16 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. |
| 19271 | No rule can be fully explained [Kripke] |
| Full Idea: Every explanation of a rule could conceivably be misunderstood. | |
| From: Saul A. Kripke (Wittgenstein on Rules and Private Language [1982], 3) | |
| A reaction: This is Kripke's summary of what he takes to be Wittgenstein's scepticism about rules. |
| 19269 | 'Quus' means the same as 'plus' if the ingredients are less than 57; otherwise it just produces 5 [Kripke] |
| Full Idea: I will define 'quus' by x-quus-y = x + y, if x, y < 57, and otherwise it equals 5. Who is to say that this is not the function I previously meant by '+'? | |
| From: Saul A. Kripke (Wittgenstein on Rules and Private Language [1982], 2) | |
| A reaction: Kripke's famous example, to illustrate the big new scepticism introduced by Wittgenstein's questions about the rationality of following a rule. I suspect that you have to delve into psychology to understand rule-following, rather than logic. |
| 7305 | Kripke's Wittgenstein says meaning 'vanishes into thin air' [Kripke, by Miller,A] |
| Full Idea: Quine and Kripke's Wittgenstein attempt to argue that there are no facts about meaning, that the notion of meaning, as Kripke puts it, 'vanishes into thin air'. | |
| From: report of Saul A. Kripke (Wittgenstein on Rules and Private Language [1982]) by Alexander Miller - Philosophy of Language Pref | |
| A reaction: A tempting solution to the problem. If, though, it is possible for someone to say something that is self-evidently meaningless, or to accuse someone of speaking (deep down) without meaning, then that needs explaining. |
| 19270 | If you ask what is in your mind for following the addition rule, meaning just seems to vanish [Kripke] |
| Full Idea: What can there be in my mind that I make use of when I follow a general rule to add in the future? It seems that the entire idea of meaning vanishes into thin air. | |
| From: Saul A. Kripke (Wittgenstein on Rules and Private Language [1982], 2) | |
| A reaction: Introspection probably isn't the best way to investigate the phenomenon of meaning. Indeed it seems rather old-fashioned and Cartesian. Kripke says, though, that seeking 'tacit' rules is even worse [end of note 22]. |
| 11076 | Community implies assertability-conditions rather than truth-conditions semantics [Kripke, by Hanna] |
| Full Idea: If we take account of the fact that a speaker is in a community, then we must adopt an assertability-conditions semantics (based on what is legitimately assertible), and reject truth-conditional semantics (based on correspondence to the facts). | |
| From: report of Saul A. Kripke (Wittgenstein on Rules and Private Language [1982]) by Robert Hanna - Rationality and Logic 6.1 | |
| A reaction: [Part of Hanna's full summary of Kripke's argument] This sounds wrong to me. There are conditions where it is agreed that a lie should be told. Two people can be guilty of the same malapropism. |
| 11075 | The sceptical rule-following paradox is the basis of the private language argument [Kripke, by Hanna] |
| Full Idea: Kripke argues that the 'rule-following paradox' is essential to the more controversial private language argument, and introduces a radically new form of scepticism. | |
| From: report of Saul A. Kripke (Wittgenstein on Rules and Private Language [1982]) by Robert Hanna - Rationality and Logic 6.1 | |
| A reaction: It certainly seems that Kripke is right to emphasise the separateness of the two, as the paradox is quite persuasive, but the private language argument seems less so. |
| 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'). |