8 ideas
| 21226 | Husserl sees the ego as a monad, unifying presence, sense and intentional acts [Husserl, by Velarde-Mayol] |
| Full Idea: Husserl's notion of monad expresses a complete inegration of every intentional presence into its sense, and every sense into the intentional acts, ....and finally every intentional act is integrated into the ego. | |
| From: report of Edmund Husserl (Cartesian Meditations [1931]) by Victor Velarde-Mayol - On Husserl 4.6.2 | |
| A reaction: No, I don't understand that either, but it makes good sense to employ the concept of a 'monad' into the concept of the ego, if you think it embodies perfect unity. That was a main motivation for Leibniz to employ the word. |
| 1556 | By nature people are close to one another, but culture drives them apart [Hippias] |
| Full Idea: I regard you all as relatives - by nature, not by convention. By nature like is akin to like, but convention is a tyrant over humankind and often constrains people to act contrary to nature. | |
| From: Hippias (fragments/reports [c.430 BCE]), quoted by Plato - Protagoras 337c8 |
| 21228 | Husserl's monads (egos) communicate, through acts of empathy. [Husserl, by Velarde-Mayol] |
| Full Idea: For Husserl monads have windows because they communicate with each other. The windows of the monads are the acts of empathy. | |
| From: report of Edmund Husserl (Cartesian Meditations [1931]) by Victor Velarde-Mayol - On Husserl 4.7.5 | |
| A reaction: Leibniz said his monads (which include minds) have 'no windows'. The mere existence of empathy (or mirror neurons, as we would say) is hardly sufficient to defeat solipsism. |
| 21225 | The psychological ego is worldly, and the pure ego follows transcendental reduction [Husserl, by Velarde-Mayol] |
| Full Idea: Husserl distinguishes two sorts of egos or subjects of experience, the psychological ego and the pure ego. The psychological ego is a reality of the world, and the pure ego is a result of transcendental reduction. | |
| From: report of Edmund Husserl (Cartesian Meditations [1931]) by Victor Velarde-Mayol - On Husserl 4.6.1 | |
| A reaction: The sounds like embracing both the Cartesian and the Kantian egos. This is obviously the source of Sartre's interesting early book on the self. 'Transcendental reduction' is his bracketing or epoché. |
| 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. |