11 ideas
| 7332 | There is a huge range of sentences of which we do not know the logical form [Davidson] |
| Full Idea: We do not know the logical form of sentences about counterfactuals, probabilities, causal relations, belief, perception, intention, purposeful action, imperatives, optatives, or interrogatives, or the role of adverbs, adjectives or mass terms. | |
| From: Donald Davidson (Truth and Meaning [1967], p.35) | |
| A reaction: [compressed] This is the famous 'Davidson programme', where teams of philosophers work out the logical forms for this lot, thus unravelling the logic of the world. If they are beavering away, some sort of overview should have emerged by now... |
| 21846 | Bergson was a rallying point, because he emphasised becomings and multiplicities [Bergson, by Deleuze] |
| Full Idea: Bergson was a rallying point for all the opposition, …not so much because of the theme of duration, as of the theory and practice of becoming of all kinds, of coexistent multiplicities. | |
| From: report of Henri Bergson (Matter and Memory [1896]) by Gilles Deleuze - A Conversation: what is it? What is it for? I | |
| A reaction: The three heroes of Deleuze are Spinoza, Nietzsche and Bergson. All philosophers are either of Being, or of Becoming, I suggest. |
| 21854 | Bergson showed that memory is not after the event, but coexists with it [Bergson, by Deleuze] |
| Full Idea: Bergson has shown that memory is not an actual image which forms after the object has been perceived, but a virtual image coexisting with the actual perception of the object. | |
| From: report of Henri Bergson (Matter and Memory [1896]) by Gilles Deleuze - The Actual and the Virtual p.114 | |
| A reaction: It strikes me as plausible to say that all conscious life is memory. Perceiving the present instant is only possible because it endures for a tiny moment. |
| 7772 | Compositionality explains how long sentences work, and truth conditions are the main compositional feature [Davidson, by Lycan] |
| Full Idea: Davidson's main argument in favour of his truth conditions theory of meaning is that compositionality is needed to account for our understanding of long, novel sentences, and a sentence's truth condition is its most obviously compositional feature. | |
| From: report of Donald Davidson (Truth and Meaning [1967]) by William Lycan - Philosophy of Language Ch.9 | |
| A reaction: This seems to me exactly right. As we hear a new long sentence unfold, we piece together the meaning. At the end we may spot that the meaning is silly, or an unverifiable speculation, or not what the speaker intended - but it is too late! It means. |
| 7327 | Davidson thinks Frege lacks an account of how words create sentence-meaning [Davidson, by Miller,A] |
| Full Idea: Davidson thinks that Frege's model for a theory of semantic value (and thereby for a systematic theory of sense) is unsatisfactory, because it provides no useful or explanatory account of how sentence-meaning can be a function of word-meaning. | |
| From: report of Donald Davidson (Truth and Meaning [1967]) by Alexander Miller - Philosophy of Language 8.1 | |
| A reaction: Put like that, it is not clear to me how you could even start to explain how word-meaning contributes to sentence meaning. Try speaking any sentence slowly, and observe how the sentence meaning builds up. Truth is, of course, relevant. |
| 7769 | You can state truth-conditions for "I am sick now" by relativising it to a speaker at a time [Davidson, by Lycan] |
| Full Idea: Davidson's response to the problem of how you would state truth conditions for "I am sick now" ...is to relativize its truth to a particular speaker and a time. | |
| From: report of Donald Davidson (Truth and Meaning [1967]) by William Lycan - Philosophy of Language Ch.9 | |
| A reaction: Lycan is not happy with this, but it seems a reasonable way to treat the truth of any statement containing indexicals. Never mind the 'truth conditions theory of meaning' - just ask whether "I am sick now" is true. |
| 6179 | Should we assume translation to define truth, or the other way around? [Blackburn on Davidson] |
| Full Idea: The concern of some philosophers has been expressed by saying that whereas Tarski took translation for granted, and sought to understand truth, Davidson takes truth for granted, and seeks to understand translation. | |
| From: comment on Donald Davidson (Truth and Meaning [1967]) by Simon Blackburn - Oxford Dictionary of Philosophy p.82 | |
| A reaction: We can just say that the two concepts are interdependent, but my personal intuitions side with Davidson. If you are going to take something as fundamental and axiomatic, truth looks a better bet than translation. |
| 22693 | The works we value most are in sympathy with our own moral views [John,E] |
| Full Idea: The works we tend to value most highly are ones that are in sympathy with the moral views we actually accept. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intro) | |
| A reaction: I would have to endorse this. She admits that we may rate other works very highly, but they won't appear on our list of favourites. This fact may well distort philosophical discussions of morality and art. |
| 22694 | We should understand what is morally important in a story, without having to endorse it [John,E] |
| Full Idea: Our responses to literature should show that we grasp whatever counts as morally important within the narrative, but not necessarily that we judge and feel in the way deemed appropriate by the work. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Accommodating') | |
| A reaction: She gives as an example a story by Hemingway which places a high value on the courageous hunting of big game. A second example is the total amorality of a Highsmith novel. This idea seems exactly right to me. |
| 22695 | We value morality in art because that is what we care about - but it is a contingent fact [John,E] |
| Full Idea: Moral value is valuable in art because people care about moral value. This runs deep, but it is a contingent matter, and the value of morality in art hinges on art's need to provide something precious to us. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Contingency') | |
| A reaction: I think this is exactly right. Thrillers are written with very little moral concern, for a readership which cares about brave and exciting deeds. Even there, violence has its ethics. |
| 22692 | A work can be morally and artistically excellent, despite rejecting moral truth [John,E] |
| Full Idea: A work that rejects moral truth can be artistically excellent, in part because of its moral content. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intr) | |
| A reaction: She cites the film 'Trainspotting', about desperate drug addicts, because it gives an amoral insight into their world. |