10 ideas
| 21558 | 'Predicative' norms are those which define a class [Russell] |
| Full Idea: Norms (containing one variable) which do not define classes I propose to call 'non-predicative'; those which do define classes I shall call 'predicative'. | |
| From: Bertrand Russell (Difficulties of Transfinite Numbers and Types [1905], p.141) |
| 21559 | We need rules for deciding which norms are predicative (unless none of them are) [Russell] |
| Full Idea: We need rules for deciding what norms are predicative and what are not, unless we adopt the view (which has much to recommend it) that no norms are predicative. ...[146] A predative propositional function is one which determines a class. | |
| From: Bertrand Russell (Difficulties of Transfinite Numbers and Types [1905], p.141) | |
| A reaction: He is referring to his 'no class' theory, which he favoured at that time. |
| 22049 | Transcendental idealism aims to explain objectivity through subjectivity [Bowie] |
| Full Idea: The aim of transcendental idealism is to give a basis for objectivity in terms of subjectivity. | |
| From: Andrew Bowie (German Philosophy: a very short introduction [2010], 1) | |
| A reaction: Hume used subjectivity to undermine the findings of objectivity. There was then no return to naive objectivity. Kant's aim then was to thwart global scepticism. Post-Kantians feared that he had failed. |
| 22055 | The Idealists saw the same unexplained spontaneity in Kant's judgements and choices [Bowie] |
| Full Idea: The Idealist saw in Kant that knowledge, which depends on the spontaneity of judgement, and self-determined spontaneous action, can be seen as sharing the same source, which is not accessible to scientific investigation. | |
| From: Andrew Bowie (German Philosophy: a very short introduction [2010]) | |
| A reaction: This is the 'spontaneity' of judgements and choices which was seen as the main idea in Kant. It inspired romantic individualism. The judgements are the rule-based application of concepts. |
| 22054 | German Idealism tried to stop oppositions of appearances/things and receptivity/spontaneity [Bowie] |
| Full Idea: A central aim of German Idealism is to overcome Kant's oppositions between appearances and thing in themselves, and between receptivity and spontaneity. | |
| From: Andrew Bowie (German Philosophy: a very short introduction [2010], 2) | |
| A reaction: I have the impression that there were two strategies: break down the opposition within the self (Fichte), or break down the opposition in the world (Spinozism). |
| 22056 | Crucial to Idealism is the idea of continuity between receptivity and spontaneous judgement [Bowie] |
| Full Idea: A crucial idea for German Idealism (from Hamann) is that apparently passive receptivity and active spontaneity are in fact different degrees of the same 'activity, and the gap between subject and world can be closed. | |
| From: Andrew Bowie (German Philosophy: a very short introduction [2010], 3) | |
| A reaction: The 'passive' bit seems to be Hume's 'impressions', which are Kant's 'intuitions', which need 'spontaneous' interpretation to become experiences. Critics of Kant said this implied a dualism. |
| 22693 | The works we value most are in sympathy with our own moral views [John,E] |
| Full Idea: The works we tend to value most highly are ones that are in sympathy with the moral views we actually accept. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intro) | |
| A reaction: I would have to endorse this. She admits that we may rate other works very highly, but they won't appear on our list of favourites. This fact may well distort philosophical discussions of morality and art. |
| 22694 | We should understand what is morally important in a story, without having to endorse it [John,E] |
| Full Idea: Our responses to literature should show that we grasp whatever counts as morally important within the narrative, but not necessarily that we judge and feel in the way deemed appropriate by the work. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Accommodating') | |
| A reaction: She gives as an example a story by Hemingway which places a high value on the courageous hunting of big game. A second example is the total amorality of a Highsmith novel. This idea seems exactly right to me. |
| 22695 | We value morality in art because that is what we care about - but it is a contingent fact [John,E] |
| Full Idea: Moral value is valuable in art because people care about moral value. This runs deep, but it is a contingent matter, and the value of morality in art hinges on art's need to provide something precious to us. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Contingency') | |
| A reaction: I think this is exactly right. Thrillers are written with very little moral concern, for a readership which cares about brave and exciting deeds. Even there, violence has its ethics. |
| 22692 | A work can be morally and artistically excellent, despite rejecting moral truth [John,E] |
| Full Idea: A work that rejects moral truth can be artistically excellent, in part because of its moral content. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intr) | |
| A reaction: She cites the film 'Trainspotting', about desperate drug addicts, because it gives an amoral insight into their world. |