display all the ideas for this combination of texts
7 ideas
| 21372 | Aesthetics concerns how we can take pleasure in an object, with no reference to the will [Schopenhauer] |
| Full Idea: The central problem of aesthetics is how satisfaction with and pleasure in an object are possible without any reference thereof to our willing. | |
| From: Arthur Schopenhauer (Parerga and Paralipomena [1851], II:415), quoted by Christopher Janaway - Schopenhauer 6 'Aesthetic' | |
| A reaction: This does seem a good distinction. We can divide pleasures into willed and unwilled. Compare thinking that some remote stranger (in a photograph) is very beautiful, with falling in love with someone. |
| 12163 | Literary meaning emerges in comparisons, and tradition shows which comparisons are relevant [Scruton] |
| Full Idea: We must discover the meanings that emerge when works of literature are experience in relation to each other. ...The importance of tradition is that it denotes - ideally, at least - the class of relevant comparisons. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.27) | |
| A reaction: This is a nice attempt to explain why we all agree that a thorough education in an art is an essential prerequisite for good taste. Some people (e.g. among the young) seem to have natural good taste. How does that happen? |
| 21488 | The beautiful is a perception of Plato's Forms, which eliminates the will [Schopenhauer] |
| Full Idea: In the beautiful we always perceive the intrinsic and primary form of animate and inanimate nature, that is to say Plato's Ideas thereof. …When an aesthetic perception occurs the will completely vanishes from consciousness. | |
| From: Arthur Schopenhauer (Parerga and Paralipomena [1851], XIX:205) | |
| A reaction: An essential Schopenauer idea. Iris Murdoch said something similar. |
| 12162 | In literature, word replacement changes literary meaning [Scruton] |
| Full Idea: In literary contexts semantically equivalent words cannot replace each other without loss of literary meaning. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.25) | |
| A reaction: The notion of 'literary meaning' is not a standard one, and is questionable whether 'meaning' is the right word, given that a shift in word in a poem is as much to do with sound as with connotations. |
| 12159 | Without intentions we can't perceive sculpture, but that is not the whole story [Scruton] |
| Full Idea: A person for whom it made no difference whether a sculpture was carved by wind and rain or by human hand would be unable to interpret or perceive sculptures - even though the interpretation of sculpture is not the reading of an intention. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.15) | |
| A reaction: Scruton compares it to the role of intention in language, where there is objective meaning, even though intention is basic to speech. |
| 12160 | In aesthetic interest, even what is true is treated as though it were not [Scruton] |
| Full Idea: In aesthetic interest, even what is true is treated as though it were not. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.18) | |
| A reaction: A nice aphorism. I always feel uncomfortable reading novels about real people, although the historical Macbeth doesn't bother me much. Novels are too close to reality. Macbeth didn't speak blank verse. |
| 12161 | We can be objective about conventions, but love of art is needed to understand its traditions [Scruton] |
| Full Idea: An historian can elucidate convention while having no feeling for the art that exploits it; whereas an understanding of tradition is reserved for those with the critical insight which comes from the love of art, both past and present. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.24) | |
| A reaction: This aesthetic observation is obviously close to Scruton's well-known conservatism in politics. I am doubtful whether the notion of 'tradition' can stand up to close examination, though we all know roughly what he means. |