15 ideas
| 22701 | Jokes can sometimes be funny because they are offensive [Jacobson,D] |
| Full Idea: Sometimes it is exactly what is offensive about a joke that makes it funny. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: Jacobson offers this in support of his immoralist view, that immoral literature can be aesthetically successful. It is uncomfortable to find yourself laughing at a joke of which you disapprove. |
| 22703 | We don't often respond to events in art as if they were real events [Jacobson,D] |
| Full Idea: We routinely do not respond to art as if we were as if we were real-life spectators of its events. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'rejection') | |
| A reaction: This strikes me as one of the basic facts about aesthetics, and especially of narrative art. People sometimes encounter terrible events on the street, only to find someone is making a film. |
| 22702 | Audiences can be too moral [Jacobson,D] |
| Full Idea: An audience can be overly moralistic. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: People can be too moral in real life as well. Goody Two Shoes. |
| 22696 | 'Autonomism' says the morality is irrelevant to the aesthetics [Jacobson,D] |
| Full Idea: 'Autonomism' is the theory that the intrinsic moral merits and defects of an artwork are irrelevant to its aesthetic value. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], Intro) | |
| A reaction: This contrasts with 'moralism', which says the ethics is part of the aesthetics. Autonomism seems to be the modern academic label for art for art's sake. In nineteenth century novels the ethics are central; in modernist novels they seem to be irrelevant. |
| 22697 | Moral defects of art can be among its aesthetic virtues [Jacobson,D] |
| Full Idea: To put my claim most provocatively: the moral defects in a work of art can be among its aesthetic virtues. This claim has been called 'immoralism'. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], Intro) | |
| A reaction: To describe sympathetic descriptions of vile moral behaviour as 'defects' may be a misunderstanding. If a work sets out to promote wickedness, then its wickedness isn't a defect in the work. It could be a masterpiece of corruption. |
| 22700 | Immoral art encourages immoral emotions [Jacobson,D] |
| Full Idea: Humean moralism includes the view that immoral art prescribes unethical emotional responses. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'emotional') | |
| A reaction: [He cites Hume's 'On the Standard of Taste'] 'Prescribes' is tricky. Is a vivid description of wicked events, given without comment, a prescription? What if the commentary condemns, but the description entices? Trust the work itself, said Lawrence. |
| 22699 | Moderate moralism says moral qualities can sometimes also be aesthetic qualities [Jacobson,D] |
| Full Idea: Noël Carroll's moderate moralism maintains that some moral defects in artworks are aesthetic defects, and some moral virtues are aesthetic merits. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'How moderate') | |
| A reaction: I'm beginning to think that moralist critics are confusing morality and wisdom. We don't admire novels for hammering on about goodness. We admire their insight into characters and actions, of which the most interesting aspects happen to be moral. |
| 22698 | We can judge art ethically, or rate its ethical influence, or assess its quality via its ethics [Jacobson,D] |
| Full Idea: Ethical criticism includes 1) ethical judgements of art works, 2) assessment of an art work's role in moral education, or 3) bringing moral praise or censure to bear on the aesthetic evaluation. | |
| From: Daniel Jacobson (Ethical Criticism and the Vice of Moderation [2006], 'What is') | |
| A reaction: [a compressed summary of Jacobson. He cites Levinson 1998 and Carroll 2000 as examples of ethical criticism] |
| 7903 | The six perfections are giving, morality, patience, vigour, meditation, and wisdom [Nagarjuna] |
| Full Idea: The six perfections are of giving, morality, patience, vigour, meditation, and wisdom. | |
| From: Nagarjuna (Mahaprajnaparamitashastra [c.120], 88) | |
| A reaction: What is 'morality', if giving is not part of it? I like patience and vigour being two of the virtues, which immediately implies an Aristotelian mean (which is always what is 'appropriate'). |
| 7602 | In the Bible God changes his mind (repenting of creating humanity, in the Flood) [Armstrong,K] |
| Full Idea: In the Bible God changes his mind, as when he repents of having made man and decides to destroy the human race in the Flood. | |
| From: Karen Armstrong (A History of God [1993], Ch.1) | |
| A reaction: It becomes apparent that the most startling feature of Christian fundamentalism is its uncritical reading of the Bible, in which passages are wilfully lifted from context, and inconvenient inconsistencies are ruthlessly ignored. |
| 7605 | Monotheism introduced intolerance into religious thinking [Armstrong,K] |
| Full Idea: We have become so used to the intolerance of monotheism that we may not appreciate that its hostility towards other gods was a new religious attitude; paganism was an essentially tolerant faith. | |
| From: Karen Armstrong (A History of God [1993], Ch.2) | |
| A reaction: The comedian Dave Allen always signed off with "may your god go with you". To me the most striking feature of monotheists is frequently their barely controlled aggression, beneath a mask of strained compassion. |
| 7599 | Around 800 BCE teachers superseded gods in India [Armstrong,K] |
| Full Idea: Around the eighth century BCE the gods ceased to be very important in India, and would be superseded by the religious teacher, who would be considered higher than the gods. | |
| From: Karen Armstrong (A History of God [1993], Ch.1) | |
| A reaction: At least there has been one culture that gave an appropriate status to teachers. It seems astonishing in that age that human beings could have higher status than gods - way before the European 'humanists'. |
| 7597 | There is virtually no sign of monotheism in the Pentateuch [Armstrong,K] |
| Full Idea: It is very difficult to find a single monotheistic statement in the whole of the Pentateuch, and even the Ten Commandments take the existence of other gods for granted ("There shall be no strange gods for you before my face"). | |
| From: Karen Armstrong (A History of God [1993], Ch.1) | |
| A reaction: The transition from polytheism to monotheism is very strange. First God is 'jealous' of other gods, then supremely above them, and eventually totally exclusive. It's like watching the rise of Stalin. |
| 7606 | The idea that Jesus was God was only settled in the fourth century [Armstrong,K] |
| Full Idea: Jesus himself certainly never claimed to be God, and the doctrine that Jesus had been God in human form was not finalised until the fourth century. | |
| From: Karen Armstrong (A History of God [1993], Ch.3) | |
| A reaction: It was this final view which seems to have provoked Muhammed into developing a religion with the slogan "there is only one God". In Christianity an initially promising set of teachings grew into a prolonged irrational hysteria. |
| 7596 | Faith is not just belief in propositions, but also putting trust in them [Armstrong,K] |
| Full Idea: There is a distinction between belief in a set of propositions and a faith which enables us to put our trust in them. | |
| From: Karen Armstrong (A History of God [1993], Intro) | |
| A reaction: This is interestingly distinct from the usual idea that faith is putting belief in propositions which are not sufficiently rationally justified. How many philosophers actually have faith in the propositions they say they believe? |