17 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. |
| 1630 | We can only see an alien language in terms of our own thought structures (e.g. physical/abstract) [Quine] |
| Full Idea: We are prone to talk about physical and abstract objects. It is hard to know how else to talk, because we are bound to adapt any alien pattern to our own in the very process of understanding or translating the alien sentences. | |
| From: Willard Quine (Speaking of Objects [1960], pt.I,p.1) |
| 5747 | "No entity without identity" - our ontology must contain items with settled identity conditions [Quine, by Melia] |
| Full Idea: Quine's well-known slogan "no entity without identity" means that no object should be admitted into our ontology unless its identity conditions, the conditions that say which object it is, have been settled. | |
| From: report of Willard Quine (Speaking of Objects [1960]) by Joseph Melia - Modality Ch.4 | |
| A reaction: This invites science fiction scenarios, where we admit the existence of something before we have a clue what it is (whether it is physical, hallucination, divine..). Quine's slogan seems attractive but optimistic. How 'settled'? |
| 7925 | There is no proper identity concept for properties, and it is hard to distinguish one from two [Quine] |
| Full Idea: The lack of a proper identity concept for attributes (properties) is a lack that philosophers feel impelled to supply; for, what sense is there in saying there are attributes when there is no sense in saying when there is one attribute and when two? | |
| From: Willard Quine (Speaking of Objects [1960], IV) | |
| A reaction: This strikes me as being a really crucial question. There is a mistaken tendency to take any possible linguistic predicate as implying a natural property. I sympathise with the sceptics here (see Ideas 4029, 3906, 3322). How to individuate properties? |
| 13387 | Our conceptual scheme becomes more powerful when we posit abstract objects [Quine] |
| Full Idea: There is no denying the access of power that accrues to our conceptual scheme through the positing of abstract objects. | |
| From: Willard Quine (Speaking of Objects [1960], §5) | |
| A reaction: This seems right, both in its use of the word 'posit', and in its general pragmatic claim. So why? If they enable us to grapple with the world better, it must be because of their power of generalisation. They are nets thrown over chunks of reality. |
| 8277 | I prefer 'no object without identity' to Quine's 'no entity without identity' [Lowe on Quine] |
| Full Idea: To adapt Quine's famous slogan ('no entity without identity'), I prefer to say 'no object without identity'. | |
| From: comment on Willard Quine (Speaking of Objects [1960], p.52) by E.J. Lowe - The Possibility of Metaphysics 7.1 | |
| A reaction: Quine was trying to make us all more scientific, but Lowe is closer to common sense. The sky is an entity, most of us would say, but with very shaky identity-conditions. A wave of the sea is a good example. |
| 1631 | You could know the complete behavioural conditions for a foreign language, and still not know their beliefs [Quine] |
| Full Idea: We could know the necessary and sufficient stimulatory conditions of every possible act of utterance, in a foreign language, and still not know how to determine what objects the speakers of that language believe in. | |
| From: Willard Quine (Speaking of Objects [1960], pt.III,p.11) | |
| A reaction: I just don't believe this, because the same scepticism then creeps into discussions of native speakers of a single language, and all communcation is blighted - which is nonsense. |
| 1632 | Translation of our remote past or language could be as problematic as alien languages [Quine] |
| Full Idea: Translation of our remote past or future discourse into the terms we now know could be about as tenuous and arbitrary a projection as translation of a heathen language was seen to be. | |
| From: Willard Quine (Speaking of Objects [1960], pt.V,p.25) | |
| A reaction: Is he seriously saying that we can't understand Shakespeare, because holism implies that we would have to be Elizabethans? So scholarship is in vain? Is yesterday the 'past'? |
| 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'). |