13 ideas
| 4037 | Ockham's Razor is the principle that we need reasons to believe in entities [Mellor/Oliver] |
| Full Idea: Ockham's Razor is the principle that we need reasons to believe in entities. | |
| From: DH Mellor / A Oliver (Introduction to 'Properties' [1997], §9) | |
| A reaction: This presumably follows from an assumption that all beliefs need reasons, but is that the case? The Principle of Sufficient Reason precedes Ockham's Razor. |
| 9935 | Mathematical truth is always compromising between ordinary language and sensible epistemology [Benacerraf] |
| Full Idea: Most accounts of the concept of mathematical truth can be identified with serving one or another of either semantic theory (matching it to ordinary language), or with epistemology (meshing with a reasonable view) - always at the expense of the other. | |
| From: Paul Benacerraf (Mathematical Truth [1973], Intro) | |
| A reaction: The gist is that language pulls you towards platonism, and epistemology pulls you towards empiricism. He argues that the semantics must give ground. He's right. |
| 17927 | Realists have semantics without epistemology, anti-realists epistemology but bad semantics [Benacerraf, by Colyvan] |
| Full Idea: Benacerraf argues that realists about mathematical objects have a nice normal semantic but no epistemology, and anti-realists have a good epistemology but an unorthodox semantics. | |
| From: report of Paul Benacerraf (Mathematical Truth [1973]) by Mark Colyvan - Introduction to the Philosophy of Mathematics 1.2 |
| 9936 | The platonist view of mathematics doesn't fit our epistemology very well [Benacerraf] |
| Full Idea: The principle defect of the standard (platonist) account of mathematical truth is that it appears to violate the requirement that our account be susceptible to integration into our over-all account of knowledge. | |
| From: Paul Benacerraf (Mathematical Truth [1973], III) | |
| A reaction: Unfortunately he goes on to defend a causal theory of justification (fashionable at that time, but implausible now). Nevertheless, his general point is well made. Your theory of what mathematics is had better make it knowable. |
| 4027 | Properties are respects in which particular objects may be alike or differ [Mellor/Oliver] |
| Full Idea: Properties are respects in which particular objects may be alike or differ. | |
| From: DH Mellor / A Oliver (Introduction to 'Properties' [1997], §1) | |
| A reaction: Note that this definition does not mention a causal role for properties. |
| 4029 | Nominalists ask why we should postulate properties at all [Mellor/Oliver] |
| Full Idea: Nominalists ask why we should postulate properties at all. | |
| From: DH Mellor / A Oliver (Introduction to 'Properties' [1997], §3) | |
| A reaction: Objects might be grasped without language, but events cannot be understood, and explanations of events seem inconceivable without properties (implying that they are essentially causal). |
| 4039 | Abstractions lack causes, effects and spatio-temporal locations [Mellor/Oliver] |
| Full Idea: Abstract entities (such as sets) are usually understood as lacking causes, effects, and spatio-temporal location. | |
| From: DH Mellor / A Oliver (Introduction to 'Properties' [1997], §10) | |
| A reaction: This seems to beg some questions. Has the ideal of 'honour' never caused anything? Young men dream of pure velocity. |
| 20400 | Intentions either succeed or fail, so external evidence for them is always irrelevant [Wimsatt/Beardsley, by Davies,S] |
| Full Idea: Wimsatt and Beardsley claimed that either the intention succeeded, so one does not need to look outside the work for its meaning, or the intention failed, so external evidence does not help. | |
| From: report of W Wimsatt/W Beardsley (The Intentional Fallacy [1946]) by Stephen Davies - The Philosophy of Art (2nd ed) 5.3 | |
| A reaction: Actually, the external evidence may tell you much more clearly and accurately what the intention was than the work itself does. The best example may be the title of the work, which is presumably outside the work. |
| 7266 | The author's intentions are irrelevant to the judgement of a work's success [Wimsatt/Beardsley] |
| Full Idea: The design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: This famous proposal may have been misunderstood. Note that it is a comment about judging the work, not about understanding it. The idea allows for a work being much more successful than the author's humble intentions (e.g. Pepys). |
| 7267 | Poetry, unlike messages, can be successful without communicating intentions [Wimsatt/Beardsley] |
| Full Idea: Poetry differs from practical messages, which are successful if and only if we correctly infer the intention. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: I am not convinced by this claim. It is plausible that a work does much more than it intends (Astaire said he danced "to make a buck"), but it is rather odd to rate very highly a work of which you have missed the point. |
| 7268 | The thoughts of a poem should be imputed to the dramatic speaker, and hardly at all to the poet [Wimsatt/Beardsley] |
| Full Idea: We ought to impute the thoughts and attitudes of the poem immediately to the dramatic speaker, and if to the author at all, only by an act of biographical inference. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: Wrong. If in Browning's "My Last Duchess" (say), we only inferred the mind of the speaker (and his Duchess), and took no interest in Browning's view of things, we would miss the point. We might end up respecting the Duke, which would be daft. |
| 7269 | The intentional fallacy is a romantic one [Wimsatt/Beardsley] |
| Full Idea: The intentional fallacy is a romantic one. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §II) | |
| A reaction: Wrong. Even with those most famous of anonymous artists, the architects and carvers of medieval cathedrals, without some discernment of the purpose you won't get it. The Taj Mahal is a love letter, not a potential ice cream parlour. |
| 7271 | Biography can reveal meanings and dramatic character, as well as possible intentions [Wimsatt/Beardsley] |
| Full Idea: The use of biographical evidence need not involve intentionalism, because while it may be evidence of what the author intended, it may also be evidence of the meaning of his words and the dramatic character of his utterance. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §IV) | |
| A reaction: I am very keen to penetrate the author's intentions, but I have always be doubtful about the use of biography as a means to achieve this. Most of the effort to infer intentions must come from a study of the work itself, not introductions, letters etc. |