6 ideas
| 22200 | If you eliminate the impossible, the truth will remain, even if it is weird [Conan Doyle] |
| Full Idea: When you have eliminated the impossible, whatever remains, however improbable, must be the truth. | |
| From: Arthur Conan Doyle (The Sign of Four [1890], Ch. 6) | |
| A reaction: A beautiful statement, by Sherlock Holmes, of Eliminative Induction. It is obviously not true, of course. Many options may still face you after you have eliminated what is actually impossible. |
| 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. |
| 22251 | Liberalism may fail because it neglects the shared nature of what we pursue and protect [Haldane] |
| Full Idea: I am interested in the claim that liberalism fails inasmuch as it neglects, and cannot accommodate, the fact that some or all of the goods we pursue, and which a system of rights is concerned to protect, are goods possessed in common. | |
| From: John Haldane (The Individual, the State, and the Common Good [1996], III) | |
| A reaction: It depends how individualistic we take liberalism to be. Extreme individualism (Nozick) strikes me as crazy. If 'we' erect a statue to some dubious politicians, it might be presented as a common good, but actually be despised by many. |