5 ideas
| 7752 | Only the utterer's primary intention is relevant to the meaning [Grice] |
| Full Idea: Only what I may call the primary intention of an utterer is relevant to the (non-natural) meaning of an utterance. | |
| From: H. Paul Grice (Meaning [1957], p.47) | |
| A reaction: This sounds okay for simple statements, but gets really tricky with complex statements, such as very ironic remarks delivered to an audience of diverse people. |
| 7751 | Meaning needs an intention to induce a belief, and a recognition that this is the speaker's intention [Grice] |
| Full Idea: For a statement to have (non-naturally) meant something, not merely must it have been 'uttered' with the intention of inducing a certain belief, but also the utterer must have intended an 'audience' to recognise the intention behind the utterance. | |
| From: H. Paul Grice (Meaning [1957], p.43) | |
| A reaction: This is Grice's famous and distinctive theory of meaning. I am struck by the problem of a password, which seems to have a quite different intention from its literal meaning. Also a speaker with two different audiences and opposite intentions. |
| 7753 | We judge linguistic intentions rather as we judge non-linguistic intentions, so they are alike [Grice] |
| Full Idea: To show that the criteria for judging linguistic intentions are very like the criteria for judging non-linguistic intentions is to show that linguistic intentions are very like non-linguistic intentions. | |
| From: H. Paul Grice (Meaning [1957], p.48) | |
| A reaction: This hint at the end of his paper is one of the key attractions of Grice's view. It offers an account of language that fits it into the world of animal communication and evolution. It never seems to quite capture the way meaning goes beyond intentions. |
| 20328 | A thing is only seen as art in an 'artworld', which has a theory and a history [Danto] |
| Full Idea: To see something as art requires something the eye cannot descry - an atmosphere of artistic theory, a knowledge of the history of art: an artworld. | |
| From: Arthur C. Danto (The Artworld [1964], II) | |
| A reaction: The editors of the volume call this a revolutionary remark, followed up by Danto and George Dickie with a social and institutional account of art. Danto's key example is Warhol's Brillo pads - art in a gallery, cleaning material in a shop. |
| 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? |