16 ideas
| 19579 | The history of philosophy is just experiments in how to do philosophy [Novalis] |
| Full Idea: The history of philosophy up to now is nothing but a history of attempts to discover how to do philosophy. | |
| From: Novalis (Logological Fragments I [1798], 01) | |
| A reaction: I take post-Fregean analytic metaphysics to be another experiment in how to do philosophy. I suspect that the experiment of Husserl, Heidegger, Derrida etc has been a failure. |
| 19583 | Philosophy only begins when it studies itself [Novalis] |
| Full Idea: All philosophy begins where philosophizing philosophises itself. | |
| From: Novalis (Logological Fragments I [1798], 79) | |
| A reaction: The modern trend for doing metaphilosophy strikes me as wholly admirable, though I suspect that the enemies of philosophy (who are legion) see it as a decadence. |
| 19581 | A problem is a solid mass, which the mind must break up [Novalis] |
| Full Idea: A problem is a solid, synthetic mass which is broken up by means of the penetrating power of the mind. | |
| From: Novalis (Logological Fragments I [1798], 04) |
| 19584 | Whoever first counted to two must have seen the possibility of infinite counting [Novalis] |
| Full Idea: Whoever first understood how to count to two, even if he still found it difficult to keep on counting, saw nonetheless the possibility of infinite counting according to the same laws. | |
| From: Novalis (Logological Fragments I [1798], 84) | |
| A reaction: Presumably it is the discerning of the 'law' which triggers this. Is the key concept 'addition' or 'successor' (or are those the same?). |
| 22025 | Novalis thought self-consciousness cannot disclose 'being', because we are temporal creatures [Novalis, by Pinkard] |
| Full Idea: Novalis came to think that the kind of existence , or 'being', that is disclosed in self-consciousness remains, as it were, forever out of our reach because of the kind of temporal creatures we are. | |
| From: report of Novalis (Logological Fragments I [1798]) by Terry Pinkard - German Philosophy 1760-1860 06 | |
| A reaction: It looks here as if Novalis kicked Heidegger's Dasein into the long grass before it even got started, but maybe they have different notions of 'being', with Novalis seeking timeless being, and Heidegger, influenced by Bergson, accepting temporality. |
| 22067 | Poetry is true idealism, and the self-consciousness of the universe [Novalis] |
| Full Idea: Poetry is true idealism - contemplation of the world as contemplation of a large mind - self-consciousness of the universe. | |
| From: Novalis (Logological Fragments I [1798], vol 3 p.640), quoted by Ernst Behler - Early German Romanticism | |
| A reaction: It looks like the step from Fichte's idealism to the Absolute is poetry, which embraces the ultimate Spinozan substance through imagination. Or something... |
| 8840 | There are five possible responses to the problem of infinite regress in justification [Cleve] |
| Full Idea: Sceptics respond to the regress problem by denying knowledge; Foundationalists accept justifications without reasons; Positists say reasons terminate is mere posits; Coherentists say mutual support is justification; Infinitists accept the regress. | |
| From: James Van Cleve (Why coherence is not enough [2005], I) | |
| A reaction: A nice map of the territory. The doubts of Scepticism are not strong enough for anyone to embrace the view; Foundationalist destroy knowledge (?), as do Positists; Infinitism is a version of Coherentism - which is the winner. |
| 8841 | Modern foundationalists say basic beliefs are fallible, and coherence is relevant [Cleve] |
| Full Idea: Contemporary foundationalists are seldom of the strong Cartesian variety: they do not insist that basic beliefs be absolutely certain. They also tend to allow that coherence can enhance justification. | |
| From: James Van Cleve (Why coherence is not enough [2005], III) | |
| A reaction: It strikes me that they have got onto a slippery slope. How certain are the basic beliefs? How do you evaluate their certainty? Could incoherence in their implications undermine them? Skyscrapers need perfect foundations. |
| 19585 | Every person has his own language [Novalis] |
| Full Idea: Every person has his own language. Language is the expression of the spirit. | |
| From: Novalis (Logological Fragments I [1798], 91) | |
| A reaction: Nice to see someone enthusiastically affirming what was later famously denied, and maybe even disproved. |
| 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. |
| 19582 | Morality and philosophy are mutually dependent [Novalis] |
| Full Idea: Without philosophy there is no true morality, and without morality no philosophy. | |
| From: Novalis (Logological Fragments I [1798], 21) | |
| A reaction: Challenging! Maybe unthinking people drift in a sea of vague untethered morality, and people who seem to have a genuine moral strength are always rooted in some sort of philosophy. Maybe. Is the passion for philosophy a moral passion? |
| 22027 | Life isn't given to us like a novel - we write the novel [Novalis] |
| Full Idea: Life must not be a novel that is given to us, but one that is made by us. | |
| From: Novalis (Logological Fragments I [1798], 99) | |
| A reaction: The roots of existentialism are in the Romantic movement. Sartre seems to have taken this idea literally. |
| 19580 | If the pupil really yearns for the truth, they only need a hint [Novalis] |
| Full Idea: If a pupil genuinely desires truth is requires only a hint to show him how to find what he is seeking. | |
| From: Novalis (Logological Fragments I [1798], 02) | |
| A reaction: The tricky job for the teacher or supervisor is assessing whether the pupil genuinely desires truth, or needs motivating. |