6 ideas
| 14080 | Are causal descriptions part of the causal theory of reference, or are they just metasemantic? [Kaplan, by Schaffer,J] |
| Full Idea: Kaplan notes that the causal theory of reference can be understood in two quite different ways, as part of the semantics (involving descriptions of causal processes), or as metasemantics, explaining why a term has the referent it does. | |
| From: report of David Kaplan (Dthat [1970]) by Jonathan Schaffer - Deflationary Metaontology of Thomasson 1 | |
| A reaction: [Kaplan 'Afterthought' 1989] The theory tends to be labelled as 'direct' rather than as 'causal' these days, but causal chains are still at the heart of the story (even if more diffused socially). Nice question. Kaplan takes the meta- version as orthodox. |
| 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. |
| 7517 | I could take a healthy infant and train it up to be any type of specialist I choose [Watson,JB] |
| Full Idea: Give me a dozen healthy infants, and my own specified world to bring them up in, and I'll guarantee to take any one at random and train him to become any type of specialist I might select - doctor, artist, beggar, thief - regardless of his ancestry. | |
| From: J.B. Watson (Behaviorism [1924], Ch.2), quoted by Steven Pinker - The Blank Slate | |
| A reaction: This was a famous pronouncement rejecting the concept of human nature as in any way fixed - a total assertion of nurture over nature. Modern research seems to be suggesting that Watson is (alas?) wrong. |