11 ideas
| 15585 | Later Heidegger sees philosophy as more like poetry than like science [Heidegger, by Polt] |
| Full Idea: In his later work Heidegger came to view philosophy as closer to poetry than to science. | |
| From: report of Martin Heidegger (The Origin of the Work of Art [1935], p.178) by Richard Polt - Heidegger: an introduction 5 'Signs' |
| 14965 | Truth rests on Elimination ('A' is true → A) and Introduction (A → 'A' is true) [Gupta] |
| Full Idea: The basic principles governing truth are Truth Elimination (sentence A follows from ''A' is true') and the converse Truth Introduction (''A' is true' follows from A), which combine into Tarski's T-schema - 'A' is true if and only if A. | |
| From: Anil Gupta (Truth [2001], 5.1) | |
| A reaction: Introduction and Elimination rules are the basic components of natural deduction systems, so 'true' now works in the same way as 'and', 'or' etc. This is the logician's route into truth. |
| 14968 | A weakened classical language can contain its own truth predicate [Gupta] |
| Full Idea: If a classical language is expressively weakened - for example, by dispensing with negation - then it can contain its own truth predicate. | |
| From: Anil Gupta (Truth [2001], 5.2) | |
| A reaction: Thus the Tarskian requirement to move to a metalanguage for truth is only a requirement of a reasonably strong language. Gupta uses this to criticise theories that dispense with the metalanguage. |
| 14964 | The Liar reappears, even if one insists on propositions instead of sentences [Gupta] |
| Full Idea: There is the idea that the Liar paradox is solved simply by noting that truth is a property of propositions (not of sentences), and the Liar sentence does not express a proposition. But we then say 'I am not now expressing a true proposition'! | |
| From: Anil Gupta (Truth [2001], 5.1) | |
| A reaction: Disappointed to learn this, since I think focusing on propositions (which are unambiguous) rather than sentences solves a huge number of philosophical problems. |
| 14969 | Strengthened Liar: either this sentence is neither-true-nor-false, or it is not true [Gupta] |
| Full Idea: An example of the Strengthened Liar is the following statement SL: 'Either SL is neither-true-nor-false or it is not true'. This raises a serious problem for any theory that assesses the paradoxes to be neither true nor false. | |
| From: Anil Gupta (Truth [2001], 5.4.2) | |
| A reaction: If the sentence is either true or false it reduces to the ordinary Liar. If it is neither true nor false, then it is true. |
| 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). |
| 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. |
| 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. |