56 ideas
| 20109 | Hegel inserted society and history between the God-world, man-nature, man-being binary pairs [Hegel, by Safranski] |
| Full Idea: Before Hegel, people thought in binary oppositions of God and the world, man and nature, man and being. After Hegel an intervening world of society and history was inserted between these pairs. | |
| From: report of Georg W.F.Hegel (Introduction to the Philosophy of History [1840]) by Rüdiger Safranski - Nietzsche: a philosophical biography 05 | |
| A reaction: This is what Popper later called 'World Three'. This might be seen as the start of what we islanders call 'continental' philosophy, which we have largely ignored. Analytic philosophy only discovered this through philosophy of language. |
| 20388 | 'Necessary' conditions are requirements, and 'sufficient' conditions are guarantees [Davies,S] |
| Full Idea: A 'necessary' condition for something's being an X is condition that all Xs must satisfy. ...A 'sufficient' condition for something's being an X is a condition that, when satisfied, guarantees that what satisfies it is an X. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: By summarising this I arrive at the requirement/guarantee formulation, which I am rather pleased with. What is required for rain, and what guarantees rain? |
| 20389 | A definition of a thing gives all the requirements which add up to a guarantee of it [Davies,S] |
| Full Idea: If we specify the 'necessary' conditions that are 'sufficient' for something's being an X, that is a combination of conditions such that all and only Xs meet them, which is the hallmark of a definition of X-hood. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: There are, of course, many other ways to define something, as shown in the 2.D Reason | Definition section of this database. This nicely summarises the classical view. |
| 20391 | Feminists warn that ideologies use timeless objective definitions as a tool of repression [Davies,S] |
| Full Idea: According to the feminist critique, ideologies that operate as tools of political repression are falsely represented as definitions possessing a timeless, natural, asocial, universal objectivity. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I suppose this does not just apply to definitions, but to all expressions of ideologically repressive strategy. I'm trying to think of an example of a specifically feminist problem case. Davies doesn't cite anyone. |
| 17979 | Research shows perceptual discrimination is sharper at category boundaries [Murphy] |
| Full Idea: Goldstone's research has shown how learning concepts can change perceptual units. For example, perceptual discrimination is heightened along category boundaries. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch.13) | |
| A reaction: [Goldstone 1994, 2000] This is just the sort of research which throws a spanner into the simplistic a priori thinking of many philosophers. |
| 18690 | Induction is said to just compare properties of categories, but the type of property also matters [Murphy] |
| Full Idea: Most theories of induction claim that it should depend primarily on the similarity of the categories involved, but then the type of property should not matter, yet research shows that it does. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch. 6) | |
| A reaction: I take this to be good empirical support for Gilbert Harman's view that induction is really inference to the best explanation. The thought (which strikes me as obviously correct) is that we bring nested domains of knowledge to bear in induction. |
| 17980 | The main theories of concepts are exemplar, prototype and knowledge [Murphy] |
| Full Idea: The three main theories of concepts under consideration are the exemplar, the prototype and the knowledge approaches. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch.13) |
| 17973 | The theoretical and practical definitions for the classical view are very hard to find [Murphy] |
| Full Idea: It has been extremely difficult to find definitions for most natural categories, and even harder to find definitions that are plausible psychological representations that people of all ages would be likely to use. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch. 2) |
| 17969 | The classical definitional approach cannot distinguish typical and atypical category members [Murphy] |
| Full Idea: The early psychological approaches to concepts took a definitional approach. ...but this view does not have any way of distinguishing typical and atypical category members (...as when a trout is a typical fish and an eel an atypical one). | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch. 2) | |
| A reaction: [pp. 12 and 22] Eleanor Rosch in the 1970s is said to have largely killed off the classical view. |
| 17970 | Classical concepts follow classical logic, but concepts in real life don't work that way [Murphy] |
| Full Idea: The classical view of concepts has been tied to traditional logic. 'Fido is a dog and a pet' is true if it has the necessary and sufficient conditions for both, ...but there is empirical evidence that people do not follow that rule. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch. 2) | |
| A reaction: Examples given are classifying chess as a sport and/or game, and classifying a tree house (which is agreed to be both a building and not a building!). |
| 17971 | Classical concepts are transitive hierarchies, but actual categories may be intransitive [Murphy] |
| Full Idea: The classical view of concepts explains hierarchical order, where categories form nested sets. But research shows that categories are often not transitive. Research shows that a seat is furniture, and a car seat is a seat, but it is not furniture. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch. 2) | |
| A reaction: [compressed] Murphy adds that the nesting of definitions is classically used to match the nesting of hierarchies. This is a nice example of the neatness of the analytic philosopher breaking down when it meets the mess of the world. |
| 17972 | The classical core is meant to be the real concept, but actually seems unimportant [Murphy] |
| Full Idea: A problem with the revised classical view is that the concept core does not seem to be an important part of the concept, despite its name and theoretical intention as representing the 'real' concept. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch. 2) | |
| A reaction: Apparently most researchers feel they can explain their results without reference to any core. Not so fast, I would say (being an essentialist). Maybe people acknowledge an implicit core without knowing what it is. See Susan Gelman. |
| 17975 | There is no 'ideal' bird or dog, and prototypes give no information about variability [Murphy] |
| Full Idea: Is there really an 'ideal bird' that could represent all birds? ...Furthermore a single prototype would give no information about the variability of a category. ...Compare the incredible variety of dogs to the much smaller diversity of cats. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch. 3) | |
| A reaction: The point about variability is particularly noteworthy. You only grasp the concept of 'furniture' when you understand its range, as well as its typical examples. What structure is needed in a concept to achieve this? |
| 17976 | Prototypes are unified representations of the entire category (rather than of members) [Murphy] |
| Full Idea: In the prototype view the entire category is represented by a unified representation rather than separate representations for each member, or for different classes of members. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch. 3) | |
| A reaction: This is the improved prototype view, as opposed to the implausible idea that there is one ideal exemplar. The new theory still have the problem of how to represent diversity within the category, while somehow remaining 'unified'. |
| 18691 | The prototype theory uses observed features, but can't include their construction [Murphy] |
| Full Idea: Nothing in the prototype model says the shape of an animal is more important than its location in identifying its kind. The theory does not provide a way the features can be constructed, rather than just observed. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch. 6) | |
| A reaction: This makes some kind of mental modelling central to thought, and not just a bonus once you have empirically acquired the concepts. We bring our full range of experience to bear on even the most instantaneous observations. |
| 17983 | The prototype theory handles hierarchical categories and combinations of concepts well [Murphy] |
| Full Idea: The prototype view has no trouble with either hierarchical structure or explaining categories. ...Meaning and conceptual combination provide strong evidence for prototypes. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch.13) | |
| A reaction: Prototypes are not vague, making clearer classification possible. A 'mountain lion' is clear, because its components are clear. |
| 17985 | Prototypes theory of concepts is best, as a full description with weighted typical features [Murphy] |
| Full Idea: Our theory of concepts must be primarily prototype-based. That is, it must be a description of an entire concept, with its typical features (presumably weighted by their importance). | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch.13) | |
| A reaction: This is to be distinguished from the discredited 'classical' view of concepts, that the concept consists of its definition. I take Aristotle's account of definition to be closer to a prototype description than to a dictionary definition. |
| 17986 | Learning concepts is forming prototypes with a knowledge structure [Murphy] |
| Full Idea: My proposal is that people attempt to form prototypes as part of a larger knowledge structure when they learn concepts. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch.13) | |
| A reaction: This combines theory theory (knowledge) with the prototype view, and sounds rather persuasive. The formation of prototypes fits with the explanatory account of essentialism I am defending. He later calls prototype formation 'abstraction' (494). |
| 17974 | The most popular theories of concepts are based on prototypes or exemplars [Murphy] |
| Full Idea: The most popular theories of concepts are based on prototype or exemplar theories that are strongly unclassical. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch. 2) |
| 17977 | The exemplar view of concepts says 'dogs' is the set of dogs I remember [Murphy] |
| Full Idea: In the exemplar view of concepts, the idea that people have a representation that somehow encompasses an entire concept is rejected. ...Instead a person's concept of dogs is the set of dogs that the person remembers. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch. 3) | |
| A reaction: [The theory was introduced by Medin and Schaffer 1978] I think I have finally met a plausible theory of concepts. When I think 'dog' I conjure up a fuzz of dogs that exhibit the range I have encountered (e.g. tiny to very big). Individuals come first! |
| 17982 | Exemplar theory struggles with hierarchical classification and with induction [Murphy] |
| Full Idea: The exemplar view has trouble with hierarchical classification and with induction in adults. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch.13) | |
| A reaction: To me these both strongly support essentialism - that you form the concept 'dog' from seeing some dogs, but you then extrapolate to large categories and general truths about dogs, on the assumption of the natures of the dogs you have seen. |
| 17981 | Children using knowing and essentialist categories doesn't fit the exemplar view [Murphy] |
| Full Idea: The findings showing that children use knowledge and may be essentialist about category membership do not comport well with the exemplar view. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch.13) | |
| A reaction: Tricky, because Gelman persuaded me of the essentialism, but the exemplar view of concepts looks the most promising. Clearly they must be forced to coexist.... |
| 17984 | Conceptual combination must be compositional, and can't be built up from exemplars [Murphy] |
| Full Idea: The exemplar accounts of conceptual combination are demonstrably wrong, because the meaning of a phrase has to be composed from the meaning of its parts (plus broader knowledge), and it cannot be composed as a function of exemplars. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch.13) | |
| A reaction: This sounds quite persuasive, and I begin to see that my favoured essentialism fits the prototype view of concepts best, though this mustn't be interpreted too crudely. We change our prototypes with experience. 'Bird' is a tricky case. |
| 17987 | The concept of birds from exemplars must also be used in inductions about birds [Murphy] |
| Full Idea: We don't have one concept of birds formed by learning from exemplars, and another concept of birds that is used in induction. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch.13) | |
| A reaction: In other words exemplar concepts break down when we generalise using the concept. The exemplars must be unified, to be usable in thought and language. |
| 17978 | We do not learn concepts in isolation, but as an integrated part of broader knowledge [Murphy] |
| Full Idea: The knowledge approach argues that concepts are part of our general knowledge about the world. We do not learn concepts in isolation, ...but as part of our overall understanding of the world. Animal concepts are integrated with biology, behaviour etc. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch. 3) | |
| A reaction: This is one of the leading theories of concepts among psychologists. It seems to be an aspect of the true theory, but it needs underpinning with some account of isolated individual concepts. This is also known as the 'theory theory'. |
| 18687 | Concepts with familiar contents are easier to learn [Murphy] |
| Full Idea: A concept's content influences how easy it is to learn. If the concept is grossly incompatible with what people know prior to the experiment, it will be difficult to acquire. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch. 6) | |
| A reaction: This is a preliminary fact which leads towards the 'knowledge' theory of concepts (aka 'theory theory'). The point being that the knowledge involved is integral to the concept. Fits my preferred mental files approach. |
| 18688 | Some knowledge is involved in instant use of categories, other knowledge in explanations [Murphy] |
| Full Idea: Some kinds of knowledge are probably directly incorporated into the category representation and used in normal, fast decisions about objects. Other kinds of knowledge, however, may come into play only when it has been solicited. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch. 6) | |
| A reaction: This is a summary of empirical research, but seems to fit our normal experience. If you see a hawk, you have some instant understanding, but if you ask what the hawk is doing here, you draw more widely. |
| 18689 | People categorise things consistent with their knowledge, even rejecting some good evidence [Murphy] |
| Full Idea: People tend to positively categorise items that are consistent with their knowledge and to exclude items that are inconsistent, sometimes even overruling purely empirical sources of information. | |
| From: Gregory L. Murphy (The Big Book of Concepts [2004], Ch. 6) | |
| A reaction: The main rival to 'theory theory' is the purely empirical account of how concepts are acquired. This idea reports empirical research in favour of the theory theory (or 'knowledge') approach. |
| 20387 | Aesthetic experience involves perception, but also imagination and understanding [Davies,S] |
| Full Idea: It was suggested that aesthetic experience isn't solely perceptual. It's infused by a cognitive but non-conceptual process described by Kant as involving the free play of the imagination and the understanding. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: This fits literature very well, painting quite well, and music hardly at all. |
| 20385 | The faculty of 'taste' was posited to explain why only some people had aesthetic appreciation [Davies,S] |
| Full Idea: To explain why not everyone who is prepared to encounter a thing's aesthetic properties can recognise them, ...eighteenth century theorists posited the existence of a special faculty of aesthetic perception, that of taste. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: But there seem to be two aspects to taste - first the capacity to enjoy some sorts of art, and second the ability to discriminate the good from the bad. The latter is 'standards' of taste (Hume's title). Do non-musical people lack taste? |
| 20386 | The sublime is negative in awareness of insignificance, and positive in showing understanding [Davies,S] |
| Full Idea: An example of the sublime is the vastness of the night sky. ...It includes negative feelings of insignificance in the face of nature's indifference, power and magnitude, but is positive in that we are capable of comprehending such matters. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: The negative part seems to be a very intellectual experience, with close links to religion, and may be the experience that leads to deism (belief in God's indifference). |
| 20384 | The idea that art forms are linked into a single concept began in the 1740s [Davies,S] |
| Full Idea: The first to link the art forms together explicitly and to separate them from other disciplines and activities were the authors of encyclopedias and books in the 1740s and 1750s. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: Intriguing that no individual seems to get the credit (or blame). Presumably our modern Aesthetics (applied to art) couldn't exist before this move was made - and yet there is plenty of aesthetic discussion in early Greek philosophy. |
| 20390 | Defining art as representation or expression or form were all undermined by the avant-garde [Davies,S] |
| Full Idea: The avant-garde art of the twentieth century played a significant role in defeating definitions that had prevailed in earlier times, such as ones maintaining that art is representation, expression or significant form | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I really think the first rule of philosophical aesthetics is 'ignore Marcel Duchamp'. We wouldn't give up our idea of philosophy if someone managed to publish a long string of expletives in a philosophy journal. Would we?? |
| 20392 | 'Aesthetic functionalism' says art is what is intended to create aesthetic experiences [Davies,S] |
| Full Idea: 'Aesthetic functionalism' maintains that something is an artwork if it is intended to provide the person who contemplates it for its own sake with an aesthetic experience of a significant magnitude on the basis of its aesthetic features. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [Beardsley is cited as having this view] For this you need to know what an aesthetic 'feature' is, and you'd have to indepdently recognise aesthetic experience. |
| 20405 | Music may be expressive by being 'associated' with other emotional words or events [Davies,S] |
| Full Idea: One view explains music's expressiveness as 'associative'. Through being regularly associated with emotionally charged words or events, particular musical ideas become associated with emotions or moods. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: This is a more promising theory. I take the feeling in music to be parasitic on other feelings we have, and other triggers that evoke them. I'm particularly struck with story-telling (which Levinson and Robinson also like). |
| 20403 | It seems unlikely that sad music expresses a composer's sadness; it takes ages to write [Davies,S] |
| Full Idea: The 'expression theory' holds that if music is sad that is because it expresses the composer's sadness, ...but composers take a long time composing sad works, and may even been gleeful at receiving payment for it. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: [compressed] Pretty conclusive. I see composing as like acting. Just as you can put on a happy or sad face, so a composer can discover music that feels sad or happy. Three movement sonatas don't fit expression at all. |
| 20393 | The 'institutional' theory says art is just something appropriately placed in the 'artworld' [Davies,S] |
| Full Idea: The 'institutional' theory says to be an artwork, an artwork must be appropriately placed within a web of practices, roles and frameworks that comprise an informally organised institution, the artworld. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [He cites George Dickie] This theory seems to entirely developed to cope with the defiant gesture of Marcel Duchamp. Once I am an established artist, I have the authority to label anything I like as a work of art. Silly. |
| 20402 | Music is too definite to be put into words (not too indefinite!) [Davies,S] |
| Full Idea: Mendelssohn said that what music expresses is not too indefinite to put into words but, on the contrary, it is too definite. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: Not sure whether that is true, but it is a lovely remark. It certainly challenges the naive philosophical view that words are the most precise mode of expression. |
| 20395 | The title of a painting can be vital, and the artist decrees who the portrait represents [Davies,S] |
| Full Idea: The title as given by the artist is something we might need to know (Brueghel's 'Icarus', for example), ...and if a painting depicts one of two twins, it will be the artist's intention that settles which one it is. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.5) | |
| A reaction: Those two points strike me as conclusively in favour of the importance of an artist's perceived intentions. |
| 20396 | We must know what the work is meant to be, to evaluate the artist's achievement [Davies,S] |
| Full Idea: Learning that a work is a copy of an earlier work, or is done in the style of some other artist, is relevant to an evaluation of what its creator has achieved. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.6) | |
| A reaction: A simple but powerful point. We evaluate a forgery as an achievement, and the original plate of a great print as the focus of the achievement. We can assess the achievement of a poem in any printed copy. But what about perfect painting replicas? |
| 20399 | Intentionalism says either meaning just is intention, or ('moderate') meaning is successful intention [Davies,S] |
| Full Idea: 'Actual intentionalism' holds that work's meaning is what its author intended, ...while 'moderate actual intentionalism' allows that the author's intention determines the work's meaning only if that intention is carried through successfully. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.3) | |
| A reaction: [He cites Noel Carroll for the moderate version] D.H. Lawrence, probably with a dose of Freud, said 'trust the work, not the artist' (of Moby Dick, I think). The thought is that authors only half know intentions, and works reveal them. |
| 20401 | The meaning is given by the audience's best guess at the author's intentions [Davies,S] |
| Full Idea: According to the 'hypothetical intentionalist', the work's meaning is determined by the intentions the audience is best justified in attributing to the author, whether or not these are the ones the author actually had. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.4) | |
| A reaction: [Nehamas, Levinson and Jenefer Robinson are cited] This opens the door for psychiatric interpretations of 'Hamlet', and so on. The experts disagree over the nature of the audience needed to do the job. |
| 20397 | If we could perfectly clone the Mona Lisa, the original would still be special [Davies,S] |
| Full Idea: If we could duplicate 'Mona Lisa', we're likely to be concerned to track the original and keep it separate from its clones, even if we judge that the clone isn't inferior to the original when the goal is art appreciation. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.3) | |
| A reaction: But why? Is it just a sentimental attachment to what Leonardo worked on? Does the original manuscript of a work of literature have the same importance? We treasure such things, but not for aesthetic reasons. |
| 20398 | Art that is multiply instanced may require at least one instance [Davies,S] |
| Full Idea: Some multiply instanced artworks, such as novel and poems, must have at least one instance. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.4) | |
| A reaction: This is a comment on the idea that all artworks, even oil paintings and buildings are potentially multiply instanced (so the work is the type - Wollheim's view, not one of the tokens). |
| 20404 | Music isn't just sad because it makes the listener feel sad [Davies,S] |
| Full Idea: The 'arousal' theory says music is sad because it moves the hearer to sadness, ...but this seems to get things back to front, because we normally think it is because the music is sad that it moves the listener to sadness. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: The objection is right. If Beethoven's 'Ode to Joy' always makes me feel sad (because it is so hopelessly optimistic), then that makes the music sad. Is the theory saying that there are no feelings in the music? |
| 22705 | If the depiction of evil is glorified, that is an artistic flaw [Davies,S] |
| Full Idea: One case when the depiction of immorality becomes an artistic flaw …is when it is presented in brutal detail in a way that glorifies it. The celebration of evil corrodes the work's artistic value. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: This doesn't allow for the case where the evil is celebrated in one part of a novel, yet the novel as a whole does not endorse the evil. The Marquis de Sade seems to have fully celebrated what we take to be evil. |
| 22707 | It is an artistic defect if excessive moral outrage distorts the story, and narrows our sympathies [Davies,S] |
| Full Idea: The positive moral stance of a story can be an artistic defect where it shapes the story in an inappropriate fashion. If it displays disproportionate moral outrage, …it reveals a lack of toleration, compassion, or insight into its subject-matter. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: There could be narrative irony in a story told by an angry and puritanical person, which continually condemns wickedness, with the reader expected to have a more tolerant attitude. Hard to think of any examples of this problem. |
| 22704 | Immorality may or may not be an artistic defect [Davies,S] |
| Full Idea: Immorality in art is sometimes an artistic defect and sometimes not. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: Davies seems to avoid the 'immoralist' view, that immorality in a work of art can sometimes be a strength. A sharp distinction is needed, I think, between the morality of what is depicted, and the morality of the whole artwork. |
| 22706 | A work which seeks approval for immorality, but alienates the audience, is a failure [Davies,S] |
| Full Idea: A work that looks for the audience's sympathetic approval and alienates them instead, because it's both morally repulsive and incoherent in what it requires them to suppose, isn't an artistic success. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: The implication seems to be that works are only successful if they achieve what the creator consciously intended. Lawrence said trust the novel, not the novelist. Milton's Satan is a famous example of heroism not intended by the author. |
| 23274 | World history has no room for happiness [Hegel] |
| Full Idea: World history is not the place for happiness. Periods of happiness are empty pages in history. | |
| From: Georg W.F.Hegel (Introduction to the Philosophy of History [1840], 3) | |
| A reaction: Clearly, Hegel thinks the progress of world history is much more important than happiness. This idea gives backing to those who don't care much about the casualties on either side in a major war. |
| 23275 | The state of nature is one of untamed brutality [Hegel] |
| Full Idea: The 'state of nature' is not an ideal condition, but a condition of injustice, of violence, of untamed natural drives, inhuman acts and emotions. | |
| From: Georg W.F.Hegel (Introduction to the Philosophy of History [1840], 3) | |
| A reaction: He agrees with Hobbes, and disagrees with Rousseau. Hobbes's solution is authoritarian monarchy, but Hegel's solution is the unified and focused state, in which freedom can be realised. |
| 23276 | The soul of the people is an organisation of its members which produces an essential unity [Hegel] |
| Full Idea: The soul [of the people] exists only insofar as it is an organisation of its members, which - by taking itself together in its simple unity - produce the soul. Thus the people is one individuality in its essence. | |
| From: Georg W.F.Hegel (Introduction to the Philosophy of History [1840], 3) | |
| A reaction: Hegel is seen (e.g. by Charles Taylor) as the ancestor of a rather attractive communitarianism, but I think Popper is more accurate in seeing him as the first stage of modern totalitarianism. The people seen as one individual terrifies me. |
| 23272 | The human race matters, and individuals have little importance [Hegel] |
| Full Idea: Individuals are of slight importance compared to the mass of the human race. | |
| From: Georg W.F.Hegel (Introduction to the Philosophy of History [1840], 3) | |
| A reaction: A perfect statement of the anti-liberal viewpoint. Hegel is complex, but this is the strand that leads to ridiculous totalitarianism, where the highest ideal is to die for the glory of your nation. Importance can only start from individuals. |
| 23273 | In a good state the goal of the citizens and of the whole state are united [Hegel] |
| Full Idea: A state is well constituted and internally strong if the private interest of the citizens is united in the universal goal of the state. | |
| From: Georg W.F.Hegel (Introduction to the Philosophy of History [1840], 3) | |
| A reaction: The obvious question is who decides on the goals, and what to do with the citizens who don't accept them. |
| 23271 | The goal of the world is Spirit's consciousness and enactment of freedom [Hegel] |
| Full Idea: The final goal of the world is Spirit's consciousness of its freedom, and hence also the actualisation of that very freedom. | |
| From: Georg W.F.Hegel (Introduction to the Philosophy of History [1840], 3) | |
| A reaction: I have the impression that this ridiculous idea has been very influential in modern French philosophy, since they all seem to be dreaming of some perfect freedom at the end of the rainbow. Freedom is good, but this gives it a bad name. |
| 23270 | We should all agree that there is reason in history [Hegel] |
| Full Idea: We ought to have the firm and unconquerable belief that there is reason in history. | |
| From: Georg W.F.Hegel (Introduction to the Philosophy of History [1840], 2) | |
| A reaction: This is a ridiculous but hugely influential idea, and I have no idea what makes Hegel believe it. It is the Stoic idea that nature is intrinsically rational, but extending it to human history is absurd. Human exceptionalism. Needs a dose of Darwin. |