19 ideas
| 22087 | Philosophy fails to articulate the continual becoming of existence [Kierkegaard, by Carlisle] |
| Full Idea: Kierkegaard criticise philosophy for its inability to grasp and to articulate the movement, the continual becoming, that characterises existence. | |
| From: report of Søren Kierkegaard (Either/Or: a fragment of life [1843]) by Clare Carlisle - Kierkegaard: a guide for the perplexed 2 | |
| A reaction: Heraclitus had a go, and Hegel's historicism focuses on dynamic thought, but this idea concerns the immediacy of individual life. |
| 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. |
| 5651 | Traditional views of truth are tautologies, and truth is empty without a subject [Kierkegaard, by Scruton] |
| Full Idea: Kierkegaard developed the idea of 'truth as subjectivity'; the traditional conceptions of truth - correspondence or coherence - he regarded as equally empty, not because false, but because tautologous; truth ceases to be empty when related to a subject. | |
| From: report of Søren Kierkegaard (Either/Or: a fragment of life [1843]) by Roger Scruton - Short History of Modern Philosophy Ch.13 | |
| A reaction: It strikes me that the correspondence theory of truth also involves a subject. If you become too obsessed with the subject, you lose the concept of truth. You need a concept of the non-subject too. Truth concerns the contents of thought. |
| 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] |
| 541 | Virtue comes more from habit than character [Critias] |
| Full Idea: More men are good through habit than through character. | |
| From: Critias (fragments/reports [c.440 BCE], B09), quoted by John Stobaeus - Anthology 3.29.41 |
| 22090 | For me time stands still, and I with it [Kierkegaard, by Carlisle] |
| Full Idea: Time flows, life is a stream, people say, and so on. I do not notice it. Time stands still, and I with it. | |
| From: report of Søren Kierkegaard (Either/Or: a fragment of life [1843], I:26) by Clare Carlisle - Kierkegaard: a guide for the perplexed 3 | |
| A reaction: This is from the spokesman for the aesthetic option in life, which is largely pleasure-seeking. No real choices ever occur. |
| 9305 | The plebeians bore others; only the nobility bore themselves [Kierkegaard] |
| Full Idea: Those who bore others are the plebeians, the crowd, the endless train of humanity in general; those who bore themselves are the chosen ones, the nobility. | |
| From: Søren Kierkegaard (Either/Or: a fragment of life [1843], Pt.1), quoted by Lars Svendsen - A Philosophy of Boredom Ch.2 | |
| A reaction: [p.288 in Princeton Edn] Stunningly elitist, but ask where boredom is most overtly found. "Boring" was once a very fashionable word among the English upper classes. Education and wealth seem to intensify boredom. |
| 5650 | Reason is just abstractions, so our essence needs a subjective 'leap of faith' [Kierkegaard, by Scruton] |
| Full Idea: For Kierkegaard, reason, which produces only abstractions, negates our individual essence; this essence is subjectivity, and subjectivity exists only in the 'leap of faith', whereby the individual casts in his lot with eternity. | |
| From: report of Søren Kierkegaard (Either/Or: a fragment of life [1843]) by Roger Scruton - Short History of Modern Philosophy Ch.13 | |
| A reaction: Interesting, but this strikes me as a confusion of reason and logic. A logical life would indeed be a sort of death, and need faith as an escape, but a broad view of the rational life includes emotion, imagination and laughter. Blind faith is disaster. |
| 22095 | There are aesthetic, ethical and religious subjectivity [Kierkegaard, by Carlisle] |
| Full Idea: Kierkegaard distinguishes three main types of subjectivity: aesthetic, ethical and religious. But are these types of people, or different phases of one person's life? | |
| From: report of Søren Kierkegaard (Either/Or: a fragment of life [1843]) by Clare Carlisle - Kierkegaard: a guide for the perplexed 4 | |
| A reaction: His picture of the religious mode holds no appeal for me. I also can't accept that the aesthetic and the moral are somewho distinct. People may discover they have slipped into one of these modes, but no one chooses them, do they? |
| 20747 | What matters is not right choice, but energy, earnestness and pathos in the choosing [Kierkegaard] |
| Full Idea: In making a choice, it is not so much a question of choosing the right way as of the energy, the earnestness, and the pathos with which one chooses. | |
| From: Søren Kierkegaard (Either/Or: a fragment of life [1843], p.106), quoted by Kevin Aho - Existentialism: an introduction 2 'Phenomenology' | |
| A reaction: I'm struggling to identify with the experience he is describing. I can't imagine a more quintessentially existentialist remark than this. Reference to 'energy' in choosing strikes me as very romantic. Is 'the way not taken' crucial (in 'pathos')? |
| 22091 | Kierkegaard prioritises the inward individual, rather than community [Kierkegaard, by Carlisle] |
| Full Idea: Whereas Hegel argues that individuals find fulfilment through participation in their community, Kierkegaard prioritises the inwardness of each person, which is shared only with God. | |
| From: report of Søren Kierkegaard (Either/Or: a fragment of life [1843]) by Clare Carlisle - Kierkegaard: a guide for the perplexed 3 | |
| A reaction: Sounds like the protestant religion opposing the catholic religion (although Hegel was a protestant). Individual v community is the great debate of the last two centuries in Europe. |
| 542 | Fear of the gods was invented to discourage secret sin [Critias] |
| Full Idea: When the laws forbade men to commit open crimes of violence, and they began to do them in secret, a wise and clever man invented fear of the gods for mortals, to frighten the wicked, even if they sin in secret. | |
| From: Critias (fragments/reports [c.440 BCE], B25), quoted by Sextus Empiricus - Against the Professors (six books) 9.54 |
| 22088 | Faith is like a dancer's leap, going up to God, but also back to earth [Kierkegaard, by Carlisle] |
| Full Idea: Kierkegaard doesn't use the phrase 'leap of faith'. His metaphor of a dancer's leap expresses the way faith goes 'up' towards God, but also comes back down to earth, and is a way of living in the world. | |
| From: report of Søren Kierkegaard (Either/Or: a fragment of life [1843]) by Clare Carlisle - Kierkegaard: a guide for the perplexed 2 | |
| A reaction: This entirely contradicts what I was taught about this idea many years ago. Memes turn into Chinese whispers. |