13 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. |
| 12430 | Classical logic is our preconditions for assessing empirical evidence [Kitcher] |
| Full Idea: In my terminology, classical logic (or at least, its most central tenets) consists of propositional preconditions for our assessing empirical evidence in the way we do. | |
| From: Philip Kitcher (A Priori Knowledge Revisited [2000], §VII) | |
| A reaction: I like an even stronger version of this - that classical logic arises out of our experiences of things, and so we are just assessing empirical evidence in terms of other (generalised) empirical evidence. Logic results from induction. Very unfashionable. |
| 12431 | I believe classical logic because I was taught it and use it, but it could be undermined [Kitcher] |
| Full Idea: I believe the laws of classical logic, in part because I was taught them, and in part because I think I see how those laws are used in assessing evidence. But my belief could easily be undermined by experience. | |
| From: Philip Kitcher (A Priori Knowledge Revisited [2000], §VII) | |
| A reaction: Quine has one genuine follower! The trouble is his first sentence would fit witch-doctoring just as well. Kitcher went to Cambridge; I hope he doesn't just believe things because he was taught them, or because he 'sees how they are used'! |
| 12428 | Many necessities are inexpressible, and unknowable a priori [Kitcher] |
| Full Idea: There are plenty of necessary truths that we are unable to express, let alone know a priori. | |
| From: Philip Kitcher (A Priori Knowledge Revisited [2000], §II) | |
| A reaction: This certainly seems to put paid to any simplistic idea that the a priori and the necessary are totally coextensive. We might, I suppose, claim that all necessities are a priori for the Archangel Gabriel (or even a very bright cherub). Cf. Idea 12429. |
| 12429 | Knowing our own existence is a priori, but not necessary [Kitcher] |
| Full Idea: What is known a priori may not be necessary, if we know a priori that we ourselves exist and are actual. | |
| From: Philip Kitcher (A Priori Knowledge Revisited [2000], §II) | |
| A reaction: Compare Idea 12428, which challenges the inverse of this relationship. This one looks equally convincing, and Kripke adds other examples of contingent a priori truths, such as those referring to the metre rule in Paris. |
| 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: Noėl 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] |
| 468 | Musical performance can reveal a range of virtues [Damon of Ath.] |
| Full Idea: In singing and playing the lyre, a boy will be likely to reveal not only courage and moderation, but also justice. | |
| From: Damon (fragments/reports [c.460 BCE], B4), quoted by (who?) - where? |