10 ideas
| 6455 | Maybe 'sense-data' just help us to talk about unusual perceptual situations [Lacey] |
| Full Idea: One possibility is that talk of sense-data is a mere linguistic convenience, providing a noun for talking about appearances, as when seeing a red object in sodium light (when it looks grey). | |
| From: A.R. Lacey (A Dictionary of Philosophy [1976], p.196) | |
| A reaction: The term seems to have been coined to deal with situations where there is a gap between appearance and presumed reality, as in illusions. Maybe illusions prove the existence of sense-data, rather than it being a 'convenient' term. |
| 6453 | Some claim sense-data are public, and are parts of objects [Lacey] |
| Full Idea: Sometimes it is said that sense-data are public, and parts either of objects or of the surfaces of objects. | |
| From: A.R. Lacey (A Dictionary of Philosophy [1976], p.196) | |
| A reaction: This suggests two drastically different theories, one making sense-data into mental events, the other placing them in the 'external' world. The latter theory can dovetail them with the physics, but then why would we need them? |
| 6454 | Where do sense-data begin or end? Can they change? What sort of thing are they? [Lacey] |
| Full Idea: It is hard to individuate sense-data, saying where one ends and the next begins, and hard to say whether they can change; are they substances, qualities, events, or what? | |
| From: A.R. Lacey (A Dictionary of Philosophy [1976], p.196) | |
| A reaction: The problem is not that these questions are unanswerable. The answer seems to be either that they are physical and external, or that they are mental and internal, and that there is no ontological space for them between the two. |
| 20400 | Intentions either succeed or fail, so external evidence for them is always irrelevant [Wimsatt/Beardsley, by Davies,S] |
| Full Idea: Wimsatt and Beardsley claimed that either the intention succeeded, so one does not need to look outside the work for its meaning, or the intention failed, so external evidence does not help. | |
| From: report of W Wimsatt/W Beardsley (The Intentional Fallacy [1946]) by Stephen Davies - The Philosophy of Art (2nd ed) 5.3 | |
| A reaction: Actually, the external evidence may tell you much more clearly and accurately what the intention was than the work itself does. The best example may be the title of the work, which is presumably outside the work. |
| 7266 | The author's intentions are irrelevant to the judgement of a work's success [Wimsatt/Beardsley] |
| Full Idea: The design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: This famous proposal may have been misunderstood. Note that it is a comment about judging the work, not about understanding it. The idea allows for a work being much more successful than the author's humble intentions (e.g. Pepys). |
| 7267 | Poetry, unlike messages, can be successful without communicating intentions [Wimsatt/Beardsley] |
| Full Idea: Poetry differs from practical messages, which are successful if and only if we correctly infer the intention. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: I am not convinced by this claim. It is plausible that a work does much more than it intends (Astaire said he danced "to make a buck"), but it is rather odd to rate very highly a work of which you have missed the point. |
| 7268 | The thoughts of a poem should be imputed to the dramatic speaker, and hardly at all to the poet [Wimsatt/Beardsley] |
| Full Idea: We ought to impute the thoughts and attitudes of the poem immediately to the dramatic speaker, and if to the author at all, only by an act of biographical inference. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: Wrong. If in Browning's "My Last Duchess" (say), we only inferred the mind of the speaker (and his Duchess), and took no interest in Browning's view of things, we would miss the point. We might end up respecting the Duke, which would be daft. |
| 7269 | The intentional fallacy is a romantic one [Wimsatt/Beardsley] |
| Full Idea: The intentional fallacy is a romantic one. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §II) | |
| A reaction: Wrong. Even with those most famous of anonymous artists, the architects and carvers of medieval cathedrals, without some discernment of the purpose you won't get it. The Taj Mahal is a love letter, not a potential ice cream parlour. |
| 7271 | Biography can reveal meanings and dramatic character, as well as possible intentions [Wimsatt/Beardsley] |
| Full Idea: The use of biographical evidence need not involve intentionalism, because while it may be evidence of what the author intended, it may also be evidence of the meaning of his words and the dramatic character of his utterance. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §IV) | |
| A reaction: I am very keen to penetrate the author's intentions, but I have always be doubtful about the use of biography as a means to achieve this. Most of the effort to infer intentions must come from a study of the work itself, not introductions, letters etc. |
| 7844 | The Golden Rule is accepted everywhere, and gives a fixed target for morality [Voltaire] |
| Full Idea: Pascal asks where we can find a fixed point in morality. The answer is in that single maxim accepted by all nations: "Do not do to others what you would not like to have done to you". | |
| From: Francois-Marie Voltaire (Philosophical Letters from England [1733], 25) | |
| A reaction: Should I only offer to my guests foods which I myself like? If I don't mind a bit of pain, is it all right to inflict it? It is a sensible rule, but not precise enough for philosophy. |