13 ideas
| 22701 | Jokes can sometimes be funny because they are offensive [Jacobson,D] |
| Full Idea: Sometimes it is exactly what is offensive about a joke that makes it funny. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: Jacobson offers this in support of his immoralist view, that immoral literature can be aesthetically successful. It is uncomfortable to find yourself laughing at a joke of which you disapprove. |
| 5040 | Necessary truths can be analysed into original truths; contingent truths are infinitely analysable [Leibniz] |
| Full Idea: Derivative truths are of two sorts: some are analysed into original truths, others admit of an infinite process of analysis. The former are necessary, the latter are contingent. | |
| From: Gottfried Leibniz (On Freedom [1689], p.108) | |
| A reaction: An intriguing proposal. Hume would presumably see contingent truths as being analysed until you reach 'impressions'. Analysis of necessary truths soon comes to the blinding light of what is obvious, but analysis of contingency never gets there. |
| 13159 | Only God sees contingent truths a priori [Leibniz] |
| Full Idea: Only God sees contingent truths a priori. | |
| From: Gottfried Leibniz (On Freedom [1689], p.95) | |
| A reaction: This because everything is interconnected, and the whole picture must be seen to understand a contingent truth. |
| 5039 | If non-existents are possible, their existence would replace what now exists, which cannot therefore be necessary [Leibniz] |
| Full Idea: If certain possibles never exist, then existing things are not always necessary; otherwise it would be impossible for other things to exist instead of them, and so all things that never exist would be impossible. | |
| From: Gottfried Leibniz (On Freedom [1689], p.106) | |
| A reaction: A neat argument, though it is not self-evident that when possibles came into existence they would have to replace what is already there. Can't something be possible, but only in another world, because this one is already booked? |
| 22703 | We don't often respond to events in art as if they were real events [Jacobson,D] |
| Full Idea: We routinely do not respond to art as if we were as if we were real-life spectators of its events. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'rejection') | |
| A reaction: This strikes me as one of the basic facts about aesthetics, and especially of narrative art. People sometimes encounter terrible events on the street, only to find someone is making a film. |
| 22702 | Audiences can be too moral [Jacobson,D] |
| Full Idea: An audience can be overly moralistic. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: People can be too moral in real life as well. Goody Two Shoes. |
| 22696 | 'Autonomism' says the morality is irrelevant to the aesthetics [Jacobson,D] |
| Full Idea: 'Autonomism' is the theory that the intrinsic moral merits and defects of an artwork are irrelevant to its aesthetic value. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], Intro) | |
| A reaction: This contrasts with 'moralism', which says the ethics is part of the aesthetics. Autonomism seems to be the modern academic label for art for art's sake. In nineteenth century novels the ethics are central; in modernist novels they seem to be irrelevant. |
| 22697 | Moral defects of art can be among its aesthetic virtues [Jacobson,D] |
| Full Idea: To put my claim most provocatively: the moral defects in a work of art can be among its aesthetic virtues. This claim has been called 'immoralism'. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], Intro) | |
| A reaction: To describe sympathetic descriptions of vile moral behaviour as 'defects' may be a misunderstanding. If a work sets out to promote wickedness, then its wickedness isn't a defect in the work. It could be a masterpiece of corruption. |
| 22700 | Immoral art encourages immoral emotions [Jacobson,D] |
| Full Idea: Humean moralism includes the view that immoral art prescribes unethical emotional responses. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: [He cites Hume's 'On the Standard of Taste'] 'Prescribes' is tricky. Is a vivid description of wicked events, given without comment, a prescription? What if the commentary condemns, but the description entices? Trust the work itself, said Lawrence. |
| 22699 | Moderate moralism says moral qualities can sometimes also be aesthetic qualities [Jacobson,D] |
| Full Idea: Noël Carroll's moderate moralism maintains that some moral defects in artworks are aesthetic defects, and some moral virtues are aesthetic merits. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'How moderate') | |
| A reaction: I'm beginning to think that moralist critics are confusing morality and wisdom. We don't admire novels for hammering on about goodness. We admire their insight into characters and actions, of which the most interesting aspects happen to be moral. |
| 22698 | We can judge art ethically, or rate its ethical influence, or assess its quality via its ethics [Jacobson,D] |
| Full Idea: Ethical criticism includes 1) ethical judgements of art works, 2) assessment of an art work's role in moral education, or 3) bringing moral praise or censure to bear on the aesthetic evaluation. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'What is') | |
| A reaction: [a compressed summary of Jacobson. He cites Levinson 1998 and Carroll 2000 as examples of ethical criticism] |
| 7294 | No crime and no punishment without a law [Roman law] |
| Full Idea: An ancient principle of Roman law states, nullum crimen et nulla poene sine lege, - there is no crime and no punishment without a law. | |
| From: [Roman law] (Roman Law [c.100]), quoted by A.C. Grayling - Among the Dead Cities Ch.6 | |
| A reaction: That there is no 'punishment' without law seems the basis of civilization. Suppose a strong person imposed firm punishment in order to forestall more brutal revenge by others? What motivates the creation of criminal laws? |
| 5041 | God does everything in a perfect way, and never acts contrary to reason [Leibniz] |
| Full Idea: We can regard it as certain that everything is done by God in the most perfect way, that he does nothing which is contrary to reason. | |
| From: Gottfried Leibniz (On Freedom [1689], p.109) | |
| A reaction: The famous optimism which Voltaire laughed at in 'Candide'. I can't help thinking that there is an ideal of God being ABOVE reason. We reason, and give reasons, because we are unsure, and life is a struggle. The highest ideal is mystically self-evident. |