10 ideas
| 22076 | Being is only perceptible to itself as becoming [Schelling] |
| Full Idea: Being is only perceptible to itself in the state of becoming. | |
| From: Friedrich Schelling (Of Human Freedom [1809], p.403), quoted by Jean-François Courtine - Schelling p.90 | |
| A reaction: Is the Enlightenment the era of Being, and the Romantic era that of Becoming? They like process, fluidity, even chaos. |
| 22297 | Dummett saw realism as acceptance of bivalence, rather than of mind-independent entities [Dummett, by Potter] |
| Full Idea: Dummett aimed to characterise realism in terms not of the mind-independence of the entities but of the validity of bivalence for sentences referring to them. | |
| From: report of Michael Dummett (Realism [1982]) by Michael Potter - The Rise of Analytic Philosophy 1879-1930 21 'Lang' | |
| A reaction: Hence he called himself a 'philosopher of language', rather than a 'philosopher of thought'. Philosophers of language are more likely to end up as anti-realists, I suspect. |
| 22074 | We must show that the whole of nature, because it is effective, is grounded in freedom [Schelling] |
| Full Idea: What is required is to show that everything that is effective (nature, the world of things) is grounded in activity, life, freedom. | |
| From: Friedrich Schelling (Of Human Freedom [1809], p.351), quoted by Jean-François Courtine - Schelling | |
| A reaction: I take the ancestor of this view of nature to be the monads of Leibniz, as the active principle in nature. Because this is an idealist view, it starts with the absolute freedom of the Self, and presumably sees nature in its own image. |
| 22075 | Only idealism has given us the genuine concept of freedom [Schelling] |
| Full Idea: Until the discovery of idealism, the genuine concept of freedom has been missing from every modern system, whether it be that of Leibniz or of Spinoza. | |
| From: Friedrich Schelling (Of Human Freedom [1809], p.345), quoted by Jean-François Courtine - Schelling p.87 | |
| A reaction: Spinoza denied free will, and Leibniz fudged it. Evidently more medieval theological accounts were not good enough. I presume Fichte is Schelling's hero, and he seems to see freedom as axiomatic about the Self. |
| 22687 | Maybe literary assessment is evaluating the artist as a suitable friend [Gaut] |
| Full Idea: An approach in Hume (elaborated by Wayne Booth) holds that literary assessment is akin to an act of befriending, for one assesses the author of a work as a suitable friend. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Some') | |
| A reaction: I like the idea that art exploits our normal range of social emotions and attitudes, so I think this has some truth, but some of the best artists are so out of my league as to not even be candidates for friendship. Dostoevsky? Webster? Caravaggio? |
| 22686 | Formalists say aesthetics concerns types of beauty, or unity, complexity and intensity [Gaut] |
| Full Idea: The formal objects which individuate the aesthetic attitude may be narrowly aesthetic, as beauty, and its subspecies, such as grace and elegance, or more broadly by other formalist criteria, such as Beardley's unity, complexity and intensity. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Objections 1') | |
| A reaction: I'm not sure about unity or complexity, but intensity was endorsed by Henry James. Intensity doesn't sound very 'formal'. 'Beauty' doesn't seem the right word for the wonderful 'King Lear', or even for Jane Austen novels. |
| 22690 | 'Moralism' says all aesthetic merits are moral merits [Gaut] |
| Full Idea: The view that the only aesthetic merit of works are ethical ones is known as 'moralism'. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], n 1) | |
| A reaction: [He says this view was demolished by R.W.Beardsmore in 1971] Gaut contrasts this with his own carefully modulated 'ethicism'. Moralism predominated in the eighteenth century, but now looks clearly wrong (or naïve). |
| 22684 | Good ethics counts towards aesthetic merit, and bad ethics counts against it [Gaut] |
| Full Idea: I defend 'ethicism', which says that ethically admirable attitudes count toward the the aesthetic merit of a work, and ethically reprehensible attitudes count against its aesthetic merit. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: He recognises that morally admirable works can explore unethical behaviour, and also that identifying the 'attitude' of a work is not simple. The ethics are not necessary. 'Triumph of the Will' is a classic test case. I disagree with Gaut. |
| 22689 | If we don't respond ethically in the way a work prescribes, that is an aesthetic failure [Gaut] |
| Full Idea: Our having reason not to respond in the way prescribed (because it is unethical) is a failure of the work …so that is an aesthetic failure, which is an aesthetic defect. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Merited') | |
| A reaction: A key argument for Gaut's theory of 'ethicism' about literature. If 'Triumph of the Will' gets the right response from Nazi sympathisers, that is probably all aesthetic success. Jane Austen hasn't failed if she is rejected as bourgeois. |
| 22685 | Good art does not necessarily improve people (any more than good advice does) [Gaut] |
| Full Idea: Ethicism does not entail the causal thesis that good art ethically improves people, …any more than it follows that earnest ethical advice improves people. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: How successful were sermons, in the great days of Christianity? It seems hard to disagree with Gaut's point. |