11 ideas
| 3269 | If your life is to be meaningful as part of some large thing, the large thing must be meaningful [Nagel] |
| Full Idea: Those seeking to give their lives meaning usually envision a role in something larger than themselves, …but such a role can't confer significance unless that enterprise is itself significant. | |
| From: Thomas Nagel (The Absurd [1971], §3) | |
| A reaction: Which correctly implies that this way of finding meaning for one's life is doomed. |
| 3270 | Justifications come to an end when we want them to [Nagel] |
| Full Idea: Justifications come to an end when we are content to have them end. | |
| From: Thomas Nagel (The Absurd [1971], §3) | |
| A reaction: This is the correct account, with the vital proviso that where justification comes to an end is usually a social matter. Robinson Crusoe doesn't care whether he 'knows' - he just acts on his beliefs. |
| 3488 | Freud treats the unconscious as intentional and hence mental [Freud, by Searle] |
| Full Idea: Freud thinks that our unconscious mental states exist as occurrent intrinsic intentional states even when unconscious. Their ontology is that of the mental, even when they are unconscious. | |
| From: report of Sigmund Freud (works [1900]) by John Searle - The Rediscovery of the Mind Ch. 7.V | |
| A reaction: Searle states this view in order to attack it. Whether such states are labelled as 'mental' seems uninteresting. Whether unconscious states can be intentional is crucial, and modern scientific understanding of the brain strongly suggest they can. |
| 5689 | Freud and others have shown that we don't know our own beliefs, feelings, motive and attitudes [Freud, by Shoemaker] |
| Full Idea: Freud persuaded many that beliefs, wishes and feelings are sometimes unconscious, and even sceptics about Freud acknowledge that there is self-deception about motive and attitudes. | |
| From: report of Sigmund Freud (works [1900]) by Sydney Shoemaker - Introspection p.396 | |
| A reaction: This seems to me obviously correct. The traditional notion is that the consciousness is the mind, but now it seems obvious that consciousness is only one part of the mind, and maybe even a peripheral (epiphenomenal) part of it. |
| 23950 | Freud said passions are pressures of some flowing hydraulic quantity [Freud, by Solomon] |
| Full Idea: Freud argued that the passions in general …were the pressures of a yet unknown 'quantity' (which he simply designated 'Q'). He first thought this flowed through neurones, …and always couched the idea in the language of hydraulics. | |
| From: report of Sigmund Freud (works [1900]) by Robert C. Solomon - The Passions 3.4 | |
| A reaction: This is the main target of Solomon's criticism, because its imagery has become so widespread. It leads to talk of suppressing emotions, or sublimating them. However, it is not too different from Nietzsche's 'drives' or 'will to power'. |
| 22693 | The works we value most are in sympathy with our own moral views [John,E] |
| Full Idea: The works we tend to value most highly are ones that are in sympathy with the moral views we actually accept. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intro) | |
| A reaction: I would have to endorse this. She admits that we may rate other works very highly, but they won't appear on our list of favourites. This fact may well distort philosophical discussions of morality and art. |
| 22694 | We should understand what is morally important in a story, without having to endorse it [John,E] |
| Full Idea: Our responses to literature should show that we grasp whatever counts as morally important within the narrative, but not necessarily that we judge and feel in the way deemed appropriate by the work. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Accommodating') | |
| A reaction: She gives as an example a story by Hemingway which places a high value on the courageous hunting of big game. A second example is the total amorality of a Highsmith novel. This idea seems exactly right to me. |
| 22695 | We value morality in art because that is what we care about - but it is a contingent fact [John,E] |
| Full Idea: Moral value is valuable in art because people care about moral value. This runs deep, but it is a contingent matter, and the value of morality in art hinges on art's need to provide something precious to us. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Contingency') | |
| A reaction: I think this is exactly right. Thrillers are written with very little moral concern, for a readership which cares about brave and exciting deeds. Even there, violence has its ethics. |
| 22692 | A work can be morally and artistically excellent, despite rejecting moral truth [John,E] |
| Full Idea: A work that rejects moral truth can be artistically excellent, in part because of its moral content. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intr) | |
| A reaction: She cites the film 'Trainspotting', about desperate drug addicts, because it gives an amoral insight into their world. |
| 22344 | Freud is pessimistic about human nature; it is ambivalent motive and fantasy, rather than reason [Freud, by Murdoch] |
| Full Idea: Freud takes a thoroughly pessimistic view of human nature. ...Introspection reveals only the deep tissue of ambivalent motive, and fantasy is a stronger force than reason. Objectivity and unselfishness are not natural to human beings. | |
| From: report of Sigmund Freud (works [1900], II) by Iris Murdoch - The Sovereignty of Good II | |
| A reaction: Interesting. His view seems to have coloured the whole of modern culture, reinforced by the hideous irrationality of the Nazis. Adorno and Horkheimer attacking the Enlightenment was the last step in that process. |
| 3268 | If a small brief life is absurd, then so is a long and large one [Nagel] |
| Full Idea: If life is absurd because it only lasts seventy years, wouldn't it be infinitely absurd if it lasted for eternity? And if we are absurd because we are small, would we be any less absurd if we filled the universe? | |
| From: Thomas Nagel (The Absurd [1971], §1) |