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. |
| 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] |
| 23683 | Moral norms are objective, connected to facts about human goods [Foot, by Hacker-Wright] |
| Full Idea: In her early work she defends the objectivity of moral norms, demonstrating their essential connection to facts about what is good for human beings. | |
| From: report of Philippa Foot (Moral Beliefs [1959]) by John Hacker-Wright - Philippa Foot's Moral Thought Intro | |
| A reaction: I don't think she ever gave up this idea, which strikes me as thoroughly Aristotelian. The issue is how to understand what is good for us. |
| 23684 | Morality gives everyone reasons to act, irrespective of their desires [Foot, by Hacker-Wright] |
| Full Idea: In her early work she also defends moral rationalism, which is the idea that morality gives reasons for action to everyone, even those who lack the desire to do what is right. | |
| From: report of Philippa Foot (Moral Beliefs [1959]) by John Hacker-Wright - Philippa Foot's Moral Thought Intro | |
| A reaction: Evidently a rejection of the Humean view that only a desire can motivate action, including moral action. There is an ongoing debate about whether reasons can cause anything, or motivate anything. I think the contents of reasons pull us towards action. |
| 23690 | We all have reason to cultivate the virtues, even when we lack the desire [Foot, by Hacker-Wright] |
| Full Idea: Foot advocates the view that anyone has reason to cultivate the virtues, even if they lack the desire to do so at a given moment. | |
| From: report of Philippa Foot (Moral Beliefs [1959], Pt II) by John Hacker-Wright - Philippa Foot's Moral Thought 2 'Concepts' | |
| A reaction: The view which she soon abandoned, but then returned to later. It specifically repudiates the view of Hume, that only desires can motivate. I'm unsure, because the concept of 'reason' strikes me as too imprecise. She sees self-interest as a reason. |
| 22379 | The meaning of 'good' and other evaluations must include the object to which they attach [Foot] |
| Full Idea: There is no describing the evaluative meaning of 'good', evaluation, commending, or anything of the sort, without fixing the object to which they are supposed to be attached. | |
| From: Philippa Foot (Moral Beliefs [1959], p.112) | |
| A reaction: I go further, and say that a specification of the feature(s) of the object that produce the value must also be available (if requested). 'That's a good car, but I've no idea why' makes no sense. 'Apparently that's a good car', if other people know why. |
| 15877 | The aim of science is just to create a comprehensive, elegant language to describe brute facts [Poincaré, by Harré] |
| Full Idea: In Poincaré's view, we try to construct a language within which the brute facts of experience are expressed as comprehensively and as elegantly as possible. The job of science is the forging of a language precisely suited to that purpose. | |
| From: report of Henri Poincaré (The Value of Science [1906], Pt III) by Rom Harré - Laws of Nature 2 | |
| A reaction: I'm often struck by how obscure and difficult our accounts of self-evident facts can be. Chairs are easy, and the metaphysics of chairs is hideous. Why is that? I'm a robust realist, but I like Poincaré's idea. He permits facts. |