15 ideas
| 21793 | Genuine truth is the resolution of the highest contradiction [Hegel] |
| Full Idea: The highest truth, truth as such, is the resolution of the highest opposition and contradiction. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], I: 99), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Art' | |
| A reaction: Uneasy about the word 'highest', and the general Hegelian dream of 'resolving' contradictions, rather than just eliminating at least one component of them. No one else uses the word 'truth' like this. I suppose this Truth has a capital 'T'. |
| 21795 | What I hold true must also be part of my feelings and character [Hegel] |
| Full Idea: Whatever I hold as true, whatever ought to be valid for me, must also be in my feeling, must belong to my being and character. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], I: 97), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Philosophy' | |
| A reaction: I can see that truths do tend to become part of our character, but not that they ought to do so. I suppose I try to live my life enmeshed in the many truths which I have personally selected from the maelstrom of possibilities that engulf us. |
| 19558 | Our own intuitions about whether we know tend to vacillate [Cohen,S] |
| Full Idea: One robust feature of our intuitions about whether we know things is that they tend to vacillate. | |
| From: Stewart Cohen (Contextualism Defended (and reply) [2005], 1) | |
| A reaction: This strikes me as important. If we were tacit invariantists (Idea 19557) we should be able to ask ourselves whether we 'really and truly' know various things, but we can't decide. I know lots about Nietzsche in a pub, and very little in a university. |
| 19561 | We shouldn't jump too quickly to a contextualist account of claims to know [Cohen,S] |
| Full Idea: Maybe contextualists are too quick to appeal to our conflicting intuitions regarding knowledge. | |
| From: Stewart Cohen (Contextualism Defended (and reply) [2005], 1) | |
| A reaction: An important point (from Earl Conee). I thoroughly approve of contextualism, but the whole status of whether a witness or a teacher knows what they are talking about is in danger of collapsing into relativism. This is what peer review is all about. |
| 19563 | The context sensitivity of knowledge derives from its justification [Cohen,S] |
| Full Idea: On my own view, the context sensivity of knowledge is inherited from one of its components, i.e. justification. | |
| From: Stewart Cohen (Contextualism Defended (and reply) [2005], 1) | |
| A reaction: That sounds right, and it reinforces the idea that 'justification' is a more important epistemological concept than 'knowledge'. 'Am I justified in believing p?' Answer: 'it depends how well you have researched it'. |
| 19560 | Contextualism is good because it allows knowledge, but bad because 'knowing' is less valued [Cohen,S] |
| Full Idea: Contextualism is a 'good news, bad news' theory. The good news is that we have lots of knowledge and many surfaces are 'flat'; the bad news is that knowledge and flatness are not all they were cracked up to be. | |
| From: Stewart Cohen (Contextualism Defended (and reply) [2005], 3) | |
| A reaction: That is exactly my position. I lost all interest in whether someone precisely 'knows' or 'does not know' something a long time ago (even in scientific or forensic contexts). In the case of flatness the case is even more obvious. |
| 19559 | Contextualists slightly concede scepticism, but only in extremely strict contexts [Cohen,S] |
| Full Idea: Contextualism concedes that there is some truth to skepticism, but contains the damage by holding that skeptical claims are true only relative to atypically strict contexts. | |
| From: Stewart Cohen (Contextualism Defended (and reply) [2005], 1) | |
| A reaction: My attitude to scepticism is that everything we ever affirm should have a footnote saying '...but you never know...', and it should then be ignored. In the strictest context everything is doubted simultaneously (including language), and that is paralysis. |
| 19087 | The meaning or purport of a symbol is all the rational conduct it would lead to [Peirce] |
| Full Idea: The entire intellectual purport of any symbol consists in the total of all modes of rational conduct which, conditionally upon all the possible different circumstances and desires, would ensue upon the acceptance of the symbol. | |
| From: Charles Sanders Peirce (Issues of Pragmaticism [1905], EP ii.246), quoted by Danielle Macbeth - Pragmatism and Objective Truth p.169 n1 | |
| A reaction: Macbeth says pragmatism is founded on this theory of meaning, rather than on a theory of truth. I don't see why the causes of a symbol shouldn't be as much a part of its meaning as the consequences are. |
| 18549 | Nineteenth century aesthetics focused on art rather than nature (thanks to Hegel) [Hegel, by Scruton] |
| Full Idea: Only In the course of the nineteenth century, and in the wake of Hegel's posthumously published lectures on aesthetics, did the topic of art come to replace that of natural beauty as the core subject-matter of aesthetics. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826], 5) by Roger Scruton - Beauty: a very short introduction |
| 22043 | Hegel largely ignores aesthetic pleasure, taste and beauty, and focuses on the meaning of artworks [Hegel, by Pinkard] |
| Full Idea: Unlike his predecessors (including Kant), Hegel does not focus on aesthetic pleasure, nor on good taste, nor even on the nature and criteria for beauty. Instead he focuses on the meaning of artworks and their role in forming mankind's self-consciousness. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Terry Pinkard - German Philosophy 1760-1860 11 | |
| A reaction: Personally I dislike over-intellectualising art. The aim of a work of art is to give a certain experience, not to generate an ensuing sequence of theorising. I doubt whether Vermeer had any 'meaning' in mind in his obsessive work. |
| 22042 | Natural beauty is unimportant, because it doesn't show human freedom [Hegel, by Pinkard] |
| Full Idea: Hegel thinks that natural beauty is of no real significance since it cannot display our freedom to us; nature per se is meaningless. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Terry Pinkard - German Philosophy 1760-1860 11 | |
| A reaction: Presumably freedom is in the creation, and so creativity is what matters in aesthetics. But what are the criteria of good creativity? |
| 20413 | For Hegel the importance of art concerns the culture, not the individual [Hegel, by Eldridge] |
| Full Idea: Hegel locates the significance of art in its role in cultural life in general, not in relation to the psychological needs of individuals. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Richard Eldridge - G.W.F. Hegel (aesthetics) 1 | |
| A reaction: I'm beginning to see that art is a wonderful focus and test case for political attitudes. Roughly, liberalism focuses on individual responses, but more societal views (from right and left) see it in terms of role in the community. Which are you? |
| 20394 | The purpose of art is to reveal to Spirit its own nature [Hegel, by Davies,S] |
| Full Idea: According to Hegel, the goal of art was to serve as a phase in a process by which Spirit would come to understand its own nature. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Stephen Davies - The Philosophy of Art (2nd ed) 2.7 | |
| A reaction: I try very hard to understand ideas like this. Really really hard. However, since I see little sign of 'Spirit' really understanding its own nature, I'm guessing that the project is not going well. |
| 21794 | The main purpose of art is to express the unity of human life [Hegel] |
| Full Idea: Art's primary function, for Hegel, is to give expression to the unity and wholeness of life - especially human life - that the contingencies of everyday existence frequently conceal. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826]), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Beauty' | |
| A reaction: I don't find the view that human life is 'unified' and 'whole' vary illuminating, and I have no objection to art which reflects the fragmentary and unstable aspects of life. I suspect Hegel would just prefer it if life were a unity. |
| 20415 | Art forms a bridge between the sensuous world and the world of pure thought [Hegel] |
| Full Idea: Spirit generates out of itself works of fine art as the first reconciling middle term between pure thought and what is merely external, sensuous and transient - between finite natural reality and the infinite freedom of conceptual thinking. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], p.8), quoted by Richard Eldridge - G.W.F. Hegel (aesthetics) | |
| A reaction: This apparently says that there is necessarily an intellectual and conceptual component in art. This means little to me. Does he include portraits? Dutch domestic scenes? Would photography qualify? |