14 ideas
| 22026 | Philosophy is homesickness - the urge to be at home everywhere [Novalis] |
| Full Idea: Philosophy is actually homesickness - the urge to be everywhere at home. | |
| From: Novalis (General Draft [1799], 45) | |
| A reaction: The idea of home [heimat] is powerful in German culture. The point of romanticism was seen as largely concerning restless souls like Byron and his heroes, who do not feel at home. Hence ironic detachment. |
| 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. |
| 18430 | We accept properties because of type/tokens, reference, and quantification [Edwards] |
| Full Idea: Three main reasons for thinking properties exist: the one-over-many argument (that a type can have many tokens), the reference argument (to understand predicates and singular terms), and the quantification argument (that we quantify over them). | |
| From: Douglas Edwards (Properties [2014], 1.1) | |
| A reaction: [Bits in brackets are compressions of his explanations]. I don't find any of these remotely persuasive. Why would we infer how the world is, simply from how we talk about or reason about the world? His first reason is the only interesting one. |
| 18432 | Quineans say that predication is primitive and inexplicable [Edwards] |
| Full Idea: The Quinean claims that the application of a predicate cannot, in principle, be explained - it is a 'primitive' fact. | |
| From: Douglas Edwards (Properties [2014], 4.4) | |
| A reaction: I am not clear what 'principle' could endorse this claim. There just seems to be a possible failure of all the usual attempts at explaining predication. |
| 18437 | Resemblance nominalism requires a second entity to explain 'the rose is crimson' [Edwards] |
| Full Idea: For resemblance nominalism the sentence 'the rose is crimson' commits us to at least one other entity that the rose resembles in order for it to be crimson. | |
| From: Douglas Edwards (Properties [2014], 5.5.2) | |
| A reaction: If the theory really needs this, then it has just sunk without trace. It can't suddenly cease to be crimson when the last resembling entity disappears. |
| 18434 | That a whole is prior to its parts ('priority monism') is a view gaining in support [Edwards] |
| Full Idea: The view of 'priority monism' - that the whole is prior to its parts - is controversial, but has been growing in support | |
| From: Douglas Edwards (Properties [2014], 5.4.4) | |
| A reaction: The simple and plausible thought is, I take it, that parts only count as parts when a whole comes into existence, so a whole is needed to generate parts. Thus the whole must be prior to the parts. Fine by me. |
| 19591 | Desire for perfection is an illness, if it turns against what is imperfect [Novalis] |
| Full Idea: An absolute drive toward perfection and completeness is an illness, as soon as it shows itself to be destructive and averse toward the imperfect, the incomplete. | |
| From: Novalis (General Draft [1799], 33) | |
| A reaction: Deep and true! Novalis seems to be a particularist - hanging on to the fine detail of life, rather than being immersed in the theory. These are the philosophers who also turn to literature. |
| 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] |