Combining Texts

All the ideas for 'God and Human Attributes', 'Public Text and Common Reader' and 'On the Nature of Acquaintance'

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7 ideas

5. Theory of Logic / F. Referring in Logic / 1. Naming / c. Names as referential
The only real proper names are 'this' and 'that'; the rest are really definite descriptions. [Russell, by Grayling]
     Full Idea: Russell argued that the only 'logically proper' names are those which denote particular entities with which one can be acquainted. The best examples are 'this' and 'that'; other apparent names turn out, when analysed, to be definite descriptions.
     From: report of Bertrand Russell (On the Nature of Acquaintance [1914]) by A.C. Grayling - Russell Ch.2
     A reaction: This view is firm countered by the causal theory of reference, proposed by Kripke and others, in which not only people like Aristotle are 'baptised' with a name, but also natural kinds such as water. It is hard to disagree with Kripke on this.
21. Aesthetics / A. Aesthetic Experience / 3. Taste
Literary meaning emerges in comparisons, and tradition shows which comparisons are relevant [Scruton]
     Full Idea: We must discover the meanings that emerge when works of literature are experience in relation to each other. ...The importance of tradition is that it denotes - ideally, at least - the class of relevant comparisons.
     From: Roger Scruton (Public Text and Common Reader [1982], p.27)
     A reaction: This is a nice attempt to explain why we all agree that a thorough education in an art is an essential prerequisite for good taste. Some people (e.g. among the young) seem to have natural good taste. How does that happen?
21. Aesthetics / B. Nature of Art / 5. Art as Language
In literature, word replacement changes literary meaning [Scruton]
     Full Idea: In literary contexts semantically equivalent words cannot replace each other without loss of literary meaning.
     From: Roger Scruton (Public Text and Common Reader [1982], p.25)
     A reaction: The notion of 'literary meaning' is not a standard one, and is questionable whether 'meaning' is the right word, given that a shift in word in a poem is as much to do with sound as with connotations.
21. Aesthetics / C. Artistic Issues / 1. Artistic Intentions
Without intentions we can't perceive sculpture, but that is not the whole story [Scruton]
     Full Idea: A person for whom it made no difference whether a sculpture was carved by wind and rain or by human hand would be unable to interpret or perceive sculptures - even though the interpretation of sculpture is not the reading of an intention.
     From: Roger Scruton (Public Text and Common Reader [1982], p.15)
     A reaction: Scruton compares it to the role of intention in language, where there is objective meaning, even though intention is basic to speech.
21. Aesthetics / C. Artistic Issues / 3. Artistic Representation
In aesthetic interest, even what is true is treated as though it were not [Scruton]
     Full Idea: In aesthetic interest, even what is true is treated as though it were not.
     From: Roger Scruton (Public Text and Common Reader [1982], p.18)
     A reaction: A nice aphorism. I always feel uncomfortable reading novels about real people, although the historical Macbeth doesn't bother me much. Novels are too close to reality. Macbeth didn't speak blank verse.
21. Aesthetics / C. Artistic Issues / 5. Objectivism in Art
We can be objective about conventions, but love of art is needed to understand its traditions [Scruton]
     Full Idea: An historian can elucidate convention while having no feeling for the art that exploits it; whereas an understanding of tradition is reserved for those with the critical insight which comes from the love of art, both past and present.
     From: Roger Scruton (Public Text and Common Reader [1982], p.24)
     A reaction: This aesthetic observation is obviously close to Scruton's well-known conservatism in politics. I am doubtful whether the notion of 'tradition' can stand up to close examination, though we all know roughly what he means.
28. God / B. Proving God / 2. Proofs of Reason / c. Moral Argument
God must be fit for worship, but worship abandons morally autonomy, but there is no God [Rachels, by Davies,B]
     Full Idea: Rachels argues 1) If any being is God, he must be a fitting object of worship, 2) No being could be a fitting object of worship, since worship requires the abandonment of one's role as an autonomous moral agent, so 3) There cannot be a being who is God.
     From: report of James Rachels (God and Human Attributes [1971], 7 p.334) by Brian Davies - Introduction to the Philosophy of Religion 9 'd morality'
     A reaction: Presumably Lionel Messi can be a fitting object of worship without being God. Since the problem is with being worshipful, rather than with being God, should I infer that Messi doesn't exist?