21 ideas
| 22701 | Jokes can sometimes be funny because they are offensive [Jacobson,D] |
| Full Idea: Sometimes it is exactly what is offensive about a joke that makes it funny. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: Jacobson offers this in support of his immoralist view, that immoral literature can be aesthetically successful. It is uncomfortable to find yourself laughing at a joke of which you disapprove. |
| 22227 | For Sartre there is only being for-itself, or being in-itself (which is beyond experience) [Sartre, by Daigle] |
| Full Idea: The two most fundamental modes of being in Sartre's ontology are being in-itself, and being for-itself. ...The in-itself lies beyond our experience of it. | |
| From: report of Jean-Paul Sartre (Being and Nothingness [1943]) by Christine Daigle - Jean-Paul Sartre 2.2 | |
| A reaction: This appears to be Kant's ding-an-sich, paired with Heidegger's Dasein. If those are the only options, then reality is either subjective or unknown, which seems to make Sartre an idealist, but he asserted that phenomena vindicate the in-itself. |
| 20743 | Appearances do not hide the essence; appearances are the essence [Sartre] |
| Full Idea: We reject the dualism of appearance and essence. The appearance does not hide the essence, it reveals it; it is the essence. | |
| From: Jean-Paul Sartre (Being and Nothingness [1943], p.4-5), quoted by Kevin Aho - Existentialism: an introduction 2 'Phenomenology' | |
| A reaction: This idea, expressed in the language of Hegel and Husserl, strikes me as the same as the analytic phenomenalism of Mill and Ayer. Hence I take it to be wrong. |
| 6151 | Sartre says consciousness is just directedness towards external objects [Sartre, by Rowlands] |
| Full Idea: Sartre defends a view of consciousness as nothing but a directedness towards objects, insisting that these objects are transcendent with respect to that consciousness; hence Sartre is one of the first genuine externalists. | |
| From: report of Jean-Paul Sartre (Being and Nothingness [1943]) by Mark Rowlands - Externalism Ch.1 | |
| A reaction: An ancestor here is, I think, Schopenhauer (Idea 4166). The idea is attractive, as we are brought up with idea that we have a thing called 'consciousness', but if you removed its contents there would literally be nothing left. |
| 6164 | Sartre rejects mental content, and the idea that the mind has hidden inner features [Sartre, by Rowlands] |
| Full Idea: Sartre's attack on the idea that consciousness has contents is an attack on the idea that the mental possesses features that are hidden, inner and constituted or revealed by the individual's inwardly directed awareness. | |
| From: report of Jean-Paul Sartre (Being and Nothingness [1943]) by Mark Rowlands - Externalism Ch.5 | |
| A reaction: This is part of the move towards 'externalism' about the mind. The notion of 'content' implies a container. It seems slightly ridiculous, though, to try to say that the mind just 'is the world'. How is reasoning possible, and the relation of ideas? |
| 22703 | We don't often respond to events in art as if they were real events [Jacobson,D] |
| Full Idea: We routinely do not respond to art as if we were as if we were real-life spectators of its events. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'rejection') | |
| A reaction: This strikes me as one of the basic facts about aesthetics, and especially of narrative art. People sometimes encounter terrible events on the street, only to find someone is making a film. |
| 22702 | Audiences can be too moral [Jacobson,D] |
| Full Idea: An audience can be overly moralistic. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: People can be too moral in real life as well. Goody Two Shoes. |
| 22696 | 'Autonomism' says the morality is irrelevant to the aesthetics [Jacobson,D] |
| Full Idea: 'Autonomism' is the theory that the intrinsic moral merits and defects of an artwork are irrelevant to its aesthetic value. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], Intro) | |
| A reaction: This contrasts with 'moralism', which says the ethics is part of the aesthetics. Autonomism seems to be the modern academic label for art for art's sake. In nineteenth century novels the ethics are central; in modernist novels they seem to be irrelevant. |
| 22697 | Moral defects of art can be among its aesthetic virtues [Jacobson,D] |
| Full Idea: To put my claim most provocatively: the moral defects in a work of art can be among its aesthetic virtues. This claim has been called 'immoralism'. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], Intro) | |
| A reaction: To describe sympathetic descriptions of vile moral behaviour as 'defects' may be a misunderstanding. If a work sets out to promote wickedness, then its wickedness isn't a defect in the work. It could be a masterpiece of corruption. |
| 22700 | Immoral art encourages immoral emotions [Jacobson,D] |
| Full Idea: Humean moralism includes the view that immoral art prescribes unethical emotional responses. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: [He cites Hume's 'On the Standard of Taste'] 'Prescribes' is tricky. Is a vivid description of wicked events, given without comment, a prescription? What if the commentary condemns, but the description entices? Trust the work itself, said Lawrence. |
| 22699 | Moderate moralism says moral qualities can sometimes also be aesthetic qualities [Jacobson,D] |
| Full Idea: Noël Carroll's moderate moralism maintains that some moral defects in artworks are aesthetic defects, and some moral virtues are aesthetic merits. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'How moderate') | |
| A reaction: I'm beginning to think that moralist critics are confusing morality and wisdom. We don't admire novels for hammering on about goodness. We admire their insight into characters and actions, of which the most interesting aspects happen to be moral. |
| 22698 | We can judge art ethically, or rate its ethical influence, or assess its quality via its ethics [Jacobson,D] |
| Full Idea: Ethical criticism includes 1) ethical judgements of art works, 2) assessment of an art work's role in moral education, or 3) bringing moral praise or censure to bear on the aesthetic evaluation. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'What is') | |
| A reaction: [a compressed summary of Jacobson. He cites Levinson 1998 and Carroll 2000 as examples of ethical criticism] |
| 7074 | Man is a useless passion [Sartre] |
| Full Idea: Man is a useless passion. | |
| From: Jean-Paul Sartre (Being and Nothingness [1943], IV.2.III) | |
| A reaction: Memorable and neat. Since all of existence is ultimately 'useless', that part of it is not a revelation. The notion that we are essentially a 'passion' chimes nicely with David Hume's view, against the enlightenment rational view, and against Aristotle. |
| 6687 | Man is the desire to be God [Sartre] |
| Full Idea: Man fundamentally is the desire to be God. | |
| From: Jean-Paul Sartre (Being and Nothingness [1943], p.556?), quoted by Gordon Graham - Eight Theories of Ethics Ch.5 | |
| A reaction: It is better to see man (as seen all the way through the European tradition) as caught between the self-images of being an angel and being a 'quintessence of dust' (Hamlet). |
| 22228 | Sartre's freedom is not for whimsical action, but taking responsibility for our own values [Sartre, by Daigle] |
| Full Idea: Readers often confuse Sartre's notion of freedom with the freedom of acting whimsically ....but since there is no God, we must create our own values. Freedom is not merely a licence to act whimsically.; it entails responsibility. | |
| From: report of Jean-Paul Sartre (Being and Nothingness [1943]) by Christine Daigle - Jean-Paul Sartre 2.3 | |
| A reaction: The idea that we create our values comes from Nietzsche. Did Sartre want everyone to behave like an übermensch? How can you form a society from individuals who create private values, even if they (somehow) take responsibility for them? |
| 22233 | Love is the demand to be loved [Sartre] |
| Full Idea: Love is the demand to be loved. | |
| From: Jean-Paul Sartre (Being and Nothingness [1943], p.488), quoted by Christine Daigle - Jean-Paul Sartre 2.5 | |
| A reaction: Is that all love is? Hard to imagine someone loving another person without hoping that the other person will reciprocate. You need high self-esteem to 'demand' it. Low self-esteem merely hopes for it. He says the other person may feel the same. |
| 20755 | Fear concerns the world, but 'anguish' comes from confronting my self [Sartre] |
| Full Idea: Anguish is distinguished from fear in that fear is fear of being in the world whereas anguish is anguish before myself. | |
| From: Jean-Paul Sartre (Being and Nothingness [1943], p.65), quoted by Kevin Aho - Existentialism: an introduction 5 'Radical' | |
| A reaction: I'm guessing that the anguish comes from the horror of the infinite choices available to me. Once you've made major life choices with full commitment (such as marriage), does that mean that existentialism becomes irrelevant? |
| 20760 | Sincerity is not authenticity, because it only commits to one particular identity [Sartre, by Aho] |
| Full Idea: Being sincere [in Sartre] has nothing to do with authenticity because, in committing ourselves to a particular identity, we strip away the possibility of transcendence by reducing ourselves to a thing. | |
| From: report of Jean-Paul Sartre (Being and Nothingness [1943]) by Kevin Aho - Existentialism: an introduction 6 'Bad' | |
| A reaction: I take this to mean that sincerity says genuinely what role you are playing (such as a waiter), but authenticity is recognition that you don't have to play that role. I think. |
| 22231 | We flee from the anguish of freedom by seeing ourselves objectively, as determined [Sartre] |
| Full Idea: We are always ready to take refuge in a belief in determinism if this freedom weighs upon us or if we need an excuse. Thus we flee from anguish by attempting to apprehend ourselves from without as an Other or a thing. | |
| From: Jean-Paul Sartre (Being and Nothingness [1943], p.82), quoted by Christine Daigle - Jean-Paul Sartre 2.4 | |
| A reaction: I would have thought we blame social pressures, or biological pressures, rather than metaphysical determinism, but it amounts to the same thing. If we are not free then probably nothing else is. |
| 1748 | Archelaus was the first person to say that the universe is boundless [Archelaus, by Diog. Laertius] |
| Full Idea: Archelaus was the first person to say that the universe is boundless. | |
| From: report of Archelaus (fragments/reports [c.450 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 02.Ar.3 |
| 5989 | Archelaus said life began in a primeval slime [Archelaus, by Schofield] |
| Full Idea: Archelaus wrote that life on Earth began in a primeval slime. | |
| From: report of Archelaus (fragments/reports [c.450 BCE]) by Malcolm Schofield - Archelaus | |
| A reaction: This sounds like a fairly clearcut assertion of the production of life by evolution. Darwin's contribution was to propose the mechanism for achieving it. We should honour the name of Archelaus for this idea. |