Combining Texts

All the ideas for 'fragments/reports', 'Preface to 'Dorian Gray'' and 'The Analytic/Synthetic Distinction'

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13 ideas

9. Objects / C. Structure of Objects / 6. Constitution of an Object
If someone squashed a horse to make a dog, something new would now exist [Mnesarchus]
     Full Idea: If, for the sake of argument, someone were to mould a horse, squash it, then make a dog, it would be reasonable for us on seeing this to say that this previously did not exist but now does exist.
     From: Mnesarchus (fragments/reports [c.120 BCE]), quoted by John Stobaeus - Anthology 179.11
     A reaction: Locke would say it is new, because the substance is the same, but a new life now exists. A sword could cease to exist and become a new ploughshare, I would think. Apply this to the Ship of Theseus. Is form more important than substance?
12. Knowledge Sources / A. A Priori Knowledge / 1. Nature of the A Priori
The traditional a priori is justified without experience; post-Quine it became unrevisable by experience [Rey]
     Full Idea: Where Kant and others had traditionally assumed that the a priori concerned beliefs 'justifiable independently of experience', Quine and others of the time came to regard it as beliefs 'unrevisable in the light of experience'.
     From: Georges Rey (The Analytic/Synthetic Distinction [2013], 3.7)
     A reaction: That throws a rather striking light on Quine's project. Of course, if the a priori is also necessary, then it has to be unrevisable. But is a bachelor necessarily an unmarried man? It is not necessary that 'bachelor' has a fixed meaning.
19. Language / A. Nature of Meaning / 8. Synonymy
Externalist synonymy is there being a correct link to the same external phenomena [Rey]
     Full Idea: Externalists are typically committed to counting expressions as 'synonymous' if they happen to be linked in the right way to the same external phenomena, even if a thinker couldn't realise that they are by reflection alone.
     From: Georges Rey (The Analytic/Synthetic Distinction [2013], 4.2)
     A reaction: [He cites Fodor] Externalists always try to link to concrete things in the world, but most of our talk is full of generalities, abstractions and fiction which don't link directly to anything.
19. Language / E. Analyticity / 1. Analytic Propositions
'Married' does not 'contain' its symmetry, nor 'bigger than' its transitivity [Rey]
     Full Idea: If Bob is married to Sue, then Sue is married to Bob. If x bigger than y, and y bigger than z, x is bigger than z. The symmetry of 'marriage' or transitivity of 'bigger than' are not obviously 'contained in' the corresponding thoughts.
     From: Georges Rey (The Analytic/Synthetic Distinction [2013], 1.2)
     A reaction: [Also 'if something is red, then it is coloured'] This is a Fregean criticism of Kant. It is not so much that Kant was wrong, as that the concept of analyticity is seen to have a much wider application than Kant realised. Especially in mathematics.
Analytic judgements can't be explained by contradiction, since that is what is assumed [Rey]
     Full Idea: Rejecting 'a married bachelor' as contradictory would seem to have no justification other than the claim that 'All bachelors are unmarried is analytic, and so cannot serve to justify or explain that claim.
     From: Georges Rey (The Analytic/Synthetic Distinction [2013], 1.2)
     A reaction: Rey is discussing Frege's objection to Kant (who tried to prove the necessity of analytic judgements, on the basis of the denial being a contradiction).
Analytic statements are undeniable (because of meaning), rather than unrevisable [Rey]
     Full Idea: What's peculiar about the analytic is that denying it seem unintelligible. Far from unrevisability explaining analyticity, it seems to be analyticitiy that explains unrevisability; we only balk at denying unmarried bachelors because that's what it means!
     From: Georges Rey (The Analytic/Synthetic Distinction [2013], 3.7)
     A reaction: This is a criticism of Quine, who attacked analyticity when it is understood as unrevisability. Obviously we could revise the concept of 'bachelor', if our marriage customs changed a lot. Rey seems right here.
The meaning properties of a term are those which explain how the term is typically used [Rey]
     Full Idea: It may be that the meaning properties of a term are the ones that play a basic explanatory role with regard to the use of the term generally, the ones in virtue ultimately of which a term is used with that meaning.
     From: Georges Rey (The Analytic/Synthetic Distinction [2013], 4.3)
     A reaction: [He cites Devitt 1996, 2002, and Horwich 1998, 2005) I spring to philosophical life whenever I see the word 'explanatory', because that is the point of the whole game. They are pointing to the essence of the concept (which is explanatory, say I).
An intrinsic language faculty may fix what is meaningful (as well as grammatical) [Rey]
     Full Idea: The existence of a separate language faculty may be an odd but psychologically real fact about us, and it may thereby supply a real basis for commitments about not only what is or is not grammatical, but about what is a matter of natural language meaning.
     From: Georges Rey (The Analytic/Synthetic Distinction [2013], 4.4)
     A reaction: This is the Chomskyan view of analytic sentences. An example from Chomsky (1977:142) is the semantic relationships of persuade, intend and believe. It's hard to see how the secret faculty on its own could do the job. Consensus is needed.
Research throws doubts on the claimed intuitions which support analyticity [Rey]
     Full Idea: The movement of 'experimental philosophy' has pointed to evidence of considerable malleability of subject's 'intuitions' with regard to the standard kinds of thought experiments on which defenses of analytic claims typically rely.
     From: Georges Rey (The Analytic/Synthetic Distinction [2013], 4.4)
     A reaction: See Cappelen's interesting attack on the idea that philosophy relies on intuitions, and hence his attack on experimental philosophy. Our consensus on ordinary English usage hardly qualifies as somewhat vague 'intuitions'.
19. Language / E. Analyticity / 4. Analytic/Synthetic Critique
If we claim direct insight to what is analytic, how do we know it is not sub-consciously empirical? [Rey]
     Full Idea: How in the end are we going to distinguish claims or the analytic as 'rational insight', 'primitive compulsion', inferential practice or folk belief from merely some deeply held empirical conviction, indeed, from mere dogma.
     From: Georges Rey (The Analytic/Synthetic Distinction [2013], 4.1)
     A reaction: This is Rey's summary of the persisting Quinean challenge to analytic truths, in the face of a set of replies, summarised by the various phrases here. So do we reject a dogma of empiricism, by asserting dogmatic empiricism?
21. Aesthetics / C. Artistic Issues / 6. Value of Art
All art is quite useless [Wilde]
     Full Idea: All art is quite useless.
     From: Oscar Wilde (Preface to 'Dorian Gray' [1891])
     A reaction: Echoes Kant's thought that art is 'purposive without purpose'. Although I find Wilde's claims that morality has nothing to do with art to be naïve, I find this remark sympathetic. Art may play with moral feelings, but is unlikely to affect actions.
21. Aesthetics / C. Artistic Issues / 7. Art and Morality
Books are only well or badly written, not moral or immoral [Wilde]
     Full Idea: There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.
     From: Oscar Wilde (Preface to 'Dorian Gray' [1891])
     A reaction: This is simply false. Novels that are viciously (or subtly) racist, sexist, homophobic, or egotistical can obviously be immoral. I could write a nasty story about Oscar Wilde. It might, though, be very well written. If life is moral, so are novels.
Having ethical sympathies is a bad mannerism of style in an artist [Wilde]
     Full Idea: No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style.
     From: Oscar Wilde (Preface to 'Dorian Gray' [1891])
     A reaction: This has a Nietzschean suggestion that the artist is 'beyond good and evil', and operates on some higher level of values, which in Wilde's case seem to be purely aesthetic. You can't justify a callous murder by executing it beautifully.