14 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. |
| 15282 | Facts should be deducible from the theory and initial conditions, and prefer the simpler theory [Osiander, by Harré/Madden] |
| Full Idea: The two positivist criteria for a scientific theory are that the facts must be deducible from the theory together with initial conditions, and if there is more than one theory the simplest must be chosen. | |
| From: report of Andreas Osiander (Preface to 'De Revolutionibus' [1543]) by Harré,R./Madden,E.H. - Causal Powers 7.I | |
| A reaction: Harré and Madden cite this as a famous early statement of positivism. It seems to combine Hempel and Lewis very concisely. Wrong, of course. It does not, though, appear to mention 'laws'. |
| 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] |
| 6613 | The natural kinds are objects, processes and properties/relations [Ellis] |
| Full Idea: There are three hierarchies of natural kinds: objects or substances (substantive universals), events or processes (dynamic universals), and properties or relations (tropic universals). | |
| From: Brian Ellis (Katzav on limitations of dispositions [2005], 91) | |
| A reaction: Most interesting here is the identifying of natural kinds with universals, making universals into the families of nature. Universals are high-level sets of natural kinds. To grasp universals you must see patterns, and infer the underlying order. |
| 6616 | Least action is not a causal law, but a 'global law', describing a global essence [Ellis] |
| Full Idea: The principle of least action is not a causal law, but is what I call a 'global law', which describes the essence of the global kind, which every object in the universe necessarily instantiates. | |
| From: Brian Ellis (Katzav on limitations of dispositions [2005]) | |
| A reaction: As a fan of essentialism I find this persuasive. If I inherit part of my essence from being a mammal, I inherit other parts of my essence from being an object, and all objects would share that essence, so it would look like a 'law' for all objects. |
| 6615 | A species requires a genus, and its essence includes the essence of the genus [Ellis] |
| Full Idea: A specific universal can exist only if the generic universal of which it is a species exists, but generic universals don't depend on species; …the essence of any genus is included in its species, but not conversely. | |
| From: Brian Ellis (Katzav on limitations of dispositions [2005], 91) | |
| A reaction: Thus the species 'electron' would be part of the genus 'lepton', or 'human' part of 'mammal'. The point of all this is to show how individual items connect up with the rest of the universe, giving rise to universal laws, such as Least Action. |
| 6614 | A hierarchy of natural kinds is elaborate ontology, but needed to explain natural laws [Ellis] |
| Full Idea: The hierarchy of natural kinds proposed by essentialism may be more elaborate than is strictly required for purposes of ontology, but it is necessary to explain the necessity of the laws of nature, and the universal applicability of global principles. | |
| From: Brian Ellis (Katzav on limitations of dispositions [2005], 91) | |
| A reaction: I am all in favour of elaborating ontology in the name of best explanation. There seem, though, to be some remaining ontological questions at the point where the explanations of essentialism run out. |
| 6612 | Without general principles, we couldn't predict the behaviour of dispositional properties [Ellis] |
| Full Idea: It is objected to dispositionalism that without the principle of least action, or some general principle of equal power, the specific dispositional properties of things could tell us very little about how these things would be disposed to behave. | |
| From: Brian Ellis (Katzav on limitations of dispositions [2005], 90) | |
| A reaction: Ellis attempts to meet this criticism, by placing dispositional properties within a hierarchy of broader properties. There remains a nagging doubt about how essentialism can account for space, time, order, and the existence of essences. |