19 ideas
| 9038 | We must distinguish what the speaker denotes by a name, from what the name denotes [Evans] |
| Full Idea: There are two related but distinguishable questions concerning proper names: what the speaker denotes (upon an occasion), and what the name denotes. | |
| From: Gareth Evans (The Causal Theory of Names [1973], §I) | |
| A reaction: I don't think any account of language makes sense without this sort of distinction, as in my favourite example: the password is 'swordfish'. So how does language gets its own meanings, independent of what speakers intend? |
| 5824 | How can an expression be a name, if names can change their denotation? [Evans] |
| Full Idea: We need an account of what makes an expression into a name for something that will allow names to change their denotations. | |
| From: Gareth Evans (The Causal Theory of Names [1973], §II) | |
| A reaction: Presumably an example would be 'The Prime Minister is in the building'. Evans proposes to discuss communication, rather than strict meanings and descriptions. |
| 9042 | A private intention won't give a name a denotation; the practice needs it to be made public [Evans] |
| Full Idea: Intentions alone don't bring it about that a name gets a denotation; without the intention being manifest there cannot be the common knowledge required for the practice. | |
| From: Gareth Evans (The Causal Theory of Names [1973], §II) | |
| A reaction: Well, I might have a private name for some hated colleague which I mutter to myself whenever I see her. The way names, and language generally, becomes ossified is by joining the great impersonal sea of the language. ..waves of bones, |
| 9041 | The Causal Theory of Names is wrong, since the name 'Madagascar' actually changed denotation [Evans] |
| Full Idea: Change of denotation is decisive against the Causal Theory of Names. Changes of denotation actually occur: a hearsay report misunderstood by Marco Polo transferred the name 'Madagascar' from a portion of the mainland to the African island. | |
| From: Gareth Evans (The Causal Theory of Names [1973], §I) | |
| A reaction: This doesn't sound decisive, as you could give an intermediate causal account of Marco Polo's mistake. I might take the famous name Winston, and baptise my son with it. And I might have done it because I thought Winston was a German dictator. |
| 5825 | Speakers intend to refer to items that are the source of their information [Evans] |
| Full Idea: In general, a speaker intends to refer to the item that is the dominant source of his associated body of information. | |
| From: Gareth Evans (The Causal Theory of Names [1973], §II) | |
| A reaction: This sounds like a theory of reference which fully preserves the spirit of traditional empiricism. Speakers refer to ideas which connect to the source of their underlying impressions. |
| 5823 | The intended referent of a name needs to be the cause of the speaker's information about it [Evans] |
| Full Idea: A necessary (but not sufficient) condition for x's being the intended referent of S's use of a name is that x should be the source of the causal origin of the body of information that S has associated with the name. | |
| From: Gareth Evans (The Causal Theory of Names [1973], §I) | |
| A reaction: This is Evans's adaptation of Kripke's causal theory of names. This cries out for a counterexample. I say something about General Montgomery, having just listened to 'Monty's Double' give a talk, believing it was Montgomery? |
| 9039 | If descriptions are sufficient for reference, then I must accept a false reference if the descriptions fit [Evans] |
| Full Idea: The strong thesis (that descriptions are sufficient for reference) is outrageous. It would mean that if Mr X is wrongly introduced to me as Mr Y, then I truly say 'this is Mr Y' if X overwhelmingly satisfies descriptions of Y. | |
| From: Gareth Evans (The Causal Theory of Names [1973], §I) | |
| A reaction: [I omit some qualifying phrases] Evans says that probably no one ever held this view. It seems right. In the case of an electron it would seem that all the descriptions could be the same, except space-time location. Same electron as yesterday? |
| 9043 | We use expressions 'deferentially', to conform to the use of other people [Evans] |
| Full Idea: Sometimes we use expressions with the overriding intention to conform to the use made of them by some other person or persons. I shall say we use the expression 'deferentially'; examples might be 'viol' or 'minuet'. | |
| From: Gareth Evans (The Causal Theory of Names [1973], §II) | |
| A reaction: I presume Evans wasn't very musical. This label sounds useful, if you wish to connect Grice's account of meaning with Putnam's externalist account of concepts, where deference to experts is crucial. Is all linguistic usage deferential? |
| 9040 | Charity should minimize inexplicable error, rather than maximising true beliefs [Evans] |
| Full Idea: I think the Principle of Charity (maximise true beliefs) is unacceptable. The acceptable principle enjoins minimizing the attribution of inexplicable error and cannot be operated without a theory of the causation of belief for the creatures investigated. | |
| From: Gareth Evans (The Causal Theory of Names [1973], §I) | |
| A reaction: The normal principle of charity certainly seems on shaky ground if you think you have encountered a fairly normal tribe, when they in fact are in possession of the weirdest belief system on the entire planet. |
| 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. |
| 13554 | True greatness is never allowing events to disturb you [Seneca] |
| Full Idea: There is no more reliable proof of greatness than to be in a state where nothing can happen to make you disturbed. | |
| From: Seneca the Younger (On Anger (Book 3) [c.60], §06) | |
| A reaction: He specifically opposes Aristotle's view that there are times when anger is appropriate, and failure to be very angry indeed is a failure of character. |
| 13556 | Every night I critically review how I have behaved during the day [Seneca] |
| Full Idea: When the lamp has been removed from my sight, and my wife, no stranger now to my habit, has fallen silent, I examine the whole of my day and retrace my actions and words; I hide nothing from myself. | |
| From: Seneca the Younger (On Anger (Book 3) [c.60], §36) |
| 13553 | Anger is a vice which afflicts good men as well as bad [Seneca] |
| Full Idea: Other vile passions affect only the worst sort of men, but anger creeps up even on enlightened me who are otherwise sane. | |
| From: Seneca the Younger (On Anger (Book 3) [c.60], §04) | |
| A reaction: A very interesting observation for anyone who is trying to analyse the key issues in virtue theory. |
| 13552 | Anger is an extreme vice, threatening sanity, and gripping whole states [Seneca] |
| Full Idea: Other vices drive the mind on, anger hurls it headlong; ..other vices revolt from good sense, this one from sanity; ...other vices seize individuals, this is the one passion that sometimes takes hold of an entire state. | |
| From: Seneca the Younger (On Anger (Book 3) [c.60], §01) | |
| A reaction: He particularly dislikes anger because it is the vice that leads to violence. |