11 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) |
| 19588 | The highest aim of philosophy is to combine all philosophies into a unity [Novalis] |
| Full Idea: He attains the maximum of a philosopher who combines all philosophies into a single philosophy | |
| From: Novalis (Logological Fragments II [1798], 31) | |
| A reaction: I have found the epigraph for my big book! Recently a few narrowly analytical philosophers have attempted big books about everything (Sider, Heil, Chalmers), and they get a huge round of applause from me. |
| 19598 | Philosophy relies on our whole system of learning, and can thus never be complete [Novalis] |
| Full Idea: Now all learning is connected - thus philosophy will never be complete. Only in the complete system of all learning will philosophy be truly visible. | |
| From: Novalis (Logological Fragments II [1798], 39) | |
| A reaction: Philosophy is evidently the unifying subject, which reveals the point of all the other subjects. It matches my maxim that 'science is the servant of philosophy'. |
| 19586 | Philosophers feed on problems, hoping they are digestible, and spiced with paradox [Novalis] |
| Full Idea: The philosopher lives on problems as the human being does on food. An insoluble problem is an indigestible food. What spice is to food, the paradoxical is to problems. | |
| From: Novalis (Logological Fragments II [1798], 09) | |
| A reaction: Novalis would presumably have disliked Hegel's dialectic, where the best food seems to be the indigestible. |
| 19587 | Philosophy aims to produce a priori an absolute and artistic world system [Novalis] |
| Full Idea: Philosophy ...is the art of producing all our conceptions according to an absolute, artistic idea and of developing the thought of a world system a priori out of the depths of our spirit. | |
| From: Novalis (Logological Fragments II [1798], 19) | |
| A reaction: A lovely statement of the dream of building world systems by pure thought - embodying perfectly the view of philosophy despised by logical positivists and modern logical metaphysicians. The Novalis view will never die! I like 'artistic'. |
| 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. |
| 19597 | Logic (the theory of relations) should be applied to mathematics [Novalis] |
| Full Idea: Ought not logic, the theory of relations, be applied to mathematics? | |
| From: Novalis (Logological Fragments II [1798], 38) | |
| A reaction: Bolzano was 19 when his was written. I presume Novalis would have been excited by set theory (even though he was a hyper-romantic). |
| 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. |
| 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. |