14 ideas
| 9254 | In philosophy the truth can only be reached via the ruins of the false [Prichard] |
| Full Idea: In philosophy the truth can only be reached via the ruins of the false. | |
| From: H.A. Prichard (What is the Basis of Moral Obligation? [1925]) | |
| A reaction: A lovely remark! In a flash you suddenly see why philosophers expend such vast energy on such unpromising views of reality (e.g. idealism, panpsychism). This might be the best definition of philosophy I have yet discovered. |
| 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. |
| 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] |
| 9256 | I see the need to pay a debt in a particular instance, and any instance will do [Prichard] |
| Full Idea: How can I be brought to see the truth of the principle of paying a debt except in connection with a particular instance? For this purpose any instance will do. If I cannot see that I ought to pay this debt, I shall not see that I ought to a debt. | |
| From: H.A. Prichard (What is the Basis of Moral Obligation? [1925]) | |
| A reaction: This isn't quite particularism, which would (I think) say that the degree of obligation will never be quite the same in any two situations, and so one instance will not suffice to understand the duty. |
| 9257 | The complexities of life make it almost impossible to assess morality from a universal viewpoint [Prichard] |
| Full Idea: Owing to the complication of human relations, the problem of what one ought to do from the point of view of life as a whole is one of intense difficulty. | |
| From: H.A. Prichard (What is the Basis of Moral Obligation? [1925]) | |
| A reaction: I suspect that the difficulty is not the problems engendered by complexity, but that there is no answer available from the most objective point of view. Morality simply is a matter of how daily life is conducted, with medium-term goals only. |
| 9255 | Seeing the goodness of an effect creates the duty to produce it, not the desire [Prichard] |
| Full Idea: The appreciation of the goodness of the effect is different from desire for the effect, and will originate not the desire but the sense of obligation to produce it. | |
| From: H.A. Prichard (What is the Basis of Moral Obligation? [1925]) | |
| A reaction: A wonderful rebuttal of Hume, and a much better account of duty than Kant's idea that it arises from reason. Perception of value is what generates duty. And (with Frankfurt) we may say that love is what generates value. |
| 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. |