18 ideas
| 21793 | Genuine truth is the resolution of the highest contradiction [Hegel] |
| Full Idea: The highest truth, truth as such, is the resolution of the highest opposition and contradiction. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], I: 99), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Art' | |
| A reaction: Uneasy about the word 'highest', and the general Hegelian dream of 'resolving' contradictions, rather than just eliminating at least one component of them. No one else uses the word 'truth' like this. I suppose this Truth has a capital 'T'. |
| 21795 | What I hold true must also be part of my feelings and character [Hegel] |
| Full Idea: Whatever I hold as true, whatever ought to be valid for me, must also be in my feeling, must belong to my being and character. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], I: 97), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Philosophy' | |
| A reaction: I can see that truths do tend to become part of our character, but not that they ought to do so. I suppose I try to live my life enmeshed in the many truths which I have personally selected from the maelstrom of possibilities that engulf us. |
| 14650 | Maybe proper names involve essentialism [Plantinga] |
| Full Idea: Perhaps the notion of a proper name itself involves essentialism. | |
| From: Alvin Plantinga (De Re and De Dicto [1969], p.43) | |
| A reaction: This is just before Kripke's announcement of 'rigid designation', which seems to have relaunched modern essentialism. The thought is that you can't name something, if you don't have a stable notion of what is (and isn't) being named. |
| 14648 | Could I name all of the real numbers in one fell swoop? Call them all 'Charley'? [Plantinga] |
| Full Idea: Can't I name all the real numbers in the interval (0,1) at once? Couldn't I name them all 'Charley', for example? | |
| From: Alvin Plantinga (De Re and De Dicto [1969], p.40) | |
| A reaction: Plantinga is nervous about such a sweeping move, but can't think of an objection. This addresses a big problem, I think - that you are supposed to accept the real numbers when we cannot possibly name them all. |
| 14647 | Surely self-identity is essential to Socrates? [Plantinga] |
| Full Idea: If anything is essential to Socrates, surely self-identity is. | |
| From: Alvin Plantinga (De Re and De Dicto [1969], p.37) | |
| A reaction: This is the modern move of Plantinga and Adams, to make 'is identical with Socrates' the one property which assures the identity of Socrates (his 'haecceity'). My view is that self-identity is not a property. Plantinga wonders about that on p.44. |
| 14646 | An object has a property essentially if it couldn't conceivably have lacked it [Plantinga] |
| Full Idea: An object has a property essentially just in case it couldn't conceivably have lacked that property. | |
| From: Alvin Plantinga (De Re and De Dicto [1969], p.35) | |
| A reaction: Making it depend on what we can conceive seems a bit dubious, for someone committed to real essences. The key issue is how narrowly or broadly you interpret the word 'property'. The word 'object' needs a bit of thought, too! |
| 14649 | Can we find an appropriate 'de dicto' paraphrase for any 'de re' proposition? [Plantinga] |
| Full Idea: To explain the 'de re' via the 'de dicto' is to provide a rule enabling us to find, for each de re proposition, an equivalent de dicto proposition. | |
| From: Alvin Plantinga (De Re and De Dicto [1969], p.41) | |
| A reaction: Many 'de dicto' paraphrases will change the modality of a 'de re' statement, so the challenge is to find the right equivalent version. Plantinga takes up this challenge. The 'de dicto' statement says the object has the property, and must have it. |
| 14642 | Expressing modality about a statement is 'de dicto'; expressing it of property-possession is 'de re' [Plantinga] |
| Full Idea: Some statements predicate modality of another statement (modality 'de dicto'); but others predicate of an object the necessary or essential possession of a property; these latter express modality 'de re'. | |
| From: Alvin Plantinga (De Re and De Dicto [1969], p.26) | |
| A reaction: The distinction seems to originate in Aquinas, concerning whether God knows the future (or, how he knows the future). 'De dicto' is straightforward, but possibly the result of convention. 'De re' is controversial, and implies deep metaphysics. |
| 14643 | 'De dicto' true and 'de re' false is possible, and so is 'de dicto' false and 'de re' true [Plantinga] |
| Full Idea: Aquinas says if a 'de dicto' statement is true, the 'de re' version may be false. The opposite also applies: 'What I am thinking of [17] is essentially prime' is true, but 'The proposition "what I am thinking of is prime" is necessarily true' is false. | |
| From: Alvin Plantinga (De Re and De Dicto [1969], p.27) | |
| A reaction: In his examples the first is 'de re' (about the number), and the second is 'de dicto' (about that proposition). |
| 14651 | What Socrates could have been, and could have become, are different? [Plantinga] |
| Full Idea: Is there a difference between what Socrates could have been, and what he could have become? | |
| From: Alvin Plantinga (De Re and De Dicto [1969], p.44) | |
| A reaction: That is, I take it, 1) how different might he have been in the past, given how he is now?, and 2) how different might he have been in the past, and now, if he had permanently diverged from how he is now? 1) has tight constraints on it. |
| 18549 | Nineteenth century aesthetics focused on art rather than nature (thanks to Hegel) [Hegel, by Scruton] |
| Full Idea: Only In the course of the nineteenth century, and in the wake of Hegel's posthumously published lectures on aesthetics, did the topic of art come to replace that of natural beauty as the core subject-matter of aesthetics. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826], 5) by Roger Scruton - Beauty: a very short introduction |
| 22043 | Hegel largely ignores aesthetic pleasure, taste and beauty, and focuses on the meaning of artworks [Hegel, by Pinkard] |
| Full Idea: Unlike his predecessors (including Kant), Hegel does not focus on aesthetic pleasure, nor on good taste, nor even on the nature and criteria for beauty. Instead he focuses on the meaning of artworks and their role in forming mankind's self-consciousness. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Terry Pinkard - German Philosophy 1760-1860 11 | |
| A reaction: Personally I dislike over-intellectualising art. The aim of a work of art is to give a certain experience, not to generate an ensuing sequence of theorising. I doubt whether Vermeer had any 'meaning' in mind in his obsessive work. |
| 22042 | Natural beauty is unimportant, because it doesn't show human freedom [Hegel, by Pinkard] |
| Full Idea: Hegel thinks that natural beauty is of no real significance since it cannot display our freedom to us; nature per se is meaningless. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Terry Pinkard - German Philosophy 1760-1860 11 | |
| A reaction: Presumably freedom is in the creation, and so creativity is what matters in aesthetics. But what are the criteria of good creativity? |
| 20413 | For Hegel the importance of art concerns the culture, not the individual [Hegel, by Eldridge] |
| Full Idea: Hegel locates the significance of art in its role in cultural life in general, not in relation to the psychological needs of individuals. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Richard Eldridge - G.W.F. Hegel (aesthetics) 1 | |
| A reaction: I'm beginning to see that art is a wonderful focus and test case for political attitudes. Roughly, liberalism focuses on individual responses, but more societal views (from right and left) see it in terms of role in the community. Which are you? |
| 20394 | The purpose of art is to reveal to Spirit its own nature [Hegel, by Davies,S] |
| Full Idea: According to Hegel, the goal of art was to serve as a phase in a process by which Spirit would come to understand its own nature. | |
| From: report of Georg W.F.Hegel (Lectures on Aesthetics [1826]) by Stephen Davies - The Philosophy of Art (2nd ed) 2.7 | |
| A reaction: I try very hard to understand ideas like this. Really really hard. However, since I see little sign of 'Spirit' really understanding its own nature, I'm guessing that the project is not going well. |
| 21794 | The main purpose of art is to express the unity of human life [Hegel] |
| Full Idea: Art's primary function, for Hegel, is to give expression to the unity and wholeness of life - especially human life - that the contingencies of everyday existence frequently conceal. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826]), quoted by Stephen Houlgate - An Introduction to Hegel 09 'Beauty' | |
| A reaction: I don't find the view that human life is 'unified' and 'whole' vary illuminating, and I have no objection to art which reflects the fragmentary and unstable aspects of life. I suspect Hegel would just prefer it if life were a unity. |
| 20415 | Art forms a bridge between the sensuous world and the world of pure thought [Hegel] |
| Full Idea: Spirit generates out of itself works of fine art as the first reconciling middle term between pure thought and what is merely external, sensuous and transient - between finite natural reality and the infinite freedom of conceptual thinking. | |
| From: Georg W.F.Hegel (Lectures on Aesthetics [1826], p.8), quoted by Richard Eldridge - G.W.F. Hegel (aesthetics) | |
| A reaction: This apparently says that there is necessarily an intellectual and conceptual component in art. This means little to me. Does he include portraits? Dutch domestic scenes? Would photography qualify? |
| 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'). |