10 ideas
| 18935 | Semantic theory should specify when an act of naming is successful [Sawyer] |
| Full Idea: A semantic theory of names should deliver a specification of the conditions under which a name names an individual, and hence a specification of the conditions under which a name is empty. | |
| From: Sarah Sawyer (Empty Names [2012], 1) | |
| A reaction: Naming can be private, like naming my car 'Bertrand', but never tell anyone. I like Plato's remark that names are 'tools'. Do we specify conditions for successful spanner-usage? The first step must be individuation, preparatory to naming. |
| 18945 | Millians say a name just means its object [Sawyer] |
| Full Idea: The Millian view of direct reference says that the meaning of a name is the object named. | |
| From: Sarah Sawyer (Empty Names [2012], 4) | |
| A reaction: Any theory that says meaning somehow is features of the physical world strikes me as totally misguided. Napoleon is a man, so he can't be part of a sentence. He delegates that job to words (such as 'Napoleon'). |
| 18934 | Sentences with empty names can be understood, be co-referential, and even be true [Sawyer] |
| Full Idea: Some empty names sentences can be understood, so appear to be meaningful ('Pegasus was sired by Poseidon'), ...some appear to be co-referential ('Santa Claus'/'Father Christmas'), and some appear to be straightforwardly true ('Pegasus doesn't exist'). | |
| From: Sarah Sawyer (Empty Names [2012], 1) | |
| A reaction: Hang on to this, when the logicians arrive and start telling you that your talk of empty names is vacuous, because there is no object in the 'domain' to which a predicate can be attached. Meaning, reference and truth are the issues around empty names. |
| 18938 | Frege's compositional account of truth-vaues makes 'Pegasus doesn't exist' neither true nor false [Sawyer] |
| Full Idea: In Frege's account sentences such as 'Pegasus does not exist' will be neither true nor false, since the truth-value of a sentence is its referent, and the referent of a complex expression is determined by the referent of its parts. | |
| From: Sarah Sawyer (Empty Names [2012], 2) | |
| A reaction: We can keep the idea of 'sense', which is very useful for dealing with empty names, but tweak his account of truth-values to evade this problem. I'm thinking that meaning is compositional, but truth-value isn't. |
| 18947 | Definites descriptions don't solve the empty names problem, because the properties may not exist [Sawyer] |
| Full Idea: If it were possible for a definite description to be empty - not in the sense of there being no object that satisfies it, but of there being no set of properties it refers to - the problem of empty names would not have been solved. | |
| From: Sarah Sawyer (Empty Names [2012], 5) | |
| A reaction: Swoyer is thinking of properties like 'is a unicorn', which are clearly just as vulnerable to being empty as 'the unicorn' was. It seems unlikely that 'horse', 'white' and 'horn' would be empty. |
| 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. |
| 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. |
| 1513 | The Egyptians were the first to say the soul is immortal and reincarnated [Herodotus] |
| Full Idea: The Egyptians were the first to claim that the soul of a human being is immortal, and that each time the body dies the soul enters another creature just as it is being born. | |
| From: Herodotus (The Histories [c.435 BCE], 2.123.2) |