14 ideas
| 23449 | Interpreting a text is representing it as making sense [Morris,M] |
| Full Idea: Interpreting a text is a matter of making sense of it. And to make sense of a text is to represent it as making sense. | |
| From: Michael Morris (Guidebook to Wittgenstein's Tractatus [2008], Intro.2) | |
| A reaction: 'Making sense' is obviously not a very precise or determinate concept. It is probably better to say that the process is 'trying' to make sense of the text, because most texts don't totally make sense. |
| 23484 | Bipolarity adds to Bivalence the capacity for both truth values [Morris,M] |
| Full Idea: According to the Principle of Bipolarity, every meaningful sentence must be capable both of being true and of being false. It is not enough merely that every sentence must be either true or false (which is Bivalence). | |
| From: Michael Morris (Guidebook to Wittgenstein's Tractatus [2008], 3D) | |
| A reaction: It is said that early Wittgenstein endorses this. That is, in addition to being true, the sentence must be capable of falsehood (and vice versa). This seems to be flirting with the verification principle. I presume it is 'affirmative' sentences. |
| 23494 | Conjunctive and disjunctive quantifiers are too specific, and are confined to the finite [Morris,M] |
| Full Idea: There are two problems with defining the quantifiers in terms of conjunction and disjunction. The general statements are unspecific, and do not say which things have the properties, and also they can't range over infinite objects. | |
| From: Michael Morris (Guidebook to Wittgenstein's Tractatus [2008], 5C) | |
| A reaction: That is, the universal quantifier is lots of ands, and the existential is lots of ors. If there only existed finite objects, then naming them all would be universal, and the infinite wouldn't be needed. |
| 23460 | To count, we must distinguish things, and have a series with successors in it [Morris,M] |
| Full Idea: Distinguishing between things is not enough for counting. …We need the crucial extra notion of a successor in a series of a certain kind. | |
| From: Michael Morris (Guidebook to Wittgenstein's Tractatus [2008], Intro) | |
| A reaction: This is the thinking that led to the Dedekind-Peano axioms for arithmetic. E.g. each series member can only have one successor. There is an unformalisable assumption that the series can then be applied to the things. |
| 23451 | Counting needs to distinguish things, and also needs the concept of a successor in a series [Morris,M] |
| Full Idea: Just distinguishing things is not enough for counting (and hence arithmetic). We need the crucial extra notion of the successor in a series of some kind. | |
| From: Michael Morris (Guidebook to Wittgenstein's Tractatus [2008], Intro.5) | |
| A reaction: This is a step towards the Peano Axioms of arithmetic. The successors could be fingers and toes, taken in a conventional order, and matched one-to-one to the objects. 'My right big toe of cows' means 16 cows (but non-verbally). |
| 23452 | Discriminating things for counting implies concepts of identity and distinctness [Morris,M] |
| Full Idea: The discrimination of things for counting needs to bring with it the notion of identity (and, correlatively, distinctness). | |
| From: Michael Morris (Guidebook to Wittgenstein's Tractatus [2008], Intro.5) | |
| A reaction: Morris is exploring how practices like counting might reveal necessary truths about the world. |
| 23491 | There must exist a general form of propositions, which are predictabe. It is: such and such is the case [Morris,M] |
| Full Idea: The existence of a general propositional form is proved by the fact that there cannot be a proposition whose form could not have been foreseen (i.e. constructed). The general form of the proposition is: Such and such is the case. | |
| From: Michael Morris (Guidebook to Wittgenstein's Tractatus [2008], 4.5) | |
| A reaction: [last bit in Ogden translation] LW eventually expresses this symbolically. We could just say a proposition is an assertion. This strikes as either a rather empty claim, or an unfounded one. |
| 22687 | Maybe literary assessment is evaluating the artist as a suitable friend [Gaut] |
| Full Idea: An approach in Hume (elaborated by Wayne Booth) holds that literary assessment is akin to an act of befriending, for one assesses the author of a work as a suitable friend. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Some') | |
| A reaction: I like the idea that art exploits our normal range of social emotions and attitudes, so I think this has some truth, but some of the best artists are so out of my league as to not even be candidates for friendship. Dostoevsky? Webster? Caravaggio? |
| 22686 | Formalists say aesthetics concerns types of beauty, or unity, complexity and intensity [Gaut] |
| Full Idea: The formal objects which individuate the aesthetic attitude may be narrowly aesthetic, as beauty, and its subspecies, such as grace and elegance, or more broadly by other formalist criteria, such as Beardley's unity, complexity and intensity. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Objections 1') | |
| A reaction: I'm not sure about unity or complexity, but intensity was endorsed by Henry James. Intensity doesn't sound very 'formal'. 'Beauty' doesn't seem the right word for the wonderful 'King Lear', or even for Jane Austen novels. |
| 22690 | 'Moralism' says all aesthetic merits are moral merits [Gaut] |
| Full Idea: The view that the only aesthetic merit of works are ethical ones is known as 'moralism'. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], n 1) | |
| A reaction: [He says this view was demolished by R.W.Beardsmore in 1971] Gaut contrasts this with his own carefully modulated 'ethicism'. Moralism predominated in the eighteenth century, but now looks clearly wrong (or naïve). |
| 22685 | Good art does not necessarily improve people (any more than good advice does) [Gaut] |
| Full Idea: Ethicism does not entail the causal thesis that good art ethically improves people, …any more than it follows that earnest ethical advice improves people. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: How successful were sermons, in the great days of Christianity? It seems hard to disagree with Gaut's point. |
| 22684 | Good ethics counts towards aesthetic merit, and bad ethics counts against it [Gaut] |
| Full Idea: I defend 'ethicism', which says that ethically admirable attitudes count toward the the aesthetic merit of a work, and ethically reprehensible attitudes count against its aesthetic merit. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: He recognises that morally admirable works can explore unethical behaviour, and also that identifying the 'attitude' of a work is not simple. The ethics are not necessary. 'Triumph of the Will' is a classic test case. I disagree with Gaut. |
| 22689 | If we don't respond ethically in the way a work prescribes, that is an aesthetic failure [Gaut] |
| Full Idea: Our having reason not to respond in the way prescribed (because it is unethical) is a failure of the work …so that is an aesthetic failure, which is an aesthetic defect. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Merited') | |
| A reaction: A key argument for Gaut's theory of 'ethicism' about literature. If 'Triumph of the Will' gets the right response from Nazi sympathisers, that is probably all aesthetic success. Jane Austen hasn't failed if she is rejected as bourgeois. |
| 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'). |