7 ideas
| 23367 | Even pointing a finger should only be done for a reason [Epictetus] |
| Full Idea: Philosophy says it is not right even to stretch out a finger without some reason. | |
| From: Epictetus (fragments/reports [c.57], 15) | |
| A reaction: The key point here is that philosophy concerns action, an idea on which Epictetus is very keen. He rather despise theory. This idea perfectly sums up the concept of the wholly rational life (which no rational person would actually want to live!). |
| 8210 | Deconstructing philosophy gives the history of concepts, and the repressions behind them [Derrida] |
| Full Idea: To 'deconstruct' philosophy would be to think the structured genealogy of philosophy's concepts, but at the same time determine what this history has been able to dissimulate or forbid, making itself into history by this motivated repression. | |
| From: Jacques Derrida (Implications [1967], p.5) | |
| A reaction: All of this type of philosophy is motivated by what I think of as (I'm afraid!) a rather adolescent belief that we are all being 'repressed', and that somehow, if we think hard enough, we can all become 'free', and then everything will be fine. |
| 8211 | The movement of 'différance' is the root of all the oppositional concepts in our language [Derrida] |
| Full Idea: The movement of 'différance', as that which produces different things, that which differentiates, is the common root of all the oppositional concepts that mark our language, such as sensible/intelligible, intuition/signification, nature/culture etc. | |
| From: Jacques Derrida (Implications [1967], p.7) | |
| A reaction: 'Différance' is a word coined by Derrida, and his most famous concept. At first glance, the concept of a thing which is the source of all differentiation sounds like a fiction. |
| 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. |