21 ideas
| 11115 | 'All horses' either picks out the horses, or the things which are horses [Jubien] |
| Full Idea: Two ways to see 'all horses are animals' are as picking out all the horses (so that it is a 'horse-quantifier'), ..or as ranging over lots of things in addition to horses, with 'horses' then restricting the things to those that satisfy 'is a horse'. | |
| From: Michael Jubien (Analyzing Modality [2007], 2) | |
| A reaction: Jubien says this gives you two different metaphysical views, of a world of horses etc., or a world of things which 'are horses'. I vote for the first one, as the second seems to invoke an implausible categorical property ('being a horse'). Cf Idea 11116. |
| 11116 | Being a physical object is our most fundamental category [Jubien] |
| Full Idea: Being a physical object (as opposed to being a horse or a statue) really is our most fundamental category for dealing with the external world. | |
| From: Michael Jubien (Analyzing Modality [2007], 2) | |
| A reaction: This raises the interesting question of why any categories should be considered to be more 'fundamental' than others. I can only think that we perceive something to be an object fractionally before we (usually) manage to identify it. |
| 11117 | Haecceities implausibly have no qualities [Jubien] |
| Full Idea: Properties of 'being such and such specific entity' are often called 'haecceities', but this term carries the connotation of non-qualitativeness which I don't favour. | |
| From: Michael Jubien (Analyzing Modality [2007], 2) | |
| A reaction: The way he defines it makes it sound as if it was a category, but I take it to be more like a bare individual essence. If it has not qualities then it has no causal powers, so there could be no evidence for its existence. |
| 11119 | De re necessity is just de dicto necessity about object-essences [Jubien] |
| Full Idea: I suggest that the de re is to be analyzed in terms of the de dicto. ...We have a case of modality de re when (and only when) the appropriate property in the de dicto formulation is an object-essence. | |
| From: Michael Jubien (Analyzing Modality [2007], 5) |
| 11118 | Modal propositions transcend the concrete, but not the actual [Jubien] |
| Full Idea: Where modal propositions may once have seemed to transcend the actual, they now seem only to transcend the concrete. | |
| From: Michael Jubien (Analyzing Modality [2007], 4) | |
| A reaction: This is because Jubien has defended a form of platonism. Personally I take modal propositions to be perceptible in the concrete world, by recognising the processes involved, not the mere static stuff. |
| 11108 | Your properties, not some other world, decide your possibilities [Jubien] |
| Full Idea: The possibility of your having been a playwright has nothing to do with how people are on other planets, whether in our own or in some other realm. It is only to do with you and the relevant property. | |
| From: Michael Jubien (Analyzing Modality [2007], 1) | |
| A reaction: I'm inclined to think that this simple point is conclusive disproof of possible worlds as an explanation of modality (apart from Jubien's other nice points). What we need to understand are modal properties, not other worlds. |
| 11111 | Modal truths are facts about parts of this world, not about remote maximal entities [Jubien] |
| Full Idea: Typical modal truths are just facts about our world, and generally facts about very small parts of it, not facts about some infinitude of complex, maximal entities. | |
| From: Michael Jubien (Analyzing Modality [2007], 1) | |
| A reaction: I think we should embrace this simple fact immediately, and drop all this nonsense about possible worlds, even if they are useful for the semantics of modal logic. |
| 11105 | We have no idea how many 'possible worlds' there might be [Jubien] |
| Full Idea: As soon as we start talking about 'possible world', we beg the question of their relevance to our prior notion of possibility. For all we know, there are just two such realms, or twenty-seven, or uncountably many, or even set-many. | |
| From: Michael Jubien (Analyzing Modality [2007], 1) |
| 11107 | If there are no other possible worlds, do we then exist necessarily? [Jubien] |
| Full Idea: Suppose there happen to be no other concrete realms. Would we happily accept the consequence that we exist necessarily? | |
| From: Michael Jubien (Analyzing Modality [2007], 1) |
| 11106 | If all possible worlds just happened to include stars, their existence would be necessary [Jubien] |
| Full Idea: If all of the possible worlds happened to include stars, how plausible is it to think that if this is how things really are, then we've just been wrong to regard the existence of stars as contingent? | |
| From: Michael Jubien (Analyzing Modality [2007], 1) |
| 11112 | Possible worlds just give parallel contingencies, with no explanation at all of necessity [Jubien] |
| Full Idea: In the world theory, what passes for 'necessity' is just a bunch of parallel 'contingencies'. The theory provides no basis for understanding why these contingencies repeat unremittingly across the board (while others do not). | |
| From: Michael Jubien (Analyzing Modality [2007], 1) |
| 11109 | If other worlds exist, then they are scattered parts of the actual world [Jubien] |
| Full Idea: Any other realms that happened to exist would just be scattered parts of the actual world, not entire worlds at all. It would just happen that physical reality was fragmented in this remarkable but modally inconsequential way. | |
| From: Michael Jubien (Analyzing Modality [2007], 1) | |
| A reaction: This is aimed explicitly at Lewis's modal realism, and strikes me as correct. Jubien's key point here is that they are irrelevant to modality, just as foreign countries are irrelevant to the modality of this one. |
| 11113 | Worlds don't explain necessity; we use necessity to decide on possible worlds [Jubien] |
| Full Idea: The suspicion is that the necessity doesn't arise from how worlds are, but rather that the worlds are taken to be as they are in order to capture the intuitive necessity. | |
| From: Michael Jubien (Analyzing Modality [2007], 1) | |
| A reaction: It has always seemed to me rather glaring that you need a prior notion of 'possible' before you can start to talk about 'possible worlds', but I have always been too timid to disagree with the combination of Saul Kripke and David Lewis. Thank you, Jubien! |
| 11110 | We mustn't confuse a similar person with the same person [Jubien] |
| Full Idea: If someone similar to Humphrey won the election, that nicely establishes the possibility of someone's winning who is similar to Humphrey. But we mustn't confuse this possibility with the intuitively different possibility of Humphrey himself winning. | |
| From: Michael Jubien (Analyzing Modality [2007], 1) |
| 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. |
| 1460 | Religious experience deserves the same respect as our other key experiences, and is best called 'holy' [Taylor,AE, by PG] |
| Full Idea: We respect the religious experience of others in a similar way to our respect for their artistic or sense experiences, and the quality which makes them seem authentic can only be called 'holy'. | |
| From: report of A.E. Taylor (Vindication of Religion (extract) [1926], III) by PG - Db (ideas) |