45 ideas
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. |
224 | When questions are doubtful we should concentrate not on objects but on ideas of the intellect [Plato] |
Full Idea: Doubtful questions should not be discussed in terms of visible objects or in relation to them, but only with reference to ideas conceived by the intellect. | |
From: Plato (Parmenides [c.364 BCE], 135e) |
232 | Opposites are as unlike as possible [Plato] |
Full Idea: Opposites are as unlike as possible. | |
From: Plato (Parmenides [c.364 BCE], 159a) |
8937 | Plato's 'Parmenides' is the greatest artistic achievement of the ancient dialectic [Hegel on Plato] |
Full Idea: Plato's 'Parmenides' is the greatest artistic achievement of the ancient dialectic. | |
From: comment on Plato (Parmenides [c.364 BCE]) by Georg W.F.Hegel - Phenomenology of Spirit Pref 71 | |
A reaction: It is a long way from the analytic tradition of philosophy to be singling out a classic text for its 'artistic' achievement. Eventually we may even look back on, say, Kripke's 'Naming and Necessity' and see it in that light. |
13986 | Plato found antinomies in ideas, Kant in space and time, and Bradley in relations [Plato, by Ryle] |
Full Idea: Plato (in 'Parmenides') shows that the theory that 'Eide' are substances, and Kant that space and time are substances, and Bradley that relations are substances, all lead to aninomies. | |
From: report of Plato (Parmenides [c.364 BCE]) by Gilbert Ryle - Are there propositions? 'Objections' |
14150 | Plato's 'Parmenides' is perhaps the best collection of antinomies ever made [Russell on Plato] |
Full Idea: Plato's 'Parmenides' is perhaps the best collection of antinomies ever made. | |
From: comment on Plato (Parmenides [c.364 BCE]) by Bertrand Russell - The Principles of Mathematics §337 |
16150 | One is, so numbers exist, so endless numbers exist, and each one must partake of being [Plato] |
Full Idea: If one is, there must also necessarily be number - Necessarily - But if there is number, there would be many, and an unlimited multitude of beings. ..So if all partakes of being, each part of number would also partake of it. | |
From: Plato (Parmenides [c.364 BCE], 144a) | |
A reaction: This seems to commit to numbers having being, then to too many numbers, and hence to too much being - but without backing down and wondering whether numbers had being after all. Aristotle disagreed. |
229 | The one was and is and will be and was becoming and is becoming and will become [Plato] |
Full Idea: The one was and is and will be and was becoming and is becoming and will become. | |
From: Plato (Parmenides [c.364 BCE], 155d) |
21821 | Plato's Parmenides has a three-part theory, of Primal One, a One-Many, and a One-and-Many [Plato, by Plotinus] |
Full Idea: The Platonic Parmenides is more exact [than Parmenides himself]; the distinction is made between the Primal One, a strictly pure Unity, and a secondary One which is a One-Many, and a third which is a One-and-Many. | |
From: report of Plato (Parmenides [c.364 BCE]) by Plotinus - The Enneads 5.1.08 | |
A reaction: Plotinus approves of this three-part theory. Parmenides has the problem that the highest Being contains no movement. By placing the One outside Being you can give it powers which an existent thing cannot have. Cf the concept of God. |
221 | Absolute ideas, such as the Good and the Beautiful, cannot be known by us [Plato] |
Full Idea: The absolute good and the beautiful and all which we conceive to be absolute ideas are unknown to us. | |
From: Plato (Parmenides [c.364 BCE], 134c) |
227 | You must always mean the same thing when you utter the same name [Plato] |
Full Idea: You must always mean the same thing when you utter the same name. | |
From: Plato (Parmenides [c.364 BCE], 147d) |
223 | If you deny that each thing always stays the same, you destroy the possibility of discussion [Plato] |
Full Idea: If a person denies that the idea of each thing is always the same, he will utterly destroy the power of carrying on discussion. | |
From: Plato (Parmenides [c.364 BCE], 135c) |
210 | It would be absurd to think there were abstract Forms for vile things like hair, mud and dirt [Plato] |
Full Idea: Are there abstract ideas for such things as hair, mud and dirt, which are particularly vile and worthless? That would be quite absurd. | |
From: Plato (Parmenides [c.364 BCE], 130d) |
220 | The concept of a master includes the concept of a slave [Plato] |
Full Idea: Mastership in the abstract is mastership of slavery in the abstract. | |
From: Plato (Parmenides [c.364 BCE], 133e) |
211 | If admirable things have Forms, maybe everything else does as well [Plato] |
Full Idea: It is troubling that if admirable things have abstract ideas, then perhaps everything else must have ideas as well. | |
From: Plato (Parmenides [c.364 BCE], 130d) |
219 | If absolute ideas existed in us, they would cease to be absolute [Plato] |
Full Idea: None of the absolute ideas exists in us, because then it would no longer be absolute. | |
From: Plato (Parmenides [c.364 BCE], 133c) |
228 | Greatness and smallness must exist, to be opposed to one another, and come into being in things [Plato] |
Full Idea: These two ideas, greatness and smallness, exist, do they not? For if they did not exist, they could not be opposites of one another, and could not come into being in things. | |
From: Plato (Parmenides [c.364 BCE], 149e) |
16151 | Plato moves from Forms to a theory of genera and principles in his later work [Plato, by Frede,M] |
Full Idea: It seems to me that Plato in the later dialogues, beginning with the second half of 'Parmenides', wants to substitute a theory of genera and theory of principles that constitute these genera for the earlier theory of forms. | |
From: report of Plato (Parmenides [c.364 BCE]) by Michael Frede - Title, Unity, Authenticity of the 'Categories' V | |
A reaction: My theory is that the later Plato came under the influence of the brilliant young Aristotle, and this idea is a symptom of it. The theory of 'principles' sounds like hylomorphism to me. |
218 | Participation is not by means of similarity, so we are looking for some other method of participation [Plato] |
Full Idea: Participation is not by means of likeness, so we must seek some other method of participation. | |
From: Plato (Parmenides [c.364 BCE], 133a) |
212 | The whole idea of each Form must be found in each thing which participates in it [Plato] |
Full Idea: The whole idea of each form (of beauty, justice etc) must be found in each thing which participates in it. | |
From: Plato (Parmenides [c.364 BCE], 131a) |
213 | Each idea is in all its participants at once, just as daytime is a unity but in many separate places at once [Plato] |
Full Idea: Just as day is in many places at once, but not separated from itself, so each idea might be in all its participants at once. | |
From: Plato (Parmenides [c.364 BCE], 131b) |
216 | If things are made alike by participating in something, that thing will be the absolute idea [Plato] |
Full Idea: That by participation in which like things are made like, will be the absolute idea, will it not? | |
From: Plato (Parmenides [c.364 BCE], 132e) |
215 | If things partake of ideas, this implies either that everything thinks, or that everything actually is thought [Plato] |
Full Idea: If all things partake of ideas, must either everything be made of thoughts and everything thinks, or everything is thought, and so can't think? | |
From: Plato (Parmenides [c.364 BCE], 132c) |
217 | Nothing can be like an absolute idea, because a third idea intervenes to make them alike (leading to a regress) [Plato] |
Full Idea: It is impossible for anything to be like an absolute idea, because a third idea will appear to make them alike, and if that is like anything, it will lead to another idea, and so on. | |
From: Plato (Parmenides [c.364 BCE], 133a) |
214 | If absolute greatness and great things are seen as the same, another thing appears which makes them seem great [Plato] |
Full Idea: If you regard the absolute great and the many great things in the same way, will not another appear beyond, by which all these must appear to be great? | |
From: Plato (Parmenides [c.364 BCE], 132a) |
15851 | Parts must belong to a created thing with a distinct form [Plato] |
Full Idea: The part would not be the part of many things or all, but of some one character ['ideas'] and of some one thing, which we call a 'whole', since it has come to be one complete [perfected] thing composed [created] of all. | |
From: Plato (Parmenides [c.364 BCE], 157d) | |
A reaction: A serious shot by Plato at what identity is. Harte quotes it (125) and shows that 'character' is Gk 'idea', and 'composed' will translate as 'created'. 'Form' links this Platonic passage to Aristotle's hylomorphism. |
15846 | In Parmenides, if composition is identity, a whole is nothing more than its parts [Plato, by Harte,V] |
Full Idea: At the heart of the 'Parmenides' puzzles about composition is the thesis that composition is identity. Considered thus, a whole adds nothing to an ontology that already includes its parts | |
From: report of Plato (Parmenides [c.364 BCE]) by Verity Harte - Plato on Parts and Wholes 2.5 | |
A reaction: There has to be more to a unified identity that mere proximity of the parts. When do parts come together, and when do they actually 'compose' something? |
15849 | Plato says only a one has parts, and a many does not [Plato, by Harte,V] |
Full Idea: In 'Parmenides' it is argued that a part cannot be part of a many, but must be part of something one. | |
From: report of Plato (Parmenides [c.364 BCE], 157c) by Verity Harte - Plato on Parts and Wholes 3.2 | |
A reaction: This looks like the right way to go with the term 'part'. We presuppose a unity before we even talk of its parts, so we can't get into contradictions and paradoxes about their relationships. |
15850 | Anything which has parts must be one thing, and parts are of a one, not of a many [Plato] |
Full Idea: The whole of which the parts are parts must be one thing composed of many; for each of the parts must be part, not of a many, but of a whole. | |
From: Plato (Parmenides [c.364 BCE], 157c) | |
A reaction: This is a key move of metaphysics, and we should hang on to it. The other way madness lies. |
13259 | It seems that the One must be composed of parts, which contradicts its being one [Plato] |
Full Idea: The One must be composed of parts, both being a whole and having parts. So on both grounds the One would thus be many and not one. But it must be not many, but one. So if the One will be one, it will neither be a whole, nor have parts. | |
From: Plato (Parmenides [c.364 BCE], 137c09), quoted by Kathrin Koslicki - The Structure of Objects 5.2 | |
A reaction: This is the starting point for Plato's metaphysical discussion of objects. It seems to begin a line of thought which is completed by Aristotle, surmising that only an essential structure can bestow identity on a bunch of parts. |
15847 | Two things relate either as same or different, or part of a whole, or the whole of the part [Plato] |
Full Idea: Everything is surely related to everything as follows: either it is the same or different; or, if it is not the same or different, it would be related as part to whole or as whole to part. | |
From: Plato (Parmenides [c.364 BCE], 146b) | |
A reaction: This strikes me as a really helpful first step in trying to analyse the nature of identity. Two things are either two or (actually) one, or related mereologically. |
19261 | Understanding is seeing coherent relationships in the relevant information [Kvanvig] |
Full Idea: What is distinctive about understanding (after truth is satisfied) is the internal seeing or appreciating of explanatory and other coherence-inducing relationships in a body of information that is crucial for understanding. | |
From: Jonathan Kvanvig (The Value of Knowledge and the Pursuit of Understanding [2003], 198), quoted by Anand Vaidya - Understanding and Essence 'Distinction' | |
A reaction: For me this ticks exactly the right boxes. Coherent explanations are what we want. The hardest part is the ensure their truth. Kvanvig claims this is internal, so we can understand even if, Gettier-style, our external connections are lucky. |
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] |
222 | Only a great person can understand the essence of things, and an even greater person can teach it [Plato] |
Full Idea: Only a man of very great natural gifts will be able to understand that everything has a class and absolute essence, and an even more wonderful man can teach this. | |
From: Plato (Parmenides [c.364 BCE], 135a) |
225 | The unlimited has no shape and is endless [Plato] |
Full Idea: The unlimited partakes neither of the round nor of the straight, because it has no ends nor edges. | |
From: Plato (Parmenides [c.364 BCE], 137e) |
233 | Some things do not partake of the One [Plato] |
Full Idea: The others cannot partake of the one in any way; they can neither partake of it nor of the whole. | |
From: Plato (Parmenides [c.364 BCE], 159d) | |
A reaction: Compare Idea 231 |
2062 | The only movement possible for the One is in space or in alteration [Plato] |
Full Idea: If the One moves it either moves spatially or it is altered, since these are the only motions. | |
From: Plato (Parmenides [c.364 BCE], 138b) |
231 | Everything partakes of the One in some way [Plato] |
Full Idea: The others are not altogether deprived of the one, for they partake of it in some way. | |
From: Plato (Parmenides [c.364 BCE], 157c) | |
A reaction: Compare Idea 233. |
234 | We couldn't discuss the non-existence of the One without knowledge of it [Plato] |
Full Idea: There must be knowledge of the one, or else not even the meaning of the words 'if the one does not exist' would be known. | |
From: Plato (Parmenides [c.364 BCE], 160d) |