8 ideas
| 14742 | It can't be indeterminate whether x and y are identical; if x,y is indeterminate, then it isn't x,x [Salmon,N] |
| Full Idea: Insofar as identity seems vague, it is provably mistaken. If it is vague whether x and y are identical (as in the Ship of Theseus), then x,y is definitely not the same as x,x, since the first pair is indeterminate and the second pair isn't. | |
| From: Nathan Salmon (Reference and Essence: seven appendices [2005], App I) | |
| A reaction: [compressed; Gareth Evans 1978 made a similar point] This strikes me as begging the question in the Ship case, since we are shoehorning the new ship into either the slot for x or the slot for y, but that was what we couldn’t decide. No rough identity? |
| 3016 | Even the gods cannot strive against necessity [Pittacus, by Diog. Laertius] |
| Full Idea: Even the gods cannot strive against necessity. | |
| From: report of Pittacus (reports [c.610 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 01.5.4 |
| 18885 | Kripke and Putnam made false claims that direct reference implies essentialism [Salmon,N] |
| Full Idea: Kripke and Putnam made unsubstantiated claims, indeed false claims, to the effect that the theory of direct reference has nontrivial essentialist import. | |
| From: Nathan Salmon (Reference and Essence: seven appendices [2005], Pref to Exp Ed) | |
| A reaction: Kripke made very few claims, and is probably innocent of the charge. Most people agree with Salmon that you can't derive metaphysics from a theory of reference. |
| 12163 | Literary meaning emerges in comparisons, and tradition shows which comparisons are relevant [Scruton] |
| Full Idea: We must discover the meanings that emerge when works of literature are experience in relation to each other. ...The importance of tradition is that it denotes - ideally, at least - the class of relevant comparisons. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.27) | |
| A reaction: This is a nice attempt to explain why we all agree that a thorough education in an art is an essential prerequisite for good taste. Some people (e.g. among the young) seem to have natural good taste. How does that happen? |
| 12162 | In literature, word replacement changes literary meaning [Scruton] |
| Full Idea: In literary contexts semantically equivalent words cannot replace each other without loss of literary meaning. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.25) | |
| A reaction: The notion of 'literary meaning' is not a standard one, and is questionable whether 'meaning' is the right word, given that a shift in word in a poem is as much to do with sound as with connotations. |
| 12159 | Without intentions we can't perceive sculpture, but that is not the whole story [Scruton] |
| Full Idea: A person for whom it made no difference whether a sculpture was carved by wind and rain or by human hand would be unable to interpret or perceive sculptures - even though the interpretation of sculpture is not the reading of an intention. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.15) | |
| A reaction: Scruton compares it to the role of intention in language, where there is objective meaning, even though intention is basic to speech. |
| 12160 | In aesthetic interest, even what is true is treated as though it were not [Scruton] |
| Full Idea: In aesthetic interest, even what is true is treated as though it were not. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.18) | |
| A reaction: A nice aphorism. I always feel uncomfortable reading novels about real people, although the historical Macbeth doesn't bother me much. Novels are too close to reality. Macbeth didn't speak blank verse. |
| 12161 | We can be objective about conventions, but love of art is needed to understand its traditions [Scruton] |
| Full Idea: An historian can elucidate convention while having no feeling for the art that exploits it; whereas an understanding of tradition is reserved for those with the critical insight which comes from the love of art, both past and present. | |
| From: Roger Scruton (Public Text and Common Reader [1982], p.24) | |
| A reaction: This aesthetic observation is obviously close to Scruton's well-known conservatism in politics. I am doubtful whether the notion of 'tradition' can stand up to close examination, though we all know roughly what he means. |