MacIntyre] |
| Full Idea: The Levellers and the Diggers mark a turning point in the history of morality. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch.11) | |
| A reaction: John Lilburne, the Leveller, 'Free-Born John', was the most important of them. They mainly fought for rights of religious conscience, but it quickly escalated into a demand for economic and social rights. It spread to France and the United States. |
| 8060 | In the 17th-18th centuries morality offered a cure for egoism, through altruism [MacIntyre] |
| Full Idea: It was in the seventeenth and eighteenth century that morality came generally to be understood as offering a solution to the problems posed by human egoism and that the content of morality came to be largely equated with altruism. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch.16) | |
| A reaction: It was the elevation of altruism that caused Nietzsche's rebellion. The sixteenth century certainly looks striking cynical to modern eyes. The development was an attempt to secularise Jesus. Altruism has a paradox: it needs victims. |
| 8053 | Twentieth century social life is re-enacting eighteenth century philosophy [MacIntyre] |
| Full Idea: Twentieth century social life turns out in key part to be the concrete and dramatic re-enactment of eighteenth-century philosophy. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 8) | |
| A reaction: This suggest a two hundred year lag between the philosophy and its impact on the culture. One might note the Victorian insistence on 'duty' (e.g. in George Eliot), alongside Mill's view that the Kantian account of it didn't work (Idea 3768). |
| 8047 | Philosophy has been marginalised by its failure in the Enlightenment to replace religion [MacIntyre] |
| Full Idea: The failure, in the Enlightenment, of philosophy to provide what religion could no longer furnish was an important cause of philosophy losing its central cultural role and becoming a marginal, narrowly academic subject. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 4) | |
| A reaction: A strange way of presenting the situation. Philosophy has never aspired to furnish beliefs for the masses. Plato offered them myths. The refutation of religion was difficult and complex. There is no returning from there to a new folk simplicity. |
| 8062 | Proof is a barren idea in philosophy, and the best philosophy never involves proof [MacIntyre] |
| Full Idea: Arguments in philosophy rarely take the form of proofs; and the most successful arguments on topics central to philosophy never do. (The ideal of proof is a relatively barren one in philosophy). | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch.18) | |
| A reaction: He seems proud of this, but he must settle for something which is less than proof, which has to be vindicated to the mathematicians and scientists. I agree, though. Plato is the model, and the best philosophy builds a broad persuasive picture. |
| 8052 | To find empiricism and science in the same culture is surprising, as they are really incompatible [MacIntyre] |
| Full Idea: There is something extraordinary in the coexistence of empiricism and natural science in the same culture, for they represent radically different and incompatible ways of approaching the world. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 7) | |
| A reaction: I would say that science is commitment to an ontology, and empiricism is a commitment to epistemology. It is a very nice point, given the usual assumption that science is an empirical activity. See Idea 7621. Strict empiricism distorts science. |
| 10356 | Relativism can be seen as about the rationality of different cultural traditions [MacIntyre, by Kusch] |
| Full Idea: MacIntyre formulates relativism in terms of rationality rather than truth or objectivity. Things are rational relative to some particular tradition, but not rational as such. | |
| From: report of Alasdair MacIntyre (Whose Justice? Which Rationality? [1988], p.352) by Martin Kusch - Knowledge by Agreement Ch.19 | |
| A reaction: Personally I had always taken it to be about truth, and I expect any account of rationality to be founded on a notion of truth. There can clearly be cultural traditions of evidence, and possibly even of logic (though I doubt it). |
| 8057 | Unpredictability doesn't entail inexplicability, and predictability doesn't entail explicability [MacIntyre] |
| Full Idea: Just as unpredictability does not entail inexplicability, so predictability does not entail explicability. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 8) | |
| A reaction: The second half is not quite as obvious as the first. The location of lightning strikes is an example of the first. He gives examples of the second, but they all seem to be very complex cases which might be explained, if only we knew enough. |
| 8054 | Social sciences discover no law-like generalisations, and tend to ignore counterexamples [MacIntyre] |
| Full Idea: Social sciences have discovered no law-like generalisations whatsoever, ...and for the most part they adopt a very tolerant attitude to counter-examples. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 8) | |
| A reaction: I suspect that this is as much to do with a narrow and rigid view of what 'science' is supposed to be, as a failure of the social sciences. Have such sciences explained anything? I suspect that they have explained a lot, often after the facts. |
| 20653 | Six reduction levels: groups, lives, cells, molecules, atoms, particles [Putnam/Oppenheim, by Watson] |
| Full Idea: There are six 'reductive levels' in science: social groups, (multicellular) living things, cells, molecules, atoms, and elementary particles. | |
| From: report of H.Putnam/P.Oppenheim (Unity of Science as a Working Hypothesis [1958]) by Peter Watson - Convergence 10 'Intro' | |
| A reaction: I have the impression that fields are seen as more fundamental that elementary particles. What is the status of the 'laws' that are supposed to govern these things? What is the status of space and time within this picture? |
| 8006 | When Aristotle speaks of soul he means something like personality [MacIntyre] |
| Full Idea: When Aristotle speaks of the soul we could very often retain his meaning by speaking of personality. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch. 7) | |
| A reaction: MacIntyre contrasts this strongly with Plato's dualist view. Famously Aristotle thinks the soul is the 'form' of the body, but this implies that he also includes the higher-level functions of the body. Soul is character? |
| 21050 | I can only make decisions if I see myself as part of a story [MacIntyre] |
| Full Idea: I can only answer the question 'What am I to do?' if I can answer the prior question 'Of what story or stories do I find myself a part?'. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], p.201), quoted by Michael J. Sandel - Justice: What's the right thing to do? 09 | |
| A reaction: MacIntyre is a great champion of the narrative view of the Self. Does this mean that if you had total amnesia, but retained other faculties, you could make no decisions? Can you start a new story whenever you like? |
| 8056 | AI can't predict innovation, or consequences, or external relations, or external events [MacIntyre] |
| Full Idea: AI machines have four types of unpredictability: they can't predict radical innovation or future maths proofs; they couldn't predict the outcome of their own decisions; their relations with other computers would be a game-theory tangle; and power failure. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 8) | |
| A reaction: This isn't an assertion that they lack 'free will', just a very accurate observation of how the super new machines would face exactly the same problems that we ourselves face. |
| 23928 | Good art produces exaltation and detachment [Bell,C] |
| Full Idea: The contemplation of pure form leads to a state of extraordinary exaltation and complete detachment from the concerns of life. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: The last part is what gets the arts a bad name with the people who do deal with the concerns of life (which won't go away, even for an artist!). However, being totally trapped in the concerns of life is probably a recipe for misery. |
| 23922 | The word 'beauty' leads to confusion, because it denotes distinct emotions [Bell,C] |
| Full Idea: The word 'beauty' connotes objects of quite distinguishable emotions, and the term would land me in confusions and misunderstandings. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: His main example is a comparison of beautiful women with beautiful art. Personally I don't think the word aspires to be precise, so there is no problem. Maths has beautiful solutions, golf has beautiful shots, cooking has beautiful results. Wow! |
| 23921 | Our feeling for natural beauty is different from the aesthetic emotion of art [Bell,C] |
| Full Idea: It is not what I call an aesthetic emotion that most of us feel, generally, for natural beauty. …Most people feel a very different kind of emotion for birds, flowers and butterfly wings from that we feel for pictures, pots, temples and statues. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Not convinced. I think the main difference is our awareness that art is a human production, the result of choice, whereas nature is a given. Beethoven 9 and a good sunset don't seem to me far apart in our responses. |
| 23929 | We only see landscapes as artistic if we ignore their instrumental value [Bell,C] |
| Full Idea: It is only when we cease to regard the objects in a landscape as means to anything that we can feel the landscape artistically. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: This sounds as if only the exploitative attitude blocks the artistic view, but I would expect the scientific view (of an ecologist, for example) to do the same. |
| 23923 | Visual form can create a sublime mental state [Bell,C] |
| Full Idea: Pure visual form transports me to an infinitely sublime state of mind. | |
| From: Clive Bell (Art [1913], I.I) | |
| A reaction: Unusual for anyone to use to term 'sublime' for works of art, and I suspect that Bell was the last to do so. Bell offers a quasi-religious role for art. I accept that being struck by something exceptionally good in art is a very distinctive experience. |
| 23932 | Art is the expression of an emotion for ultimate reality [Bell,C] |
| Full Idea: My hypothesis is that art is the expression of an emotion for ultimate reality. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: So later in his discussion the word 'ultimate' has crept in, after a chapter about the close relation between religious and artistic attitudes. He also sees good art as deeply 'spiritual'. It seems that religious belief is essential to his theory of art. |
| 23927 | Aestheticism invites artist to create beauty, but with no indication of how to do it [Bell,C] |
| Full Idea: The danger of aestheticism is that the artist who has got nothing to do but make something beautiful hardly knows where to begin or where to end | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Aestheticism strikes me as the main motivation for art nouveau artifacts, which I love. You start with beautiful lines, and then find ways to implement them. Bell has a point, though! |
| 8115 | Only artists can discern significant form; other people must look to art to find it [Bell,C, by Gardner] |
| Full Idea: Bell thinks that only artists can discern significant form directly in the natural world, and that all others must look to art for significant form. | |
| From: report of Clive Bell (Art [1913]) by Sebastian Gardner - Aesthetics 3.3 | |
| A reaction: I have a horrible feeling that 'significant' form will turn out to be the sort of form that artists can see. Presumably the form spotted by geologists won't be quite so 'significant'. Not a promising theory. |
| 23924 | Maybe significant form gives us a feeling for ultimate reality [Bell,C] |
| Full Idea: When we strip things of all associations and significance, what is left is 'the thing in itself', or 'ultimate reality'. …Artists can express an emotion felt for reality through line and colour. …So through 'significant form' we sense ultimate reality. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: [compressed] The thing in itself is a Kantian idea. He offers this as a speculation, rather than a fact. Maybe quantum physics gets us closer to the thing in itself? Bell knows that his faith in significant form needs more justification than an emotion. |
| 23931 | Significant form is the essence of art, which I believe expresses an emotion about reality [Bell,C] |
| Full Idea: My view that the essential quality in work of art is significant form was based on experience I am sure about. Of my view that significant form is the expression of a peculiar emotion felt for reality I am far from confident. | |
| From: Clive Bell (Art [1913], II.II) | |
| A reaction: It is hard to understand the idea of 'significant' form without a clear proposal for the nature of the significance. A detective doesn't stop at the point where evidence is seen as significant. Why should a 'peculiar' emotion matter? |
| 20434 | 'Form' is visual relations, and it is 'significant' if it moves us aesthetically; art needs both [Bell,C, by Feagin] |
| Full Idea: By 'form' Bell means the relations of lines, colours and shapes. Forms are 'significant' when the relationships of lines and so on move us aesthetically. If something is art it must have, to at least a minimum extent, significant form. | |
| From: report of Clive Bell (Art [1913], p.17) by Susan Feagin - Roger Fry and Clive Bell 3 | |
| A reaction: So art has two necessary conditions - that it move us aesthetically, and that it does so by means of its form. The obvious problem is to explain which forms are 'significant' without mentioning the aesthetic feeling they have to invoke. |
| 23934 | The only expression art could have is the emotion resulting from pure form [Bell,C] |
| Full Idea: If art expresses anything, it expresses an emotion felt for pure form and that which gives pure form its extraordinary significance. | |
| From: Clive Bell (Art [1913], III.I) | |
| A reaction: I don't think 'expresses' is the right word here. Artists express, but works just transmit. I personally doubt whether anything can have 'extraordinary significance' simply because it expresses one particular emotion. Why art, but not geometry? |
| 23925 | Mere copies of pictures are not significant - unless the copies are very exact [Bell,C] |
| Full Idea: A literal copy is seldom reckoned even by its owner a work of art. Its forms are not significant. Yet if it were an absolutely exact copy, clearly it would be as moving as the original, and a photographic reproduction of a drawing often is. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: What if the original artist made the copy? In 1913, Bell begins to spot this modern problem. He undermines his own theory of significant form here, if the form only becomes significant once we have checked it is an original. |
| 23926 | Art is distinguished by its aesthetic emotion, which produces appropriate form [Bell,C] |
| Full Idea: The characteristic of a work of art is its power of provoking aesthetic emotion; the expression of emotion is what gives it its power. ...Rightness of form is invariably a consequence of rightness of emotion. | |
| From: Clive Bell (Art [1913], I.III) | |
| A reaction: Bell doesn't dig very deep, because the obvious next question, not really addressed, is what makes the emotion 'right'. He suggests that significant form reveals reality, but why would an emotion do that? Does each work have a distinct emotion? |
| 23933 | Aesthetic contemplation is the best and most intense mental state [Bell,C] |
| Full Idea: Art is not only a means to good states of mind, but, perhaps, the best and most potent that we possess; …there is no state of mind more excellent or more intense than the state of aesthetic contemplation. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Why does intensity make it good? It is pretty intense being involved in a road accident, but that doesn't make it good. There are many states of mind we enjoy or value highly, but we need more than that to prove them objectively 'excellent'. |
| 23935 | Aesthetic experience is an exaltation which increases the possibilities of life [Bell,C] |
| Full Idea: Those who have been thrilled by the pure aesthetic significance of a work of art …carry a state of excitement and exaltation making them more sensitive to all that is going forward about them. Thus they realise …the significance and possibility of life. | |
| From: Clive Bell (Art [1913], IV.III) | |
| A reaction: This seems like a bit of an afterthought, because he struggles to explain why his 'significant form' is so important. He shifts between it being an end - an intrinsic value - or a moral state, or now an increaser of life potential. |
| 22691 | Only artistic qualities matter in art, because they also have the highest moral value [Bell,C] |
| Full Idea: The only relevant qualities in art are artistic qualities: judged as a means to good, no other qualities are worth considering; for there are no qualities of greater moral value than artistic qualities, since there is no greater means to good than art. | |
| From: Clive Bell (Art [1913], II.III) | |
| A reaction: Wishful thinking, I suspect. I can't see anyone acquiring a moral education just by looking a Cezannes. This seems to be a late manifesto for the aesthetic movement. |
| 8059 | The good life for man is the life spent seeking the good life for man [MacIntyre] |
| Full Idea: The good life for man is the life spent in seeking for the good life for man. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch.15) | |
| A reaction: This contains a self-evident paradox - that success would be failure. The proposal suits philosophers more than it would suit the folk. Less seeking and more getting on with it seems good, if the activity is a 'flourishing' one. |
| 8034 | We still have the appearance and language of morality, but we no longer understand it [MacIntyre] |
| Full Idea: We possess simulacra of morality, we continue to use many of the key expressions. But we have - very largely, if not entirely - lost our comprehension, both theoretical and practical, of morality. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 1) | |
| A reaction: MacIntyre's famous (or notorious) assault on modern ethics. We obviously can't prove him wrong by spouting moral talk. Are we actually more wicked than our ancestors? There is, I think, a relativism problem in the 20th centurty, but that is different. |
| 8036 | Unlike expressions of personal preference, evaluative expressions do not depend on context [MacIntyre] |
| Full Idea: There are good reasons for distinguishing between expressions of personal preference and evaluative expressions, as the first depend on who utters them to whom, while the second are not dependent for reason-giving force on the context of utterance. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 2) | |
| A reaction: The sceptics will simply say that in the second type of expression the speaker tries to adopt a tone of impersonal authority, but it is merely an unjustified attempt to elevate personal preferences. "Blue just IS the best colour". |
| 8049 | Moral judgements now are anachronisms from a theistic age [MacIntyre] |
| Full Idea: Moral judgements are linguistic survivals from the practices of classical theism which have lost the context provided by these practices. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 5) | |
| A reaction: He is sort of right. Richard Taylor is less dramatic and more plausible on this (Ideas 5065, 5066, 5077). Big claims about 'duty' have become rather hollow, but the rights and wrongs of (e.g.) mistreating children don't seem to need theism. |
| 8045 | The failure of Enlightenment attempts to justify morality will explain our own culture [MacIntyre] |
| Full Idea: A central thesis of this book is that the breakdown of the project (of 1630 to 1850) of an independent rational justification of morality provided the historical background against which the predicaments of our own culture can become intelligible. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 4) | |
| A reaction: Possibly the most important question of our times is whether the Enlightenment failed. MacIntyre's claim is followed by an appeal for a return to Aristotelian/Thomist virtues. Continentals seem to have responded by sliding into relativism. |
| 8051 | Mention of 'intuition' in morality means something has gone wrong with the argument [MacIntyre] |
| Full Idea: The introduction of the word 'intuition' by a moral philosopher is always a signal that something has gone badly wrong with an argument. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 6) | |
| A reaction: For the alternative view, see Kripke (Idea 4948). If Kripke is right about logic, I don't see why the same view should have some force in morality. At the bottom of all morality is an intuition that life is worth the struggle. How do you prove that? |
| 8048 | When 'man' is thought of individually, apart from all roles, it ceases to be a functional concept [MacIntyre] |
| Full Idea: It is only when man is thought of as an individual prior to and apart from all roles that 'man' ceases to be a functional concept. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 5) | |
| A reaction: This is the one key idea at the heart of the revival of virtue ethics in modern times. It pinpoints what may be the single biggest disaster in intellectual history - the isolation of the individual. Yet it led to freedom, rights, and lots of good things. |
| 8035 | In trying to explain the type of approval involved, emotivists are either silent, or viciously circular [MacIntyre] |
| Full Idea: In reply to the question of what kinds of approval are expressed by the feelings or attitudes of moral judgments, every version of emotivism either remains silent, or becomes viciously circular by identifying it as moral approval. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 2) | |
| A reaction: There seems to be an underlying assumption that moral judgements are sharply separated from other judgements, of which I am not convinced. I approve of creating a beautiful mural for an old folks home free of charge, but it must be beautiful. |
| 8037 | The expression of feeling in a sentence is in its use, not in its meaning [MacIntyre] |
| Full Idea: Expression of feeling is not a function of the meaning of sentences, but of their use, as when a teacher shouts at a pupil "7 x 7 = 49!", where the expression of feeling or attitude has nothing whatsoever to do with its meaning. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 2) | |
| A reaction: This point is what underlies the Frege-Geach problem for emotivism, and is a very telling point. Apart from in metaethics, no one has ever put forward a theory of meaning that says it is just emotion. ...Unless it concerns speakers' intentions? |
| 8040 | Emotivism cannot explain the logical terms in moral discourse ('therefore', 'if..then') [MacIntyre] |
| Full Idea: Analytical moral philosophers resist emotivism because moral reasoning does occur, but there can be logical linkages between various moral judgements of a kind that emotivism could not allow for ('therefore' and 'if...then' express no moral feelings). | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 2) | |
| A reaction: This is the 'Frege-Geach Problem', nicely expressed, and is the key reason why emotivism seems unacceptable - it is a theory about language, but it just doesn't explain moral discourse sufficiently. |
| 8042 | Nowadays most people are emotivists, and it is embodied in our culture [MacIntyre] |
| Full Idea: To a large degree people now think, talk and act as if emotivism was true, no matter what their avowed theoretical standpoint may be. Emotivism has become embodied in our culture. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 2) | |
| A reaction: I suspect that it is moderately educated people who have swallowed emotivism, in the same way that they have swallowed relativism; it provides an excuse for neglectly the pursuit of beauty, goodness and truth, in favour of pleasure. |
| 8002 | Sophists don't distinguish a person outside one social order from someone outside all order [MacIntyre] |
| Full Idea: The sophist tradition failed to distinguish the difference between the concept of a man who stands outside and is able to question the conventions of some one given social order, and the concept of a man who stands outside social life as such. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch. 3) | |
| A reaction: A very nice distinction. Compare foreigners in Athens with Diogenes of Sinope, who renounced all cities. This is the germ of MacIntyre's view that morality is essentially dependent on some sort of social order. He is a reviver of virtue theory. |
| 8012 | The value/fact logical gulf is misleading, because social facts involve values [MacIntyre] |
| Full Idea: One reason why it is highly misleading to talk of a logical gulf between value and fact....is that we cannot characterize the social life of a tribe in their factual terms and escape their evaluations. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch.10) | |
| A reaction: Personally I like the objection that facts about functions cannot avoid the value of good functions, but this is very good. It is much better than simply trying to find a specific counterexample, such as facts about promises. Values just are facts. |
| 8005 | 'Happiness' is a bad translation of 'eudaimonia', which includes both behaving and faring well [MacIntyre] |
| Full Idea: The name 'eudaimonia' is badly but inevitably translated by 'happiness', badly because it includes both the notion of behaving well and the notion of faring well. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch. 7) | |
| A reaction: This seems to imply that it does not include the notion of feeling good. Aristotle, however, concludes that pleasure is part of eudaimonia. I take our 'happiness' to be an internal notion, while the Greek word is an external notion. |
| 8058 | Maybe we can only understand rules if we first understand the virtues [MacIntyre] |
| Full Idea: Maybe we need to attend to the virtues first in the first place in order to understand the function and authority of rules. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 9) | |
| A reaction: I think MacIntyre's project is exactly right. Morality is about how humans should live their lives. A bunch of robots could implement a set of moral rules, or make contracts, or maximise one another's benefits. The idea of a human community comes first. |
| 7097 | Virtue is secondary to a role-figure, defined within a culture [MacIntyre, by Statman] |
| Full Idea: MacIntyre argues that the concept of virtue is secondary to that of a role-figure, where the latter is always defined by some particular tradition and culture. | |
| From: report of Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981]) by Daniel Statman - Introduction to Virtue Ethics §3 | |
| A reaction: MacIntyre is much more of a relativist than Aristotle. There must be some attempt to deal with the problem of a rotten culture which throws up a corrupt role-model. We need a concept of a good culture and of individual flourishing. |
| 8043 | Characters are the masks worn by moral philosophies [MacIntyre] |
| Full Idea: Characters are the masks worn by moral philosophies. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 3) | |
| A reaction: This may be presenting character in an excessively moral way. Being lively, for example, is a very distinctive trait of character, but hardly moral. This tells us why philosophers are interested in character, but not why other people are. |
| 8061 | If morality just is emotion, there are no external criteria for judging emotions [MacIntyre] |
| Full Idea: If there is nothing to judgements of virtue and vice except the expression of feelings of approval and disapproval, there can be no criteria external to those feelings by appeal to which we may pass judgement upon them. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch.16) | |
| A reaction: The idea that there can be right and wrong feelings may be the key idea in virtue theory. See Idea 5217. A good person would be ashamed to have a bad feeling. Some emotional responses are intrinsically wicked, apart from actions. |
| 8001 | 'Dikaiosune' is justice, but also fairness and personal integrity [MacIntyre] |
| Full Idea: The Greek 'dikaiosune' is inadequately translated as 'justice', but also as any other word; it combines the notion of fairness in externals with that of personal integrity in a way that no English word does. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch. 1) | |
| A reaction: 'Dikaiosune' is said to be the main topic of Plato's 'Republic'. Plato seems to have meant it to cover whatever makes a good character. Justice in behaviour presumably flows from internal justice of character (which is, roughly, inner harmony). |
| 8023 | My duties depend on my identity, which depends on my social relations [MacIntyre] |
| Full Idea: I cannot answer the question 'What ought I to do?' until I have answered the question 'Who am I?', and any answer to this question will specify my place in a nexus of social relationships. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch.13) | |
| A reaction: This is the beginning of the modern critique of deontological ethics coming from revived virtue theory. As it stands, MacIntyre's idea sounds contractual, but I think he intends it in a more organic way. I am a fan. |
| 8038 | Since Moore thinks the right action produces the most good, he is a utilitarian [MacIntyre] |
| Full Idea: Moore takes it that to call an action right is simply to say that of the available alternative actions it is the one which does or did as a matter of fact produce the most good. Moore is thus a utilitarian. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 2) | |
| A reaction: Far be it from me to disagree with MacIntyre on this, but I would have thought that this made him a consequentialist, rather than a utilitarian. Moore doesn't remotely think that pure pleasure or happiness is the good. He's closer to Rashdall (Idea 6673). |
| 8022 | I am naturally free if I am not tied to anyone by a contract [MacIntyre] |
| Full Idea: The essence of the claim to natural rights is that no one has a right against me unless he can cite some contract, my consent to it, and his performance of his obligations under it. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch.11) | |
| A reaction: This has become the foundation of western democracy, and the rebellious teenager's charter. Children have not consented to a contract with their parents. Close and loving relationships cease to be contractual. |
| 8050 | There are no natural or human rights, and belief in them is nonsense [MacIntyre] |
| Full Idea: There are no natural or human rights, and belief in them is one with belief in witches and in unicorns. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 6) | |
| A reaction: His point is that the notion of 'rights' only arises out of a community. However, while you might criticise an individual for absurdly asserting all sorts of dubious rights, no one could criticise them if they asserted the right to defend their own life. |
| 23080 | Liberals debate how conservative or radical to be, but don't question their basics [MacIntyre] |
| Full Idea: Contemporary debates within modern political systems are almost exclusively between conservative liberals, liberal liberals, and radical liberals. There is little place for the criticism of the system itself. | |
| From: Alasdair MacIntyre (Whose Justice? Which Rationality? [1988]), quoted by John Kekes - Against Liberalism 01 | |
| A reaction: [No page number given] Kekes seems to be more authoritarian, and MacIntyre is a communitarian (which can be rather authoritarian). I'm dubious about both. |
| 8031 | Fans of natural rights or laws can't agree on what the actual rights or laws are [MacIntyre] |
| Full Idea: It is notorious that adherents of theories about natural rights or natural laws offer lists of rights or laws which differ in substance from each other. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch.17) | |
| A reaction: There seems to have been a consensus early on that self-defence was a natural right, but divergence presumably occurs when you get bolder and more complex. There is a lot of divergence over which is Shakespeare's best play. |
| 8055 | If God is omniscient, he confronts no as yet unmade decisions, so decisions are impossible [MacIntyre] |
| Full Idea: Omniscience excludes the making of decisions. If God knows everything that will occur, he confronts no as yet unmade decisions. | |
| From: Alasdair MacIntyre (After Virtue: a Study in Moral Theory [1981], Ch. 8) | |
| A reaction: [He cites Aquinas on this] I find it very difficult to see how anyone could read the Bible (see Idea 8008) while keeping this point continually in mind, without seeing the whole book as a piece of blatant anthropomorphism. |
| 8008 | The Bible is a story about God in which humans are incidental characters [MacIntyre] |
| Full Idea: The Bible is a story about God in which human beings appear as incidental characters. | |
| From: Alasdair MacIntyre (A Short History of Ethics [1967], Ch. 9) | |
| A reaction: Very illuminating. He creates man, is betrayed by man, drowns him and starts again, sends a redeemer who gets murdered, and finally enlightens a small band who continue the uphill struggle to promote God's way. What next? |
| 23930 | Religion sees infinite value in some things, and irrelevance in the rest [Bell,C] |
| Full Idea: The essence of religion is a conviction that because some things are of infinite value most are profoundly unimportant. | |
| From: Clive Bell (Art [1913], II.I) | |
| A reaction: The aspect of religion which most worries atheists like Nietzsche. You can end up with a rather cool and detached view of genocide, if you really believe that worldly matters are unimportant. Do souls in heaven worry about the next life after that? |