12 ideas
| 17744 | De Morgan started the study of relations and their properties [De Morgan, by Walicki] |
| Full Idea: De Morgan started the sustained interest in the study of relations and their properties. | |
| From: report of Augustus De Morgan (On the Syllogism IV [1859]) by Michal Walicki - Introduction to Mathematical Logic History D.1.1 |
| 13501 | De Morgan found inferences involving relations, which eluded Aristotle's syllogistic [De Morgan, by Hart,WD] |
| Full Idea: There was a prejudice against relations (in favour of properties) but De Morgan and others that impeccable inferences turn on relations and elude Aristotle's syllogistic. Thus: All horses are animals. Hence, all heads of horses are heads of animals. | |
| From: report of Augustus De Morgan (On the Syllogism IV [1859]) by William D. Hart - The Evolution of Logic 4 | |
| A reaction: This is actually an early example of modern analytic philosophy in action. You start with the inferences, and then work back to the ontology and the definition of concepts. But in pinning down such concepts, do we miss their full meaning? |
| 17743 | De Morgan introduced a 'universe of discourse', to replace Boole's universe of 'all things' [De Morgan, by Walicki] |
| Full Idea: In 1846 De Morgan introduced the enormously influential notion of a possibly arbitrary and stipulated 'universe of discourse'. It replaced Boole's original - and metaphysically a bit suspect - universe of 'all things'. | |
| From: report of Augustus De Morgan (works [1846]) by Michal Walicki - Introduction to Mathematical Logic History D.1.1 | |
| A reaction: This not only brings formal logic under control, but also reflects normal talk, because there is always an explicit or implicit domain of discourse when we talk. Of virtually any conversation, you can say what it is 'about'. |
| 13230 | Particular essence is often captured by generality [Steiner,M] |
| Full Idea: Generality is often necessary for capturing the essence of a particular. | |
| From: Mark Steiner (Mathematical Explanation [1978], p.36) | |
| A reaction: The most powerful features of an entity are probably those which are universal, like intelligence or physical strength in a human. Those characteristics are powerful because they compete with the same characteristic in others (perhaps?). |
| 13229 | Maybe an instance of a generalisation is more explanatory than the particular case [Steiner,M] |
| Full Idea: Maybe to deduce a theorem as an instance of a generalization is more explanatory than to deduce it correctly. | |
| From: Mark Steiner (Mathematical Explanation [1978], p.32) | |
| A reaction: Steiner eventually comes down against this proposal, on the grounds that some proofs are too general, and hence too far away from the thing they are meant to explain. |
| 13231 | Explanatory proofs rest on 'characterizing properties' of entities or structure [Steiner,M] |
| Full Idea: My proposal is that an explanatory proof makes reference to the 'characterizing property' of an entity or structure mentioned in the theorem, where the proof depends on the property. If we substitute a different object, the theory collapses. | |
| From: Mark Steiner (Mathematical Explanation [1978], p.34) | |
| A reaction: He prefers 'characterizing property' to 'essence', because he is not talking about necessary properties, since all properties are necessary in mathematics. He is, in fact, reverting to the older notion of an essence, as the core power of the thing. |
| 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. |