13 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!). |
| 18935 | Semantic theory should specify when an act of naming is successful [Sawyer] |
| Full Idea: A semantic theory of names should deliver a specification of the conditions under which a name names an individual, and hence a specification of the conditions under which a name is empty. | |
| From: Sarah Sawyer (Empty Names [2012], 1) | |
| A reaction: Naming can be private, like naming my car 'Bertrand', but never tell anyone. I like Plato's remark that names are 'tools'. Do we specify conditions for successful spanner-usage? The first step must be individuation, preparatory to naming. |
| 18945 | Millians say a name just means its object [Sawyer] |
| Full Idea: The Millian view of direct reference says that the meaning of a name is the object named. | |
| From: Sarah Sawyer (Empty Names [2012], 4) | |
| A reaction: Any theory that says meaning somehow is features of the physical world strikes me as totally misguided. Napoleon is a man, so he can't be part of a sentence. He delegates that job to words (such as 'Napoleon'). |
| 18934 | Sentences with empty names can be understood, be co-referential, and even be true [Sawyer] |
| Full Idea: Some empty names sentences can be understood, so appear to be meaningful ('Pegasus was sired by Poseidon'), ...some appear to be co-referential ('Santa Claus'/'Father Christmas'), and some appear to be straightforwardly true ('Pegasus doesn't exist'). | |
| From: Sarah Sawyer (Empty Names [2012], 1) | |
| A reaction: Hang on to this, when the logicians arrive and start telling you that your talk of empty names is vacuous, because there is no object in the 'domain' to which a predicate can be attached. Meaning, reference and truth are the issues around empty names. |
| 18938 | Frege's compositional account of truth-vaues makes 'Pegasus doesn't exist' neither true nor false [Sawyer] |
| Full Idea: In Frege's account sentences such as 'Pegasus does not exist' will be neither true nor false, since the truth-value of a sentence is its referent, and the referent of a complex expression is determined by the referent of its parts. | |
| From: Sarah Sawyer (Empty Names [2012], 2) | |
| A reaction: We can keep the idea of 'sense', which is very useful for dealing with empty names, but tweak his account of truth-values to evade this problem. I'm thinking that meaning is compositional, but truth-value isn't. |
| 18947 | Definites descriptions don't solve the empty names problem, because the properties may not exist [Sawyer] |
| Full Idea: If it were possible for a definite description to be empty - not in the sense of there being no object that satisfies it, but of there being no set of properties it refers to - the problem of empty names would not have been solved. | |
| From: Sarah Sawyer (Empty Names [2012], 5) | |
| A reaction: Swoyer is thinking of properties like 'is a unicorn', which are clearly just as vulnerable to being empty as 'the unicorn' was. It seems unlikely that 'horse', 'white' and 'horn' would be empty. |
| 8122 | True works of art transmit completely new feelings [Tolstoy] |
| Full Idea: Only that is a true work of art which transmits fresh feelings not previously experienced by man. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.9) | |
| A reaction: I think a great composer will probably not have any new feelings at all, but will discover new expressions which contain feelings by which even they are surprised (e.g. the Tristan chord). |
| 8121 | Art is when one man uses external signs to hand on his feelings to another man [Tolstoy] |
| Full Idea: Art is a human activity in which one man consciously by means of external signs, hands on to others feelings he has lived through, and other are infected by those feelings, and also experience them. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.5) | |
| A reaction: Such definitions always work better for some art forms than for others. This may fit 'Anna Karenin' quite well, but probably not Bach's 'Art of Fugue'. Writing obscenities on someone's front door would fit this definition. |
| 8124 | The highest feelings of mankind can only be transmitted by art [Tolstoy] |
| Full Idea: The highest feelings to which mankind has attained can only be transmitted from man to man by art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: We are much more nervous these days of talking about 'highest' feelings. Tolstoy obviously considers religion to be an ingredient of the highest feelings, but that prevents us from judging them purely as feelings. Music is the place to rank feelings. |
| 8123 | The purpose of art is to help mankind to evolve better, more socially beneficial feelings [Tolstoy] |
| Full Idea: The evolution of feeling proceeds by means of art - feelings less kind and less necessary for the well-being of mankind being replaced by others kinder and more needful for that end. That is the purpose of art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.16) | |
| A reaction: Underneath his superficially expressivist view of art, Tolstoy is really an old-fashioned moralist about it, like Dr Johnson. This is the moralism of the great age of the nineteenth century novel (which was, er, the greatest age of the novel!). |
| 22710 | People estimate art according to their moral values [Tolstoy] |
| Full Idea: The estimation of the value of art …depends on men's perception of the meaning of life; depends on what they hold to be the good and evil of life. | |
| From: Leo Tolstoy (What is Art? [1898]), quoted by Iris Murdoch - The Sublime and the Good p.206 | |
| A reaction: [No ref given] This is put to the test by the insightful depiction of wickedness. We condemn the wickedness and admire the insight. Every reading of a novel is a moral journey, though I'm not sure how the true psychopath reads a novel. |
| 8125 | The upper classes put beauty first, and thus freed themselves from morality [Tolstoy] |
| Full Idea: The people of the upper class, more and more frequently encountering the contradictions between beauty and goodness, put the ideal of beauty first, thus freeing themselves from the demands of morality. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: The rich are a great deal freer to pursue the demands of beauty than are the poor. They also have a tradition of 'immorality' (such as duels and adultery) which was in place long before they discovered art. |
| 8064 | We separate the concept of beauty from goodness, unlike the ancients [Tolstoy] |
| Full Idea: The ancients had not that conception of beauty separated from goodness which forms the basis and aim of aesthetics in our time. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.3) | |
| A reaction: This is written at around the time of the Aesthetic Movement, but Tolstoy's own novels are intensely moral. This separation makes abstract painting possible. |