13 ideas
| 22701 | Jokes can sometimes be funny because they are offensive [Jacobson,D] |
| Full Idea: Sometimes it is exactly what is offensive about a joke that makes it funny. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: Jacobson offers this in support of his immoralist view, that immoral literature can be aesthetically successful. It is uncomfortable to find yourself laughing at a joke of which you disapprove. |
| 8833 | Why should we prefer coherent beliefs? [Klein,P] |
| Full Idea: A key question for a coherentist is, why should he or she adopt a coherent set of beliefs rather than an incoherent set? | |
| From: Peter Klein (Infinitism solution to regress problem [2005], 'Step 1') | |
| A reaction: The point of the question is that the coherentist may have to revert to other criteria in answering it. One could equally ask, why should I believe in tables just because I vividly experience them? Or, why believe 2+2=4, just because it is obvious? |
| 8834 | Infinitism avoids a regress, circularity or arbitrariness, by saying warrant just increases [Klein,P] |
| Full Idea: Infinitism can solve the regress problem, because it endorses a warrant-emergent form of reasoning in which warrant increases as the series of reasons lengthens. The theory can avoid both circularity and arbitrariness. | |
| From: Peter Klein (Infinitism solution to regress problem [2005], 'Step 2') | |
| A reaction: It nicely avoids arbitrariness by offering a reason for absolutely every belief. I think the way to go may to combine individual Infinitism with a social account of where to set the bar of acceptable justification. |
| 8838 | If justification is endless, no link in the chain is ultimately justified [Ginet on Klein,P] |
| Full Idea: An endless chain of inferential justifications can never ultimately explain why any link in the chain is justified. | |
| From: comment on Peter Klein (Infinitism solution to regress problem [2005]) by Carl Ginet - Infinitism not solution to regress problem p.148 | |
| A reaction: This strikes me as a mere yearning for foundations. I don't see sense-experience or the natural light of human reason (or the word of God, for that matter) as in any way 'ultimate'. It's all evidence to be evaluated. |
| 8839 | Reasons acquire warrant through being part of a lengthening series [Klein,P] |
| Full Idea: The infinitist holds that finding a reason, and then another reason for that reason, places it at the beginning of a series where each gains warrant as part of the series. ..Rational credibility increases as the series lengthens. | |
| From: Peter Klein (Infinitism solution to regress problem [2005], p.137) | |
| A reaction: A striking problem here for Klein is the status of the first reason, prior to it being supported by a series. Surprisingly, it seems that it would not yet be a justification. Coherence accounts have the same problem, if coherence is the only criterion. |
| 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? |
| 22703 | We don't often respond to events in art as if they were real events [Jacobson,D] |
| Full Idea: We routinely do not respond to art as if we were as if we were real-life spectators of its events. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'rejection') | |
| A reaction: This strikes me as one of the basic facts about aesthetics, and especially of narrative art. People sometimes encounter terrible events on the street, only to find someone is making a film. |
| 22702 | Audiences can be too moral [Jacobson,D] |
| Full Idea: An audience can be overly moralistic. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: People can be too moral in real life as well. Goody Two Shoes. |
| 22696 | 'Autonomism' says the morality is irrelevant to the aesthetics [Jacobson,D] |
| Full Idea: 'Autonomism' is the theory that the intrinsic moral merits and defects of an artwork are irrelevant to its aesthetic value. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], Intro) | |
| A reaction: This contrasts with 'moralism', which says the ethics is part of the aesthetics. Autonomism seems to be the modern academic label for art for art's sake. In nineteenth century novels the ethics are central; in modernist novels they seem to be irrelevant. |
| 22697 | Moral defects of art can be among its aesthetic virtues [Jacobson,D] |
| Full Idea: To put my claim most provocatively: the moral defects in a work of art can be among its aesthetic virtues. This claim has been called 'immoralism'. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], Intro) | |
| A reaction: To describe sympathetic descriptions of vile moral behaviour as 'defects' may be a misunderstanding. If a work sets out to promote wickedness, then its wickedness isn't a defect in the work. It could be a masterpiece of corruption. |
| 22700 | Immoral art encourages immoral emotions [Jacobson,D] |
| Full Idea: Humean moralism includes the view that immoral art prescribes unethical emotional responses. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: [He cites Hume's 'On the Standard of Taste'] 'Prescribes' is tricky. Is a vivid description of wicked events, given without comment, a prescription? What if the commentary condemns, but the description entices? Trust the work itself, said Lawrence. |
| 22699 | Moderate moralism says moral qualities can sometimes also be aesthetic qualities [Jacobson,D] |
| Full Idea: Noël Carroll's moderate moralism maintains that some moral defects in artworks are aesthetic defects, and some moral virtues are aesthetic merits. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'How moderate') | |
| A reaction: I'm beginning to think that moralist critics are confusing morality and wisdom. We don't admire novels for hammering on about goodness. We admire their insight into characters and actions, of which the most interesting aspects happen to be moral. |
| 22698 | We can judge art ethically, or rate its ethical influence, or assess its quality via its ethics [Jacobson,D] |
| Full Idea: Ethical criticism includes 1) ethical judgements of art works, 2) assessment of an art work's role in moral education, or 3) bringing moral praise or censure to bear on the aesthetic evaluation. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'What is') | |
| A reaction: [a compressed summary of Jacobson. He cites Levinson 1998 and Carroll 2000 as examples of ethical criticism] |