11 ideas
| 18241 | Sufficient reason is implied by contradiction, of an insufficient possible which exists [Wolff, by Korsgaard] |
| Full Idea: Wolff believed that the principle of sufficient reason could be derived from the principle of contradiction, for there would be a contradiction in the insufficiently determined existence of a merely possible thing. | |
| From: report of Christian Wolff (works [1730]) by Christine M. Korsgaard - Intro to Ethics, Politics, Religion in Kant 'A child' | |
| A reaction: Sounds as if he might be begging to question. You would only protest against the insufficient determination of something if you already believed in the principle of sufficient reason. Nice try. |
| 17945 | Forms are not a theory of universals, but an attempt to explain how predication is possible [Nehamas] |
| Full Idea: The theory of Forms is not a theory of universals but a first attempt to explain how predication, the application of a single term to many objects - now considered one of the most elementary operations of language - is possible. | |
| From: Alexander Nehamas (Introduction to 'Virtues of Authenticity' [1999], p.xxvii) |
| 17946 | Only Tallness really is tall, and other inferior tall things merely participate in the tallness [Nehamas] |
| Full Idea: Only Tallness and nothing else really is tall; everything else merely participates in the Forms and, being excluded from the realm of Being, belongs to the inferior world of Becoming. | |
| From: Alexander Nehamas (Introduction to 'Virtues of Authenticity' [1999], p.xxviii) | |
| A reaction: This is just as weird as the normal view (and puzzle of participation), but at least it makes more sense of 'metachein' (partaking). |
| 17944 | 'Episteme' is better translated as 'understanding' than as 'knowledge' [Nehamas] |
| Full Idea: The Greek 'episteme' is usually translated as 'knowledge' but, I argue, closer to our notion of understanding. | |
| From: Alexander Nehamas (Introduction to 'Virtues of Authenticity' [1999], p.xvi) | |
| A reaction: He agrees with Julia Annas on this. I take it to be crucial. See the first sentence of Aristotle's 'Metaphysics'. It is explanation which leads to understanding. |
| 22687 | Maybe literary assessment is evaluating the artist as a suitable friend [Gaut] |
| Full Idea: An approach in Hume (elaborated by Wayne Booth) holds that literary assessment is akin to an act of befriending, for one assesses the author of a work as a suitable friend. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Some') | |
| A reaction: I like the idea that art exploits our normal range of social emotions and attitudes, so I think this has some truth, but some of the best artists are so out of my league as to not even be candidates for friendship. Dostoevsky? Webster? Caravaggio? |
| 22686 | Formalists say aesthetics concerns types of beauty, or unity, complexity and intensity [Gaut] |
| Full Idea: The formal objects which individuate the aesthetic attitude may be narrowly aesthetic, as beauty, and its subspecies, such as grace and elegance, or more broadly by other formalist criteria, such as Beardley's unity, complexity and intensity. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Objections 1') | |
| A reaction: I'm not sure about unity or complexity, but intensity was endorsed by Henry James. Intensity doesn't sound very 'formal'. 'Beauty' doesn't seem the right word for the wonderful 'King Lear', or even for Jane Austen novels. |
| 22690 | 'Moralism' says all aesthetic merits are moral merits [Gaut] |
| Full Idea: The view that the only aesthetic merit of works are ethical ones is known as 'moralism'. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], n 1) | |
| A reaction: [He says this view was demolished by R.W.Beardsmore in 1971] Gaut contrasts this with his own carefully modulated 'ethicism'. Moralism predominated in the eighteenth century, but now looks clearly wrong (or naïve). |
| 22685 | Good art does not necessarily improve people (any more than good advice does) [Gaut] |
| Full Idea: Ethicism does not entail the causal thesis that good art ethically improves people, …any more than it follows that earnest ethical advice improves people. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: How successful were sermons, in the great days of Christianity? It seems hard to disagree with Gaut's point. |
| 22684 | Good ethics counts towards aesthetic merit, and bad ethics counts against it [Gaut] |
| Full Idea: I defend 'ethicism', which says that ethically admirable attitudes count toward the the aesthetic merit of a work, and ethically reprehensible attitudes count against its aesthetic merit. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: He recognises that morally admirable works can explore unethical behaviour, and also that identifying the 'attitude' of a work is not simple. The ethics are not necessary. 'Triumph of the Will' is a classic test case. I disagree with Gaut. |
| 22689 | If we don't respond ethically in the way a work prescribes, that is an aesthetic failure [Gaut] |
| Full Idea: Our having reason not to respond in the way prescribed (because it is unethical) is a failure of the work …so that is an aesthetic failure, which is an aesthetic defect. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Merited') | |
| A reaction: A key argument for Gaut's theory of 'ethicism' about literature. If 'Triumph of the Will' gets the right response from Nazi sympathisers, that is probably all aesthetic success. Jane Austen hasn't failed if she is rejected as bourgeois. |
| 18242 | Confucius shows that ethics can rest on reason, rather than on revelation [Wolff, by Korsgaard] |
| Full Idea: Wolff claimed that the moral philosophy of Confucius shows that ethics is accessible to natural reason and independent of revelation. | |
| From: report of Christian Wolff (works [1730]) by Christine M. Korsgaard - Intro to Ethics, Politics, Religion in Kant 'A child' | |
| A reaction: Wolff was banished for proposing this idea. |