6 ideas
| 20110 | Hegel, Fichte and Schelling wanted to know Kant's thing-in-itself, as ego, or nature, or spirit [Safranski] |
| Full Idea: The 'thing in iself' acted on Kant's successors like a hole in the closed world of knowledge...Hegel, Fichte and Schelling wanted to penetrate into what they presumed to be the heart of things, by the invention of means of 'ego', or 'nature', or 'spirit., | |
| From: Rüdiger Safranski (Nietzsche: a philosophical biography [2000], 07) | |
| A reaction: [a bit compressed] Although no scientist claims to know the ultimate essence of matter, the authority of science largely comes from persuasively moving us several steps closer to the thing in itself (more persuasively than these three). |
| 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. |
| 20751 | As a young girl assumes her status as feminine, she acts in a more fragile immobile way [Young,IM] |
| Full Idea: The young girl acquires many subject habits of feminine body comportment - walking, tilting her head, standing and sitting like a girl, and so on ….The more a girl assumes her status as feminine, the more she takes herself to be fragile and immobile. | |
| From: Iris Marion Young (On Female Body Experience [2005], p.43), quoted by Kevin Aho - Existentialism: an introduction 3 'Aspects' | |
| A reaction: This strikes me as true of young women, but it largely wears off as they get older, at least among modern women. A whole book could be written about women and smiling. |