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! |
| 15793 | We can take 'ways things might have been' as irreducible elements in our ontology [Stalnaker, by Lycan] |
| Full Idea: Stalnaker suggests talking 'ways things might have been' as sui generis elements of our ontology - actual abstract entities in their own right, not to be reduced to more familiar items. | |
| From: report of Robert C. Stalnaker (Possible Worlds [1976]) by William Lycan - The Trouble with Possible Worlds 09 | |
| A reaction: This seems to rest on an ontology of 'states of affairs', favoured by Armstrong, and implied in the Tractatus. How big is a state of affairs? How manys states of affairs can be co-present? |
| 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) |
| 20400 | Intentions either succeed or fail, so external evidence for them is always irrelevant [Wimsatt/Beardsley, by Davies,S] |
| Full Idea: Wimsatt and Beardsley claimed that either the intention succeeded, so one does not need to look outside the work for its meaning, or the intention failed, so external evidence does not help. | |
| From: report of W Wimsatt/W Beardsley (The Intentional Fallacy [1946]) by Stephen Davies - The Philosophy of Art (2nd ed) 5.3 | |
| A reaction: Actually, the external evidence may tell you much more clearly and accurately what the intention was than the work itself does. The best example may be the title of the work, which is presumably outside the work. |
| 7266 | The author's intentions are irrelevant to the judgement of a work's success [Wimsatt/Beardsley] |
| Full Idea: The design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: This famous proposal may have been misunderstood. Note that it is a comment about judging the work, not about understanding it. The idea allows for a work being much more successful than the author's humble intentions (e.g. Pepys). |
| 7267 | Poetry, unlike messages, can be successful without communicating intentions [Wimsatt/Beardsley] |
| Full Idea: Poetry differs from practical messages, which are successful if and only if we correctly infer the intention. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: I am not convinced by this claim. It is plausible that a work does much more than it intends (Astaire said he danced "to make a buck"), but it is rather odd to rate very highly a work of which you have missed the point. |
| 7268 | The thoughts of a poem should be imputed to the dramatic speaker, and hardly at all to the poet [Wimsatt/Beardsley] |
| Full Idea: We ought to impute the thoughts and attitudes of the poem immediately to the dramatic speaker, and if to the author at all, only by an act of biographical inference. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §I) | |
| A reaction: Wrong. If in Browning's "My Last Duchess" (say), we only inferred the mind of the speaker (and his Duchess), and took no interest in Browning's view of things, we would miss the point. We might end up respecting the Duke, which would be daft. |
| 7269 | The intentional fallacy is a romantic one [Wimsatt/Beardsley] |
| Full Idea: The intentional fallacy is a romantic one. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §II) | |
| A reaction: Wrong. Even with those most famous of anonymous artists, the architects and carvers of medieval cathedrals, without some discernment of the purpose you won't get it. The Taj Mahal is a love letter, not a potential ice cream parlour. |
| 7271 | Biography can reveal meanings and dramatic character, as well as possible intentions [Wimsatt/Beardsley] |
| Full Idea: The use of biographical evidence need not involve intentionalism, because while it may be evidence of what the author intended, it may also be evidence of the meaning of his words and the dramatic character of his utterance. | |
| From: W Wimsatt/W Beardsley (The Intentional Fallacy [1946], §IV) | |
| A reaction: I am very keen to penetrate the author's intentions, but I have always be doubtful about the use of biography as a means to achieve this. Most of the effort to infer intentions must come from a study of the work itself, not introductions, letters etc. |