7 ideas
| 9212 | Possible states of affairs are not propositions; a proposition can't be a state of affairs! [Fine,K] |
| Full Idea: Possible states of affairs have often been taken to be propositions, but this cannot be correct, since any possible state of affairs is possibly a state of affairs, but no proposition is possibly a state of affairs. | |
| From: Kit Fine (The Problem of Possibilia [2003], 2) | |
| A reaction: The point is, presumably, that the state of affairs cannot be the proposition itself, but (at least) what the proposition refers to. I can't see any objection to that. |
| 9213 | The actual world is a possible world, so we can't define possible worlds as 'what might have been' [Fine,K] |
| Full Idea: A possible world can't be defined (by Stalnaker and Plantinga) as a way the world might have been, because a possible world is possibly the world, yet no way the world might have been is possibly the world. | |
| From: Kit Fine (The Problem of Possibilia [2003], 2) | |
| A reaction: His point is that any definition of a possible world must cover the actual world, because that is one of them. 'Might have been' is not applicable to the actual world. It seems a fairly important starting point for discussion of possible worlds. |
| 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? |
| 22693 | The works we value most are in sympathy with our own moral views [John,E] |
| Full Idea: The works we tend to value most highly are ones that are in sympathy with the moral views we actually accept. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intro) | |
| A reaction: I would have to endorse this. She admits that we may rate other works very highly, but they won't appear on our list of favourites. This fact may well distort philosophical discussions of morality and art. |
| 22694 | We should understand what is morally important in a story, without having to endorse it [John,E] |
| Full Idea: Our responses to literature should show that we grasp whatever counts as morally important within the narrative, but not necessarily that we judge and feel in the way deemed appropriate by the work. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Accommodating') | |
| A reaction: She gives as an example a story by Hemingway which places a high value on the courageous hunting of big game. A second example is the total amorality of a Highsmith novel. This idea seems exactly right to me. |
| 22695 | We value morality in art because that is what we care about - but it is a contingent fact [John,E] |
| Full Idea: Moral value is valuable in art because people care about moral value. This runs deep, but it is a contingent matter, and the value of morality in art hinges on art's need to provide something precious to us. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Contingency') | |
| A reaction: I think this is exactly right. Thrillers are written with very little moral concern, for a readership which cares about brave and exciting deeds. Even there, violence has its ethics. |
| 22692 | A work can be morally and artistically excellent, despite rejecting moral truth [John,E] |
| Full Idea: A work that rejects moral truth can be artistically excellent, in part because of its moral content. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intr) | |
| A reaction: She cites the film 'Trainspotting', about desperate drug addicts, because it gives an amoral insight into their world. |