9 ideas
| 2945 | Most philosophers start with reality and then examine knowledge; Descartes put the study of knowledge first [Lehrer] |
| Full Idea: Some philosophers (e.g Plato) begin with an account of reality, and then appended an account of how we can know it, ..but Descartes turned the tables, insisting that we must first decide what we can know. | |
| From: Keith Lehrer (Theory of Knowledge (2nd edn) [2000], I p.2) |
| 2946 | You cannot demand an analysis of a concept without knowing the purpose of the analysis [Lehrer] |
| Full Idea: An analysis is always relative to some objective. It makes no sense to simply demand an analysis of goodness, knowledge, beauty or truth, without some indication of the purpose of the analysis. | |
| From: Keith Lehrer (Theory of Knowledge (2nd edn) [2000], I p.7) | |
| A reaction: Your dismantling of a car will go better if you know what a car is for, but you can still take it apart in ignorance. |
| 9123 | Someone standing in a doorway seems to be both in and not-in the room [Priest,G, by Sorensen] |
| Full Idea: Priest says there is room for contradictions. He gives the example of someone in a doorway; is he in or out of the room. Given that in and out are mutually exclusive and exhaustive, and neither is the default, he seems to be both in and not in. | |
| From: report of Graham Priest (What is so bad about Contradictions? [1998]) by Roy Sorensen - Vagueness and Contradiction 4.3 | |
| A reaction: Priest is a clever lad, but I don't think I can go with this. It just seems to be an equivocation on the word 'in' when applied to rooms. First tell me the criteria for being 'in' a room. What is the proposition expressed in 'he is in the room'? |
| 22687 | Maybe literary assessment is evaluating the artist as a suitable friend [Gaut] |
| Full Idea: An approach in Hume (elaborated by Wayne Booth) holds that literary assessment is akin to an act of befriending, for one assesses the author of a work as a suitable friend. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Some') | |
| A reaction: I like the idea that art exploits our normal range of social emotions and attitudes, so I think this has some truth, but some of the best artists are so out of my league as to not even be candidates for friendship. Dostoevsky? Webster? Caravaggio? |
| 22686 | Formalists say aesthetics concerns types of beauty, or unity, complexity and intensity [Gaut] |
| Full Idea: The formal objects which individuate the aesthetic attitude may be narrowly aesthetic, as beauty, and its subspecies, such as grace and elegance, or more broadly by other formalist criteria, such as Beardley's unity, complexity and intensity. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Objections 1') | |
| A reaction: I'm not sure about unity or complexity, but intensity was endorsed by Henry James. Intensity doesn't sound very 'formal'. 'Beauty' doesn't seem the right word for the wonderful 'King Lear', or even for Jane Austen novels. |
| 22690 | 'Moralism' says all aesthetic merits are moral merits [Gaut] |
| Full Idea: The view that the only aesthetic merit of works are ethical ones is known as 'moralism'. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], n 1) | |
| A reaction: [He says this view was demolished by R.W.Beardsmore in 1971] Gaut contrasts this with his own carefully modulated 'ethicism'. Moralism predominated in the eighteenth century, but now looks clearly wrong (or naïve). |
| 22685 | Good art does not necessarily improve people (any more than good advice does) [Gaut] |
| Full Idea: Ethicism does not entail the causal thesis that good art ethically improves people, …any more than it follows that earnest ethical advice improves people. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: How successful were sermons, in the great days of Christianity? It seems hard to disagree with Gaut's point. |
| 22684 | Good ethics counts towards aesthetic merit, and bad ethics counts against it [Gaut] |
| Full Idea: I defend 'ethicism', which says that ethically admirable attitudes count toward the the aesthetic merit of a work, and ethically reprehensible attitudes count against its aesthetic merit. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: He recognises that morally admirable works can explore unethical behaviour, and also that identifying the 'attitude' of a work is not simple. The ethics are not necessary. 'Triumph of the Will' is a classic test case. I disagree with Gaut. |
| 22689 | If we don't respond ethically in the way a work prescribes, that is an aesthetic failure [Gaut] |
| Full Idea: Our having reason not to respond in the way prescribed (because it is unethical) is a failure of the work …so that is an aesthetic failure, which is an aesthetic defect. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Merited') | |
| A reaction: A key argument for Gaut's theory of 'ethicism' about literature. If 'Triumph of the Will' gets the right response from Nazi sympathisers, that is probably all aesthetic success. Jane Austen hasn't failed if she is rejected as bourgeois. |