11 ideas
| 5831 | The new view is that "water" is a name, and has no definition [Schwartz,SP] |
| Full Idea: Perhaps the modern view is best expressed as saying that "water" has no definition at all, at least in the traditional sense, and is a proper name of a specific substance. | |
| From: Stephen P. Schwartz (Intro to Naming,Necessity and Natural Kinds [1977], §III) | |
| A reaction: This assumes that proper names have no definitions, though I am not clear how we can grasp the name 'Aristotle' without some association of properties (human, for example) to go with it. We need a definition of 'definition'. |
| 5829 | We refer to Thales successfully by name, even if all descriptions of him are false [Schwartz,SP] |
| Full Idea: We can refer to Thales by using the name "Thales" even though perhaps the only description we can supply is false of him. | |
| From: Stephen P. Schwartz (Intro to Naming,Necessity and Natural Kinds [1977], §III) | |
| A reaction: It is not clear what we would be referring to if all of our descriptions (even 'Greek philosopher') were false. If an archaeologist finds just a scrap of stone with a name written on it, that is hardly a sufficient basis for successful reference. |
| 5830 | The traditional theory of names says some of the descriptions must be correct [Schwartz,SP] |
| Full Idea: The traditional theory of proper names entails that at least some combination of the things ordinarily believed of Aristotle are necessarily true of him. | |
| From: Stephen P. Schwartz (Intro to Naming,Necessity and Natural Kinds [1977], §III) | |
| A reaction: Searle endorses this traditional theory. Kripke and co. tried to dismiss it, but you can't. If all descriptions of Aristotle turned out to be false (it was actually the name of a Persian statue), our modern references would have been unsuccessful. |
| 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? |
| 5826 | The intension of "lemon" is the conjunction of properties associated with it [Schwartz,SP] |
| Full Idea: The conjunction of properties associated with a term such as "lemon" is often called the intension of the term "lemon". | |
| From: Stephen P. Schwartz (Intro to Naming,Necessity and Natural Kinds [1977], §II) | |
| A reaction: The extension of "lemon" is the set of all lemons. At last, a clear explanation of the word 'intension'! The debate becomes clear - over whether the terms of a language are used in reference to ideas of properties (and substances?), or to external items. |
| 22687 | Maybe literary assessment is evaluating the artist as a suitable friend [Gaut] |
| Full Idea: An approach in Hume (elaborated by Wayne Booth) holds that literary assessment is akin to an act of befriending, for one assesses the author of a work as a suitable friend. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Some') | |
| A reaction: I like the idea that art exploits our normal range of social emotions and attitudes, so I think this has some truth, but some of the best artists are so out of my league as to not even be candidates for friendship. Dostoevsky? Webster? Caravaggio? |
| 22686 | Formalists say aesthetics concerns types of beauty, or unity, complexity and intensity [Gaut] |
| Full Idea: The formal objects which individuate the aesthetic attitude may be narrowly aesthetic, as beauty, and its subspecies, such as grace and elegance, or more broadly by other formalist criteria, such as Beardley's unity, complexity and intensity. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Objections 1') | |
| A reaction: I'm not sure about unity or complexity, but intensity was endorsed by Henry James. Intensity doesn't sound very 'formal'. 'Beauty' doesn't seem the right word for the wonderful 'King Lear', or even for Jane Austen novels. |
| 22690 | 'Moralism' says all aesthetic merits are moral merits [Gaut] |
| Full Idea: The view that the only aesthetic merit of works are ethical ones is known as 'moralism'. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], n 1) | |
| A reaction: [He says this view was demolished by R.W.Beardsmore in 1971] Gaut contrasts this with his own carefully modulated 'ethicism'. Moralism predominated in the eighteenth century, but now looks clearly wrong (or naïve). |
| 22684 | Good ethics counts towards aesthetic merit, and bad ethics counts against it [Gaut] |
| Full Idea: I defend 'ethicism', which says that ethically admirable attitudes count toward the the aesthetic merit of a work, and ethically reprehensible attitudes count against its aesthetic merit. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: He recognises that morally admirable works can explore unethical behaviour, and also that identifying the 'attitude' of a work is not simple. The ethics are not necessary. 'Triumph of the Will' is a classic test case. I disagree with Gaut. |
| 22689 | If we don't respond ethically in the way a work prescribes, that is an aesthetic failure [Gaut] |
| Full Idea: Our having reason not to respond in the way prescribed (because it is unethical) is a failure of the work …so that is an aesthetic failure, which is an aesthetic defect. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Merited') | |
| A reaction: A key argument for Gaut's theory of 'ethicism' about literature. If 'Triumph of the Will' gets the right response from Nazi sympathisers, that is probably all aesthetic success. Jane Austen hasn't failed if she is rejected as bourgeois. |
| 22685 | Good art does not necessarily improve people (any more than good advice does) [Gaut] |
| Full Idea: Ethicism does not entail the causal thesis that good art ethically improves people, …any more than it follows that earnest ethical advice improves people. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: How successful were sermons, in the great days of Christianity? It seems hard to disagree with Gaut's point. |