16 ideas
| 14193 | 'Substance theorists' take modal properties as primitive, without structure, just falling under a sortal [Paul,LA] |
| Full Idea: Some deep essentialists resist the need to explain the structure under de re modal properties, taking them as primitive. One version (which we can call 'substance theory') takes them to fall under a sortal concept, with no further explanation. | |
| From: L.A. Paul (In Defense of Essentialism [2006], §1) | |
| A reaction: A very helpful identification of what Wiggins stands for, and why I disagree with him. The whole point of essences is to provide a notion that fits in with sciences, which means they must have an explanatory role, which needs structures. |
| 14195 | If an object's sort determines its properties, we need to ask what determines its sort [Paul,LA] |
| Full Idea: If the substance essentialist holds that the sort an object belongs to determines its de re modal properties (rather than the other way round), then he needs to give an (ontological, not conceptual) explanation of what determines an object's sort. | |
| From: L.A. Paul (In Defense of Essentialism [2006], §1) | |
| A reaction: See Idea 14193 for 'substance essentialism'. I find it quite incredible that anyone could think that a thing's sort could determine its properties, rather than the other way round. Even if sortals are conventional, they are not arbitrary. |
| 14196 | Substance essentialism says an object is multiple, as falling under various different sortals [Paul,LA] |
| Full Idea: The explanation of material constitution given by substance essentialism is that there are multiple objects. A person is essentially human-shaped (falling under the human sort), while their hunk of tissue is accidentally human-shaped (as tissue). | |
| From: L.A. Paul (In Defense of Essentialism [2006], §1) | |
| A reaction: At this point sortal essentialism begins to look crazy. Persons are dubious examples (with sneaky dualism involved). A bronze statue is essentially harder to dent than a clay one, because of its bronze. If you remake it of clay, it isn't the same statue. |
| 14198 | Absolutely unrestricted qualitative composition would allow things with incompatible properties [Paul,LA] |
| Full Idea: Absolutely unrestricted qualitative composition would imply that objects with incompatible properties and objects such as winged pigs or golden mountains were actual. | |
| From: L.A. Paul (In Defense of Essentialism [2006], §5) | |
| A reaction: Note that this is 'qualitative' composition, and not composition of parts. The objection seems to rule out unrestricted qualitative composition, since you could hardly combine squareness with roundness. |
| 14190 | Deep essentialist objects have intrinsic properties that fix their nature; the shallow version makes it contextual [Paul,LA] |
| Full Idea: Essentialism says that objects have their properties essentially. 'Deep' essentialists take the (nontrivial) essential properties of an object to determine its nature. 'Shallow' essentialists substitute context-dependent truths for the independent ones. | |
| From: L.A. Paul (In Defense of Essentialism [2006], Intro) | |
| A reaction: If the deep essence determines a things nature, we should not need to say 'nontrivial'. This is my bete noire, the confusion of essential properties with necessary ones, where necessary properties (or predicates, at least) can indeed be trivial. |
| 14191 | Deep essentialists say essences constrain how things could change; modal profiles fix natures [Paul,LA] |
| Full Idea: The deep essentialist holds that most objects have essential properties such that there are many ways they could not be, or many changes through which they could not persist. Objects' modal profiles characterize their natures. | |
| From: L.A. Paul (In Defense of Essentialism [2006], Intro) | |
| A reaction: This is the view I like, especially the last bit. If your modal profile doesn't determine your nature, then what does? Think of how you sum up a person at a funeral. Your modal profile is determined by dispositions and powers. |
| 14192 | Essentialism must deal with charges of arbitrariness, and failure to reduce de re modality [Paul,LA] |
| Full Idea: Two objections to deep essentialism are that it falters when faced with a skeptical objection concerning arbitrariness, and the need for a reductive account of de re modality. | |
| From: L.A. Paul (In Defense of Essentialism [2006], Intro) | |
| A reaction: An immediate response to the second objection might be to say that modal facts about things are not reducible. The charge of arbitrariness (i.e. total arbitrariness, not just a bit of uncertainty) is the main thing a theory of essences must deal with. |
| 14197 | An object's modal properties don't determine its possibilities [Paul,LA] |
| Full Idea: I reject the view that an object's de re modal properties determine its relations to possibilia. | |
| From: L.A. Paul (In Defense of Essentialism [2006], §3) | |
| A reaction: You'll have to read Paul to see why, but I flat disagree with her on this. The whole point of accepting such properties is to determine the modal profile of the thing, and hence see how it can fit into and behave in the world. |
| 14189 | 'Modal realists' believe in many concrete worlds, 'actualists' in just this world, 'ersatzists' in abstract other worlds [Paul,LA] |
| Full Idea: A 'modal realist' believes that there are many concrete worlds, while the 'actualist' believes in only one concrete world, the actual world. The 'ersatzist' is an actualist who takes nonactual possible worlds and their contents to be abstracta. | |
| From: L.A. Paul (In Defense of Essentialism [2006], Intro) | |
| A reaction: My view is something like that modal realism is wrong, and actualism is right, and possible worlds (if they really are that useful) are convenient abstract fictions, constructed (if we have any sense) out of the real possibilities in the actual world. |
| 22687 | Maybe literary assessment is evaluating the artist as a suitable friend [Gaut] |
| Full Idea: An approach in Hume (elaborated by Wayne Booth) holds that literary assessment is akin to an act of befriending, for one assesses the author of a work as a suitable friend. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Some') | |
| A reaction: I like the idea that art exploits our normal range of social emotions and attitudes, so I think this has some truth, but some of the best artists are so out of my league as to not even be candidates for friendship. Dostoevsky? Webster? Caravaggio? |
| 22686 | Formalists say aesthetics concerns types of beauty, or unity, complexity and intensity [Gaut] |
| Full Idea: The formal objects which individuate the aesthetic attitude may be narrowly aesthetic, as beauty, and its subspecies, such as grace and elegance, or more broadly by other formalist criteria, such as Beardley's unity, complexity and intensity. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Objections 1') | |
| A reaction: I'm not sure about unity or complexity, but intensity was endorsed by Henry James. Intensity doesn't sound very 'formal'. 'Beauty' doesn't seem the right word for the wonderful 'King Lear', or even for Jane Austen novels. |
| 22690 | 'Moralism' says all aesthetic merits are moral merits [Gaut] |
| Full Idea: The view that the only aesthetic merit of works are ethical ones is known as 'moralism'. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], n 1) | |
| A reaction: [He says this view was demolished by R.W.Beardsmore in 1971] Gaut contrasts this with his own carefully modulated 'ethicism'. Moralism predominated in the eighteenth century, but now looks clearly wrong (or naïve). |
| 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? |
| 22684 | Good ethics counts towards aesthetic merit, and bad ethics counts against it [Gaut] |
| Full Idea: I defend 'ethicism', which says that ethically admirable attitudes count toward the the aesthetic merit of a work, and ethically reprehensible attitudes count against its aesthetic merit. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: He recognises that morally admirable works can explore unethical behaviour, and also that identifying the 'attitude' of a work is not simple. The ethics are not necessary. 'Triumph of the Will' is a classic test case. I disagree with Gaut. |
| 22689 | If we don't respond ethically in the way a work prescribes, that is an aesthetic failure [Gaut] |
| Full Idea: Our having reason not to respond in the way prescribed (because it is unethical) is a failure of the work …so that is an aesthetic failure, which is an aesthetic defect. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Merited') | |
| A reaction: A key argument for Gaut's theory of 'ethicism' about literature. If 'Triumph of the Will' gets the right response from Nazi sympathisers, that is probably all aesthetic success. Jane Austen hasn't failed if she is rejected as bourgeois. |
| 22685 | Good art does not necessarily improve people (any more than good advice does) [Gaut] |
| Full Idea: Ethicism does not entail the causal thesis that good art ethically improves people, …any more than it follows that earnest ethical advice improves people. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: How successful were sermons, in the great days of Christianity? It seems hard to disagree with Gaut's point. |