8 ideas
| 6294 | In the beginning was the Word, and the Word was with God, and the word was God [John] |
| Full Idea: In the beginning was the Word, and the Word was with God, and the word was God. | |
| From: St John (04: Gospel of St John [c.95], 01.01) | |
| A reaction: 'Word' translates the Greek word 'logos', which has come a long way since Heraclitus. The interesting contrast is with the later Platonist view that the essence of God is the Good. So is the source of everything to be found in reason, or in value? |
| 8821 | Jesus said he bore witness to the truth. Pilate asked, What is truth? [John] |
| Full Idea: Jesus: I came into the world, that I should bear witness unto the truth. Everyone that is of the truth heareth my voice. Pilate saith unto him, What is truth? | |
| From: St John (04: Gospel of St John [c.95], 18:37-8) | |
| A reaction: There is very little explicit discussion of truth in philosophy before this exchange (apart from Ideas 251 and 586), and there isn't any real debate prior to Russell and the pragmatists. What was Pilate's tone? Did he spit at the end of his question? |
| 10467 | Individuals consist of 'compresent' tropes [Bacon,John] |
| Full Idea: 'Qualitons' or 'relatons' (quality and relation tropes) are held to belong to the same individual if they are all 'compresent' with one another. | |
| From: John Bacon (Tropes [2008], §4) | |
| A reaction: There is a perennial problem with bundles - how to distinguish accidental compresence (like people in a lift) from united compresence (like people who make a family). |
| 10464 | A trope is a bit of a property or relation (not an exemplification or a quality) [Bacon,John] |
| Full Idea: A trope is an instance or bit (not an exemplification) of a property or a relation. Bill Clinton's eloquence is not his participating in the universal eloquence, or the peculiar quality of his eloquence, but his bit, and his alone, of eloquence. | |
| From: John Bacon (Tropes [2008], Intro) | |
| A reaction: If we have identified something as a 'bit' of something, we can ask whether that bit is atomic, or divisible into something else, and we can ask what are the qualities and properties and powers of this bit, we seems to defeat the object. |
| 10465 | Trope theory is ontologically parsimonious, with possibly only one-category [Bacon,John] |
| Full Idea: A major attraction of tropism has been its promise of parsimony; some adherents (such as Campbell) go so far as to proclaim a one-category ontology. | |
| From: John Bacon (Tropes [2008], §2) | |
| A reaction: This seems to go against the folk idiom which suggests that it is things which have properties, rather than properties ruling to roost. Maybe if one identified tropes with processes, the theory could be brought more into line with modern physics? |
| 10466 | Maybe possible worlds are just sets of possible tropes [Bacon,John] |
| Full Idea: Meinongian tropism has the advantage that possible worlds might be thought of as sets of 'qualitons' and 'relatons' (quality and relational tropes). | |
| From: John Bacon (Tropes [2008], §3) | |
| A reaction: You are still left with 'possible' to explain, and I'm not sure that anything is explain here. If the actual world is sets of tropes, then possible worlds would also have to be, I suppose. |
| 12165 | Romantics say music expresses ideas, or the Will, or intuitions, or feelings [Scruton] |
| Full Idea: According to the Romantic theory music was an expression of something, of an idea (Hegel), of the Will (Schopenhauer), of 'intuitions' (Croce), or of feelings (Collingwood). | |
| From: Roger Scruton (The Nature of Musical Expression [1981], p.54) | |
| A reaction: Deryck Cooke was the culmination of music as expression of feeling, and Stravinsky was the greatest rebel against the whole idea of expression in music. You can set out to create interesting music which does or does not grab the emotions. |
| 12164 | Expressing melancholy is a good thing, but arousing it is a bad thing [Scruton] |
| Full Idea: To describe a piece of music as expressive of melancholy is to give a reason for listening to it; to describe it as arousing or evoking melancholy is to give a reason for avoiding it. | |
| From: Roger Scruton (The Nature of Musical Expression [1981], p.49) | |
| A reaction: Expressing sexual desire, while avoiding arousing it, is the nice challenge for a particular type of art. Would Scruton say that expressing joy is a good thing, but arousing it is bad? It is a nice observation, though. |