21 ideas
| 8358 | There are no rules for the exact logic of ordinary language, because that doesn't exist [Strawson,P] |
| Full Idea: Neither Aristotelian nor Russellian rules give the exact logic of any expression of ordinary language; for ordinary language has no exact logic. | |
| From: Peter F. Strawson (On Referring [1950], §5) | |
| A reaction: This seems to imply that it is impossible to find precise logical forms, because of the pragmatic element in language, but I don't see why. Even more extreme modern pragmatics (where meaning is shifted) doesn't rule out precise underlying propositions. |
| 6413 | 'The present King of France is bald' presupposes existence, rather than stating it [Strawson,P, by Grayling] |
| Full Idea: Strawson argues that in saying 'the present King of France is bald' one is not stating that a present King of France exists, but presupposing or assuming that it does. | |
| From: report of Peter F. Strawson (On Referring [1950]) by A.C. Grayling - Russell Ch.2 | |
| A reaction: We have the notion of a leading question, such as 'when did you stop beating your wife?' But is a presupposition not simply an implied claim, as Russell said it was? |
| 8354 | Russell asks when 'The King of France is wise' would be a true assertion [Strawson,P] |
| Full Idea: The way in which Russell arrived at his analysis was by asking himself what would be the circumstances in which we would say that anyone who uttered the sentence 'The King of France is wise' had made a true assertion. | |
| From: Peter F. Strawson (On Referring [1950], §1) | |
| A reaction: This seems to connect Russell's theory of definite descriptions with the truth conditions theory of meaning which is associated (initially) with Frege. Truth will require some reference to what actually exists. |
| 8356 | The meaning of an expression or sentence is general directions for its use, to refer or to assert [Strawson,P] |
| Full Idea: To give the meaning of an expression is to give general directions for its use to refer to or mention particular objects or persons; in like manner, sentences are for use to make true or false assertions. | |
| From: Peter F. Strawson (On Referring [1950], §2) | |
| A reaction: The influence of Wittgenstein? I don't like it. The general idea that you can say what something is by giving directions for its use is what I think of as the Functional Fallacy: confusing the role of x with its inherent nature. Shirt as goalpost. |
| 10430 | Reference is mainly a social phenomenon [Strawson,P, by Sainsbury] |
| Full Idea: Strawson's early work gave a new direction to the study of reference by stressing that it is a social phenomenon. | |
| From: report of Peter F. Strawson (On Referring [1950]) by Mark Sainsbury - The Essence of Reference 18.2 | |
| A reaction: The question is whether speakers refer, or sentences, or expressions, or propositions. The modern consensus seems to be that some parts of language are inherently referring, but speakers combine such tools with context. Sounds right. |
| 10448 | If an expression can refer to anything, it may still instrinsically refer, but relative to a context [Bach on Strawson,P] |
| Full Idea: Strawson claimed that virtually any expression that can be used to refer to one thing in one context can be used to refer to something else in another context. Maybe expressions still refer, but only relative to a context. | |
| From: comment on Peter F. Strawson (On Referring [1950]) by Kent Bach - What Does It Take to Refer? 22.2 | |
| A reaction: If there is complete freedom, then Bach's criticism doesn't sound plausible. If something is semantically referential, that should impose pretty tight restrictions on speakers. Why distinguish names as intrinsically referential, and descriptions as not? |
| 8355 | Expressions don't refer; people use expressions to refer [Strawson,P] |
| Full Idea: 'Mentioning', or 'referring', is not something an expression does; it is something that someone can use an expression to do. | |
| From: Peter F. Strawson (On Referring [1950], §2) | |
| A reaction: That can't be whole story, because I might make a mistake when referring, so that I used the expression to refer to x, but unfortunately the words themselves referred to y. The power of language exceeds the intentions of speakers. |
| 8357 | If an utterance fails to refer then it is a pseudo-use, though a speaker may think they assert something [Strawson,P] |
| Full Idea: If an utterance is not talking about anything, then the speaker's use is not a genuine one, but a spurious or pseudo-use; he is not making either a true or a false assertion, though he may think he is. | |
| From: Peter F. Strawson (On Referring [1950], §2) | |
| A reaction: This is Strawson's verdict on 'The present King of France is bald'. His view puts speculative statements in no man's land. What do we make of 'Elvis lives' or 'phlogiston explains fire'? |
| 8122 | True works of art transmit completely new feelings [Tolstoy] |
| Full Idea: Only that is a true work of art which transmits fresh feelings not previously experienced by man. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.9) | |
| A reaction: I think a great composer will probably not have any new feelings at all, but will discover new expressions which contain feelings by which even they are surprised (e.g. the Tristan chord). |
| 8121 | Art is when one man uses external signs to hand on his feelings to another man [Tolstoy] |
| Full Idea: Art is a human activity in which one man consciously by means of external signs, hands on to others feelings he has lived through, and other are infected by those feelings, and also experience them. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.5) | |
| A reaction: Such definitions always work better for some art forms than for others. This may fit 'Anna Karenin' quite well, but probably not Bach's 'Art of Fugue'. Writing obscenities on someone's front door would fit this definition. |
| 8124 | The highest feelings of mankind can only be transmitted by art [Tolstoy] |
| Full Idea: The highest feelings to which mankind has attained can only be transmitted from man to man by art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: We are much more nervous these days of talking about 'highest' feelings. Tolstoy obviously considers religion to be an ingredient of the highest feelings, but that prevents us from judging them purely as feelings. Music is the place to rank feelings. |
| 8123 | The purpose of art is to help mankind to evolve better, more socially beneficial feelings [Tolstoy] |
| Full Idea: The evolution of feeling proceeds by means of art - feelings less kind and less necessary for the well-being of mankind being replaced by others kinder and more needful for that end. That is the purpose of art. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.16) | |
| A reaction: Underneath his superficially expressivist view of art, Tolstoy is really an old-fashioned moralist about it, like Dr Johnson. This is the moralism of the great age of the nineteenth century novel (which was, er, the greatest age of the novel!). |
| 22710 | People estimate art according to their moral values [Tolstoy] |
| Full Idea: The estimation of the value of art …depends on men's perception of the meaning of life; depends on what they hold to be the good and evil of life. | |
| From: Leo Tolstoy (What is Art? [1898]), quoted by Iris Murdoch - The Sublime and the Good p.206 | |
| A reaction: [No ref given] This is put to the test by the insightful depiction of wickedness. We condemn the wickedness and admire the insight. Every reading of a novel is a moral journey, though I'm not sure how the true psychopath reads a novel. |
| 8125 | The upper classes put beauty first, and thus freed themselves from morality [Tolstoy] |
| Full Idea: The people of the upper class, more and more frequently encountering the contradictions between beauty and goodness, put the ideal of beauty first, thus freeing themselves from the demands of morality. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.17) | |
| A reaction: The rich are a great deal freer to pursue the demands of beauty than are the poor. They also have a tradition of 'immorality' (such as duels and adultery) which was in place long before they discovered art. |
| 8064 | We separate the concept of beauty from goodness, unlike the ancients [Tolstoy] |
| Full Idea: The ancients had not that conception of beauty separated from goodness which forms the basis and aim of aesthetics in our time. | |
| From: Leo Tolstoy (What is Art? [1898], Ch.3) | |
| A reaction: This is written at around the time of the Aesthetic Movement, but Tolstoy's own novels are intensely moral. This separation makes abstract painting possible. |
| 3785 | You can't separate acts from the people performing them [Glover] |
| Full Idea: A mistake of consequentialists is to treat actions as though they can somehow be isolated from the people performing them. | |
| From: Jonathan Glover (Introductions to Utilitarianism and its Critics [1990], Pt Five) | |
| A reaction: I agree. The weather produces consequences. Morality is about people. Crocodiles, for example, are exempt. |
| 3786 | Aggression in defence may be beneficial but morally corrupting [Glover] |
| Full Idea: Forming the intention to use nuclear retaliation if attacked may both be the best way to avoid the catastrophe of nuclear war and at the same time be morally corrupting. | |
| From: Jonathan Glover (Introductions to Utilitarianism and its Critics [1990], Pt Five) | |
| A reaction: A famous moment in 2017 when Jeremy Corbyn refused to say he would be willing to use the weapons, if elected. It would be hard to sustain a determination to do it, and then reject it at the crucial moment. |
| 3784 | Duty prohibits some acts, whatever their consequences [Glover] |
| Full Idea: The deontological view is that some acts are absolutely prohibited, regardless of consequences. | |
| From: Jonathan Glover (Introductions to Utilitarianism and its Critics [1990], Pt Five) |
| 3782 | Satisfaction of desires is not at all the same as achieving happiness [Glover, by PG] |
| Full Idea: Objections to utilitarianism as maximisation of preferences: faded past desires or the desires of the dead; obtaining desires and happiness are different; fewer desires are easier to satisfy; pain is good if it can be removed. | |
| From: report of Jonathan Glover (Introductions to Utilitarianism and its Critics [1990], Pt Two) by PG - Db (ideas) |
| 3787 | Rule-utilitarianism is either act-utilitarianism, or not really utilitarian [Glover] |
| Full Idea: Rule-utilitarianism seems either to collapse into act-utilitarianism, or else it is only partly utilitarian. | |
| From: Jonathan Glover (Introductions to Utilitarianism and its Critics [1990], Pt Six) |
| 3783 | How can utilitarianism decide the ideal population size? [Glover] |
| Full Idea: There are deep problems for utilitarianism in trying to work out what the ideal population size would be. | |
| From: Jonathan Glover (Introductions to Utilitarianism and its Critics [1990], Pt Four) |