Combining Texts

All the ideas for 'The Evolution of Modern Metaphysics', 'The Intentional Fallacy' and 'Intro to 'Creating the Kingdom of Ends''

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13 ideas

1. Philosophy / E. Nature of Metaphysics / 1. Nature of Metaphysics
Metaphysics is the most general attempt to make sense of things [Moore,AW]
     Full Idea: Metaphysics is the most general attempt to make sense of things.
     From: A.W. Moore (The Evolution of Modern Metaphysics [2012], Intro)
     A reaction: This is the first sentence of Moore's book, and a touchstone idea all the way through. It stands up well, because it says enough without committing to too much. I have to agree with it. It implies explanation as the key. I like generality too.
11. Knowledge Aims / C. Knowing Reality / 3. Idealism / b. Transcendental idealism
Appearances are nothing beyond representations, which is transcendental ideality [Moore,AW]
     Full Idea: Appearances in general are nothing outside our representations, which is just what we mean by transcendental ideality.
     From: A.W. Moore (The Evolution of Modern Metaphysics [2012], B535/A507)
16. Persons / A. Concept of a Person / 4. Persons as Agents
To make sense of personal identity, focus on agency rather than experience [Korsgaard]
     Full Idea: A focus on agency makes more sense of personal identity than a focus on experience.
     From: Christine M. Korsgaard (Intro to 'Creating the Kingdom of Ends' [1996], §2)
     A reaction: This strikes me as eminently sensible advice for the beginning of any discussion of personal identity. Her personal bête noir is Parfit, who focuses on what we are conscious of.
A person viewed as an agent makes no sense without its own future [Korsgaard]
     Full Idea: In forming a particular plan of life, you need to identify with your future in order to be what you are even now. When the person is viewed as an agent, no clear content can be given to the idea of a merely present self.
     From: Christine M. Korsgaard (Intro to 'Creating the Kingdom of Ends' [1996], §2)
     A reaction: I certainly like the notion that we should treat persons primarily as agents, since I take personhood to be more like a process than an existent entity. If a large brick is about to hit you, you actually have no future, though you think you have.
20. Action / A. Definition of Action / 1. Action Theory
Theory of action focuses on explanation and prediction; practical action on justification and choice [Korsgaard]
     Full Idea: When we look at our actions from the theoretical standpoint our concern is with their explanation and prediction. When we view them from the practical standpoint our concern is with their justification and choice.
     From: Christine M. Korsgaard (Intro to 'Creating the Kingdom of Ends' [1996], §4)
     A reaction: A nice distinction, which invites us to further subdivide action theory into two branches, with entirely different concerns.
21. Aesthetics / C. Artistic Issues / 1. Artistic Intentions
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.
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).
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.
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.
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.
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.
22. Metaethics / B. Value / 2. Values / i. Self-interest
Self-concern may be a source of pain, or a lack of self-respect, or a failure of responsibility [Korsgaard]
     Full Idea: For utilitarians, self-concern causes needless pain; for Kantians, it evinces a lack of respect for one's own humanity; for the religious moralist, it is a failure of responsibility for what has been placed in one's special care.
     From: Christine M. Korsgaard (Intro to 'Creating the Kingdom of Ends' [1996], §5)
     A reaction: Worryingly, given my heathenish views, I find the third one the most congenial. If we don't take responsibility for our own selves (e.g. for having a great talent), then no one (even parents) will take responsibility for anything.
23. Ethics / A. Egoism / 1. Ethical Egoism
Personal concern for one's own self widens out into concern for the impersonal [Korsgaard]
     Full Idea: The personal concern which begins with one's life in a particular body finds its place in ever-widening spheres of agency and enterprise, developing finally into a personal concern for the impersonal.
     From: Christine M. Korsgaard (Intro to 'Creating the Kingdom of Ends' [1996], §5)
     A reaction: I am very struck by this nice thought, which comes from a very committed Kantian. It seems to me to capture the modern orthodoxy in ethical thinking - that concern for one's self, rather than altruism, is central, but altruism should follow from it.