8 ideas
| 19569 | We have a basic epistemic duty to believe truth and avoid error [Chisholm, by Kvanvig] |
| Full Idea: Chisholm says our fundamental epistemic duties arise from the fundamental duty to (do one's best to) believe the truth and avoid error. | |
| From: report of Roderick Chisholm (Theory of Knowledge (2nd ed 1977) [1966]) by Jonathan Kvanvig - Truth is not the Primary Epistemic Goal 'Epistemic' | |
| A reaction: Since it strikes me as impossible to perceive something as being true, and yet still not believe it (except in moments of shock), I don't see why we need to introduce dubious claims about 'duty' here. Stupidity isn't a failure of duty. |
| 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. |
| 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. |
| 6000 | The goal is rationality in the selection of things according to nature [Diogenes of Babylon, by Blank] |
| Full Idea: Diogenes of Babylon defined the goal to be rationality in the selection and rejection of the things according to nature. | |
| From: report of Diogenes (Bab) (fragments/reports [c.180 BCE]) by D.L. Blank - Diogenes of Babylon | |
| A reaction: This captures the central Stoic idea quite nicely. 'Live according to nature', but this always meant 'live according to reason', because that is (as Aristotle had taught) the essence of our nature. This only makes sense if reason and nature coincide. |
| 5999 | The good is what is perfect by nature [Diogenes of Babylon, by Blank] |
| Full Idea: Diogenes of Babylon defined the good as what is perfect by nature. | |
| From: report of Diogenes (Bab) (fragments/reports [c.180 BCE]) by D.L. Blank - Diogenes of Babylon | |
| A reaction: This might come close to G.E. Moore's Ideal Utilitarianism, but its dependence on the rather uneasy of concept of 'perfection' makes it questionable. Personally I find it appealing. I wish we had Diogenes' explanation. |
| 6001 | Justice is a disposition to distribute according to desert [Diogenes of Babylon, by Blank] |
| Full Idea: Diogenes of Babylon defined justice as the disposition which distributes to everyone what he deserves. | |
| From: report of Diogenes (Bab) (fragments/reports [c.180 BCE]) by D.L. Blank - Diogenes of Babylon | |
| A reaction: The questions that arise would be 'what does a new-born baby deserve?', and 'what do animals deserve?', and 'does the lowest and worst of criminals deserve anything at all?' |