60 ideas
| 8927 | Philosophy moves essentially in the element of universality [Hegel] |
| Full Idea: Philosophy moves essentially in the element of universality. | |
| From: Georg W.F.Hegel (Phenomenology of Spirit [1807], Pref 01) | |
| A reaction: I would take this to be uncontroversially correct. An interesting test case is applied ethics, which seems embedded in current cultural practices. I would always take it to be searching for what is universal in each situation. |
| 21776 | Philosophy aims to reveal the necessity and rationality of the categories of nature and spirit [Hegel, by Houlgate] |
| Full Idea: For Hegel, philosophy's principal task is to disclose the enduring necessity and rationality of the categories and forms of nature and spirit that it examines. | |
| From: report of Georg W.F.Hegel (Phenomenology of Spirit [1807]) by Stephen Houlgate - An Introduction to Hegel 4 'Phenomenology' | |
| A reaction: The idea that a miserable little evolved and transient mammal on a tiny planet has direct insight into the necessities and categories of nature and spirit looks a shade optimistic to me. You have to admire the ambition, though. |
| 20388 | 'Necessary' conditions are requirements, and 'sufficient' conditions are guarantees [Davies,S] |
| Full Idea: A 'necessary' condition for something's being an X is condition that all Xs must satisfy. ...A 'sufficient' condition for something's being an X is a condition that, when satisfied, guarantees that what satisfies it is an X. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: By summarising this I arrive at the requirement/guarantee formulation, which I am rather pleased with. What is required for rain, and what guarantees rain? |
| 8935 | Without philosophy, science is barren and futile [Hegel] |
| Full Idea: Let other sciences try to argue as much as they like without philosophy - without it they can have in them neither life, Spirit, nor truth. | |
| From: Georg W.F.Hegel (Phenomenology of Spirit [1807], Pref 67) | |
| A reaction: To be pinned up in every physics laboratory in the world. On the whole I agree with this. My slogan is 'science is the servant of philosophy'. An unphilosophical scientist is just a technologist, an artisan. |
| 22082 | Truth does not appear by asserting reasons and then counter-reasons [Hegel] |
| Full Idea: It is not difficult to see that the way of asserting a proposition, adducing reasons for it, and in the same way refuting its opposite by reasons, is not the form in which truth can appear. | |
| From: Georg W.F.Hegel (Phenomenology of Spirit [1807], p.28), quoted by Stephen Houlgate - Hegel p.100 | |
| A reaction: This is a pretty good description of the way Plato and Aristotle do philosophy, so this idea, which must be a founding idea for the 'continental school', is extremely radical. Personally I identify rationality with believing things for good reasons. |
| 22035 | The structure of reason is a social and historical achievement [Hegel, by Pinkard] |
| Full Idea: The lesson of Hegel's Phenomenology was that the structure of reason was social, and was therefore a historical achievement. | |
| From: report of Georg W.F.Hegel (Phenomenology of Spirit [1807]) by Terry Pinkard - German Philosophy 1760-1860 10 | |
| A reaction: This must be one of the most influential ideas to have filtered into the modern world. It is a predecessor of Marxist sociology. The idea that stands against it is Frege's platonist view of logic, making it necessary, despite being historical. |
| 8932 | Truth does not come from giving reasons for and against propositions [Hegel] |
| Full Idea: The way of asserting a proposition, adducing reasons for it, and in the same way refuting its opposite by reasons, is not the form in which truth can appear. | |
| From: Georg W.F.Hegel (Phenomenology of Spirit [1807], Pref 48) | |
| A reaction: I can't see Plato or Aristotle agreeing with this. It is obviously the prelude to Hegel's dialectical account of reasoning. However, if we don't believe things because we have good reason to, I'm not sure where we shoud start. |
| 20389 | A definition of a thing gives all the requirements which add up to a guarantee of it [Davies,S] |
| Full Idea: If we specify the 'necessary' conditions that are 'sufficient' for something's being an X, that is a combination of conditions such that all and only Xs meet them, which is the hallmark of a definition of X-hood. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.1) | |
| A reaction: There are, of course, many other ways to define something, as shown in the 2.D Reason | Definition section of this database. This nicely summarises the classical view. |
| 20391 | Feminists warn that ideologies use timeless objective definitions as a tool of repression [Davies,S] |
| Full Idea: According to the feminist critique, ideologies that operate as tools of political repression are falsely represented as definitions possessing a timeless, natural, asocial, universal objectivity. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I suppose this does not just apply to definitions, but to all expressions of ideologically repressive strategy. I'm trying to think of an example of a specifically feminist problem case. Davies doesn't cite anyone. |
| 7077 | The true is the whole [Hegel] |
| Full Idea: The true is the whole. | |
| From: Georg W.F.Hegel (Phenomenology of Spirit [1807], Pref 20) | |
| A reaction: This is the full idealist coherence view of truth, that one only approaches the Truth (capital T) as one builds up a more and more coherent picture. It makes truth unattainable, and that strikes me as a bit silly. |
| 8915 | How we refer to abstractions is much less clear than how we refer to other things [Rosen] |
| Full Idea: It is unclear how we manage to refer determinately to abstract entities in a sense in which it is not unclear how we manage to refer determinately to other things. | |
| From: Gideon Rosen (Abstract Objects [2001], 'Way of Ex') | |
| A reaction: This is where problems of abstraction overlap with problems about reference in language. Can we have a 'baptism' account of each abstraction (even very large numbers)? Will descriptions do it? Do abstractions collapse into particulars when we refer? |
| 15611 | I develop philosophical science from the simplest appearance of immediate consciousness [Hegel, by Hegel] |
| Full Idea: In my 'Phenomenology of Spirit' the procedure adopted was to begin from the first and simplest appearance of the spirit, from immediate consciousness, and to develop the dialectic right up to the standpoint of philosophical science. | |
| From: report of Georg W.F.Hegel (Phenomenology of Spirit [1807]) by Georg W.F.Hegel - Logic (Encyclopedia I) §25 Rem | |
| A reaction: I take metaphysics to be either Parmenidean (starting from Being) or Cartesian (starting from mind), and this (surprisingly, given his lengthy talk of Being) shows Hegel to be a quintessentially Cartesian philosopher. Aristotle is the great Parmenidean. |
| 8928 | The Absolute is not supposed to be comprehended, but felt and intuited [Hegel] |
| Full Idea: The Absolute is not supposed to be comprehended, it is to be felt and intuited. | |
| From: Georg W.F.Hegel (Phenomenology of Spirit [1807], Pref 06) | |
| A reaction: Hegel was a rather romantic philosopher. Where does the 'supposed' come from? If the Absolute is only felt and intuited, can the resulting apprehensions be reported to others? Is this, in fact, mysticism? |
| 8929 | In the Absolute everything is the same [Hegel] |
| Full Idea: In the Absolute everything is the same. | |
| From: Georg W.F.Hegel (Phenomenology of Spirit [1807], Pref 16) | |
| A reaction: This is indistinguishable from the great spherical reality of Parmenides. It is not unreasonable to enquire about the epistemology of this claim. Is Hegel a seer, or can we all intuit this insight into reality? |
| 21774 | Genuine idealism is seeing the ideal structure of the world [Hegel, by Houlgate] |
| Full Idea: Genuine (as opposed to subjective) idealism, for Hegel, is the point of view that knows the world to have a rational, and therefore 'ideal', structure. | |
| From: report of Georg W.F.Hegel (Phenomenology of Spirit [1807]) by Stephen Houlgate - An Introduction to Hegel 04 'The Unhappy' | |
| A reaction: Compare Leibniz, whose monad theory is said to be a sort of idealism, because it places ideas at the heart of reality. Is Plato also this sort of 'genuine' idealism? Do we need different terms for 'genuine' and 'subjective' idealism? And 'transcendental'? |
| 8934 | Being is Thought [Hegel] |
| Full Idea: Being is Thought. | |
| From: Georg W.F.Hegel (Phenomenology of Spirit [1807], Pref 54) | |
| A reaction: You won't find a more succinct slogan for idealism than that. Speaking as what Tim Williamson (referring to himself) calls a 'rottweiler realist', I can't quite get the hang of Hegel's claim. What does he think thought is, if it isn't about the world? |
| 21773 | Experience is immediacy, unity, forces, self-awareness, reason, culture, absolute being [Hegel, by Houlgate] |
| Full Idea: Experience moves from 1) immediacy, to 2) united objects with properties, 3) its forces and laws, 4) self-consciousness in the process, 5) seeing a rational realm, 6) seeing a cultural realm, 7) seeing the absolute being of consciousness. | |
| From: report of Georg W.F.Hegel (Phenomenology of Spirit [1807]) by Stephen Houlgate - An Introduction to Hegel 03 'From certainty' | |
| A reaction: [My summary of Houlgate's summary of the key sequence of ideas in The Phenomenology of Spirit]. I stare at it with bewilderment, but cannot decide whether or not Hegel is pursuing a worthwhile project. [also Houlgate p.77 and 102] |
| 22033 | Hegel tried to avoid Kant's dualism of neutral intuitions and imposed concepts [Hegel, by Pinkard] |
| Full Idea: Hegel tried to avoid the untenable Kantian dualism between concepts and intuitions, and the Kantian mechanism of the 'imposition' of concepts on sensibility entailed by that dualism (with intuition having neutral content). | |
| From: report of Georg W.F.Hegel (Phenomenology of Spirit [1807]) by Terry Pinkard - German Philosophy 1760-1860 09 | |
| A reaction: [Pinker is describing the opening of Phenomenology] In modern discussions this concerns the idea of The Given, which is wholly uninterpreted raw experience. Sellars and MacDowell. Kant seems to split an agent into two (Master/Slave). |
| 21771 | Consciousness derives its criterion of knowledge from direct knowledge of its own being [Hegel] |
| Full Idea: In what consciousness affirms from within itself as being-in-itself or the True we have the standard which consciousness itself sets up by which to measure what it knows. | |
| From: Georg W.F.Hegel (Phenomenology of Spirit [1807], p.053), quoted by Stephen Houlgate - An Introduction to Hegel 03 'The Method' | |
| A reaction: This seems to be a very close relation of Descartes' 'clear and distinct conceptions'. This certainly places Hegel in the Rationalist camp. |
| 20741 | Consciousness is shaped dialectically, by opposing forces and concepts [Hegel, by Aho] |
| Full Idea: In 'The Phenomenology of Spirit' Hegel offers a panoptic account of Western consciousness as a dialectical process shaped by opposing principles - such as subject/object, freedom/determinism, temporal/eternal, and particular/universal. | |
| From: report of Georg W.F.Hegel (Phenomenology of Spirit [1807]) by Kevin Aho - Existentialism: an introduction 2 'Subjective' | |
| A reaction: A helpful pointer, for us poor analytic philosophers, who stare in bewilderment at Hegel's stuff, despite its apparent importance. At moment it is the politics that strikes me as most interesting in Hegel. This is cultured consciousness, pre-Marx. |
| 21770 | Consciousness is both of objects, and of itself [Hegel] |
| Full Idea: Consciousness is, on the one hand, consciousness of the object, and on the other, consciousness of itself. | |
| From: Georg W.F.Hegel (Phenomenology of Spirit [1807], p.052), quoted by Stephen Houlgate - An Introduction to Hegel 03 'The Method' | |
| A reaction: Hume challenges whether there is any knowledge of consciousness purely in itself. Schopenhauer flatly disagreed (Idea 4166) - but then he would, wouldn't he? |
| 5647 | Hegel claims knowledge of self presupposes desire, and hence objects [Hegel, by Scruton] |
| Full Idea: Hegel seems to argue that the immediate knowledge of self (the Cartesian premise) presupposes the activity that constitutes the self, and this presupposes desire, and hence the knowledge of objects. | |
| From: report of Georg W.F.Hegel (Phenomenology of Spirit [1807]) by Roger Scruton - Short History of Modern Philosophy Ch.12 | |
| A reaction: This hardly amounts to an argument, but I find it quite sympathetic as a claim. It fits comfortably with modern externalist accounts of thought. While solipsism seems a logical possibility, it hardly amounts to a coherent account of mental life. |
| 5648 | For Hegel knowledge of self presupposes objects, and also a public and moral social world [Hegel, by Scruton] |
| Full Idea: Hegel tries to show that knowledge of self as subject presupposes not just knowledge of objects, but knowledge of a public social world, in which there is moral order and civic trust. | |
| From: report of Georg W.F.Hegel (Phenomenology of Spirit [1807]) by Roger Scruton - Short History of Modern Philosophy Ch.12 | |
| A reaction: This is not far off Wittgenstein's private language argument. It is also Popper's 'World Three', of society and language. Human reality is incomprehensible without some recognition of the culture in which we immerse, like fish in water. |
| 8917 | The Way of Abstraction used to say an abstraction is an idea that was formed by abstracting [Rosen] |
| Full Idea: The simplest version of the Way of Abstraction would be to say that an object is abstract if it is a referent of an idea that was formed by abstraction, but this is wedded to an outmoded philosophy of mind. | |
| From: Gideon Rosen (Abstract Objects [2001], 'Way of Abs') | |
| A reaction: This presumably refers to Locke, who wields the highly ambiguous term 'idea'. But if we sort out that ambiguity (by using modern talk of mental events, concepts and content?) we might reclaim the view. But do we have a 'genetic fallacy' here? |
| 8912 | Nowadays abstractions are defined as non-spatial, causally inert things [Rosen] |
| Full Idea: If any characterization of the abstract deserves to be regarded as the modern standard one, it is this: an abstract entity is a non-spatial (or non-spatiotemporal) causally inert thing. This view presents a number of perplexities... | |
| From: Gideon Rosen (Abstract Objects [2001], 'Non-spat') | |
| A reaction: As indicated in other ideas, the problem is that some abstractions do seem to be located somewhere in space-time, and to have come into existence, and to pass away. I like 'to exist is to have causal powers'. See Ideas 5992 and 8300. |
| 8913 | Chess may be abstract, but it has existed in specific space and time [Rosen] |
| Full Idea: The natural view of chess is not that it is a non-spatiotemporal mathematical object, but that it was invented at a certain time and place, that it has changed over the years, and so on. | |
| From: Gideon Rosen (Abstract Objects [2001], 'Non-spat') | |
| A reaction: This strikes me as being undeniable, and being an incredibly important point. Logicians seem to want to subsume things like games into the highly abstract world of logic and numbers. In fact the direction of explanation should be reversed. |
| 8914 | Sets are said to be abstract and non-spatial, but a set of books can be on a shelf [Rosen] |
| Full Idea: It is thought that sets are abstract, abstract objects do not exist in space, so sets must not exist in space. But it is not unnatural to say that a set of books is located on a certain shelf in the library. | |
| From: Gideon Rosen (Abstract Objects [2001], 'Non-spat') | |
| A reaction: The arguments against non-spatiality of abstractions seem to me to be conclusive. Not being able to assign a location to the cosine function is on a par with not knowing where my thoughts are located in my brain. |
| 8916 | Conflating abstractions with either sets or universals is a big claim, needing a big defence [Rosen] |
| Full Idea: The Way of Conflation account of abstractions (identifying them sets or with universals) is now relatively rare. The claim sets or universals are the only abstract objects would amount to a substantive metaphysical thesis, in need of defence. | |
| From: Gideon Rosen (Abstract Objects [2001], 'Way of Con') | |
| A reaction: If you produce a concept like 'mammal' by psychological abstraction, you do seem to end up with a set of things with shared properties, so this approach is not silly. I can't think of any examples of abstractions which are not sets or universals. |
| 8918 | Functional terms can pick out abstractions by asserting an equivalence relation [Rosen] |
| Full Idea: On Frege's suggestion, functional terms that pick out abstract expressions (such as 'direction' or 'equinumeral') have a typical form of f(a) = f(b) iff aRb, where R is an equivalence relation, a relation which is reflexive, symmetric and transitive. | |
| From: Gideon Rosen (Abstract Objects [2001], 'Way of Abs') | |
| A reaction: [Wright and Hale are credited with the details] This has become the modern orthodoxy among the logically-minded. Examples of R are 'parallel' or 'just as many as'. It picks out an 'aspect', which isn't far from the old view. |
| 8919 | Abstraction by equivalence relationships might prove that a train is an abstract entity [Rosen] |
| Full Idea: It seems possible to define a train in terms of its carriages and the connection relationship, which would meet the equivalence account of abstraction, but demonstrate that trains are actually abstract. | |
| From: Gideon Rosen (Abstract Objects [2001], 'Way of Abs') | |
| A reaction: [Compressed. See article for more detail] A tricky example, but a suggestive line of criticism. If you find two physical objects which relate to one another reflexively, symmetrically and transitively, they may turn out to be abstract. |
| 20387 | Aesthetic experience involves perception, but also imagination and understanding [Davies,S] |
| Full Idea: It was suggested that aesthetic experience isn't solely perceptual. It's infused by a cognitive but non-conceptual process described by Kant as involving the free play of the imagination and the understanding. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: This fits literature very well, painting quite well, and music hardly at all. |
| 20385 | The faculty of 'taste' was posited to explain why only some people had aesthetic appreciation [Davies,S] |
| Full Idea: To explain why not everyone who is prepared to encounter a thing's aesthetic properties can recognise them, ...eighteenth century theorists posited the existence of a special faculty of aesthetic perception, that of taste. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: But there seem to be two aspects to taste - first the capacity to enjoy some sorts of art, and second the ability to discriminate the good from the bad. The latter is 'standards' of taste (Hume's title). Do non-musical people lack taste? |
| 20386 | The sublime is negative in awareness of insignificance, and positive in showing understanding [Davies,S] |
| Full Idea: An example of the sublime is the vastness of the night sky. ...It includes negative feelings of insignificance in the face of nature's indifference, power and magnitude, but is positive in that we are capable of comprehending such matters. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: The negative part seems to be a very intellectual experience, with close links to religion, and may be the experience that leads to deism (belief in God's indifference). |
| 20384 | The idea that art forms are linked into a single concept began in the 1740s [Davies,S] |
| Full Idea: The first to link the art forms together explicitly and to separate them from other disciplines and activities were the authors of encyclopedias and books in the 1740s and 1750s. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 1.2) | |
| A reaction: Intriguing that no individual seems to get the credit (or blame). Presumably our modern Aesthetics (applied to art) couldn't exist before this move was made - and yet there is plenty of aesthetic discussion in early Greek philosophy. |
| 20390 | Defining art as representation or expression or form were all undermined by the avant-garde [Davies,S] |
| Full Idea: The avant-garde art of the twentieth century played a significant role in defeating definitions that had prevailed in earlier times, such as ones maintaining that art is representation, expression or significant form | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.2) | |
| A reaction: I really think the first rule of philosophical aesthetics is 'ignore Marcel Duchamp'. We wouldn't give up our idea of philosophy if someone managed to publish a long string of expletives in a philosophy journal. Would we?? |
| 20392 | 'Aesthetic functionalism' says art is what is intended to create aesthetic experiences [Davies,S] |
| Full Idea: 'Aesthetic functionalism' maintains that something is an artwork if it is intended to provide the person who contemplates it for its own sake with an aesthetic experience of a significant magnitude on the basis of its aesthetic features. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [Beardsley is cited as having this view] For this you need to know what an aesthetic 'feature' is, and you'd have to indepdently recognise aesthetic experience. |
| 20405 | Music may be expressive by being 'associated' with other emotional words or events [Davies,S] |
| Full Idea: One view explains music's expressiveness as 'associative'. Through being regularly associated with emotionally charged words or events, particular musical ideas become associated with emotions or moods. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: This is a more promising theory. I take the feeling in music to be parasitic on other feelings we have, and other triggers that evoke them. I'm particularly struck with story-telling (which Levinson and Robinson also like). |
| 20403 | It seems unlikely that sad music expresses a composer's sadness; it takes ages to write [Davies,S] |
| Full Idea: The 'expression theory' holds that if music is sad that is because it expresses the composer's sadness, ...but composers take a long time composing sad works, and may even been gleeful at receiving payment for it. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: [compressed] Pretty conclusive. I see composing as like acting. Just as you can put on a happy or sad face, so a composer can discover music that feels sad or happy. Three movement sonatas don't fit expression at all. |
| 20393 | The 'institutional' theory says art is just something appropriately placed in the 'artworld' [Davies,S] |
| Full Idea: The 'institutional' theory says to be an artwork, an artwork must be appropriately placed within a web of practices, roles and frameworks that comprise an informally organised institution, the artworld. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 2.5) | |
| A reaction: [He cites George Dickie] This theory seems to entirely developed to cope with the defiant gesture of Marcel Duchamp. Once I am an established artist, I have the authority to label anything I like as a work of art. Silly. |
| 20402 | Music is too definite to be put into words (not too indefinite!) [Davies,S] |
| Full Idea: Mendelssohn said that what music expresses is not too indefinite to put into words but, on the contrary, it is too definite. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: Not sure whether that is true, but it is a lovely remark. It certainly challenges the naive philosophical view that words are the most precise mode of expression. |
| 20395 | The title of a painting can be vital, and the artist decrees who the portrait represents [Davies,S] |
| Full Idea: The title as given by the artist is something we might need to know (Brueghel's 'Icarus', for example), ...and if a painting depicts one of two twins, it will be the artist's intention that settles which one it is. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.5) | |
| A reaction: Those two points strike me as conclusively in favour of the importance of an artist's perceived intentions. |
| 20396 | We must know what the work is meant to be, to evaluate the artist's achievement [Davies,S] |
| Full Idea: Learning that a work is a copy of an earlier work, or is done in the style of some other artist, is relevant to an evaluation of what its creator has achieved. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 3.6) | |
| A reaction: A simple but powerful point. We evaluate a forgery as an achievement, and the original plate of a great print as the focus of the achievement. We can assess the achievement of a poem in any printed copy. But what about perfect painting replicas? |
| 20399 | Intentionalism says either meaning just is intention, or ('moderate') meaning is successful intention [Davies,S] |
| Full Idea: 'Actual intentionalism' holds that work's meaning is what its author intended, ...while 'moderate actual intentionalism' allows that the author's intention determines the work's meaning only if that intention is carried through successfully. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.3) | |
| A reaction: [He cites Noel Carroll for the moderate version] D.H. Lawrence, probably with a dose of Freud, said 'trust the work, not the artist' (of Moby Dick, I think). The thought is that authors only half know intentions, and works reveal them. |
| 20401 | The meaning is given by the audience's best guess at the author's intentions [Davies,S] |
| Full Idea: According to the 'hypothetical intentionalist', the work's meaning is determined by the intentions the audience is best justified in attributing to the author, whether or not these are the ones the author actually had. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 5.4) | |
| A reaction: [Nehamas, Levinson and Jenefer Robinson are cited] This opens the door for psychiatric interpretations of 'Hamlet', and so on. The experts disagree over the nature of the audience needed to do the job. |
| 20397 | If we could perfectly clone the Mona Lisa, the original would still be special [Davies,S] |
| Full Idea: If we could duplicate 'Mona Lisa', we're likely to be concerned to track the original and keep it separate from its clones, even if we judge that the clone isn't inferior to the original when the goal is art appreciation. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.3) | |
| A reaction: But why? Is it just a sentimental attachment to what Leonardo worked on? Does the original manuscript of a work of literature have the same importance? We treasure such things, but not for aesthetic reasons. |
| 20398 | Art that is multiply instanced may require at least one instance [Davies,S] |
| Full Idea: Some multiply instanced artworks, such as novel and poems, must have at least one instance. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 4.4) | |
| A reaction: This is a comment on the idea that all artworks, even oil paintings and buildings are potentially multiply instanced (so the work is the type - Wollheim's view, not one of the tokens). |
| 20404 | Music isn't just sad because it makes the listener feel sad [Davies,S] |
| Full Idea: The 'arousal' theory says music is sad because it moves the hearer to sadness, ...but this seems to get things back to front, because we normally think it is because the music is sad that it moves the listener to sadness. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 6.4) | |
| A reaction: The objection is right. If Beethoven's 'Ode to Joy' always makes me feel sad (because it is so hopelessly optimistic), then that makes the music sad. Is the theory saying that there are no feelings in the music? |
| 22705 | If the depiction of evil is glorified, that is an artistic flaw [Davies,S] |
| Full Idea: One case when the depiction of immorality becomes an artistic flaw …is when it is presented in brutal detail in a way that glorifies it. The celebration of evil corrodes the work's artistic value. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: This doesn't allow for the case where the evil is celebrated in one part of a novel, yet the novel as a whole does not endorse the evil. The Marquis de Sade seems to have fully celebrated what we take to be evil. |
| 22707 | It is an artistic defect if excessive moral outrage distorts the story, and narrows our sympathies [Davies,S] |
| Full Idea: The positive moral stance of a story can be an artistic defect where it shapes the story in an inappropriate fashion. If it displays disproportionate moral outrage, …it reveals a lack of toleration, compassion, or insight into its subject-matter. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: There could be narrative irony in a story told by an angry and puritanical person, which continually condemns wickedness, with the reader expected to have a more tolerant attitude. Hard to think of any examples of this problem. |
| 22704 | Immorality may or may not be an artistic defect [Davies,S] |
| Full Idea: Immorality in art is sometimes an artistic defect and sometimes not. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: Davies seems to avoid the 'immoralist' view, that immorality in a work of art can sometimes be a strength. A sharp distinction is needed, I think, between the morality of what is depicted, and the morality of the whole artwork. |
| 22706 | A work which seeks approval for immorality, but alienates the audience, is a failure [Davies,S] |
| Full Idea: A work that looks for the audience's sympathetic approval and alienates them instead, because it's both morally repulsive and incoherent in what it requires them to suppose, isn't an artistic success. | |
| From: Stephen Davies (The Philosophy of Art (2nd ed) [2016], 8.7) | |
| A reaction: The implication seems to be that works are only successful if they achieve what the creator consciously intended. Lawrence said trust the novel, not the novelist. Milton's Satan is a famous example of heroism not intended by the author. |
| 8930 | The in-itself must become for-itself, which requires self-consciousness [Hegel] |
| Full Idea: The in-itself has to express itself outwardly and become for itself, and this means simply that it has to posit self-consciousness as one with itself. | |
| From: Georg W.F.Hegel (Phenomenology of Spirit [1807], Pref 26) | |
| A reaction: This famous distinction seems to be at the core of idealism, but also to be the germ of existentialism (prior to Kierkegaard), which builds on this view of what it means to exist as an individual. Self-consciousness in nature is inevitable? |
| 8936 | Human nature only really exists in an achieved community of minds [Hegel] |
| Full Idea: Human nature only really exists in an achieved community of minds. | |
| From: Georg W.F.Hegel (Phenomenology of Spirit [1807], Pref 69) | |
| A reaction: A lovely slogan, that makes Hegel the father of the communitarian movement. The politics of Hegel can, of course, be sinister, so one must proceed with care, and study history to see where it can all go wrong. |
| 22034 | Modern life needs individuality, but must recognise that human agency is social [Hegel, by Pinkard] |
| Full Idea: Hegel argued that the modern world necessarily had to make space for individuals and their inviolable conscience, while not becoming so individualistic that it failed to acknowledge the deep sociality of human agency. ...Subjectivity became a right. | |
| From: report of Georg W.F.Hegel (Phenomenology of Spirit [1807]) by Terry Pinkard - German Philosophy 1760-1860 09 | |
| A reaction: [at the end of the chapter on the history of Geist in the Phenomenology] Conservatives, revolutionaries and communitarians all claim Hegel as their own. The sociality is a matter of mutual law-giving, as in the Master/Slave. |
| 21987 | History is the progress of the consciousness of freedom [Hegel] |
| Full Idea: The History of the World is none other than than the progress of the consciousness of freedom. | |
| From: Georg W.F.Hegel (Phenomenology of Spirit [1807]), quoted by Peter Singer - Marx 2 | |
| A reaction: [no ref given] Presumably there is an evolutionary view implicit in this. Presumably also later generations are hereby superior to previous generations. Since no one still has this view of history, does that invalidate Hegel? |
| 8931 | The movement of pure essences constitutes the nature of scientific method [Hegel] |
| Full Idea: The movement of pure essences constitutes the nature of scientific method in general. | |
| From: Georg W.F.Hegel (Phenomenology of Spirit [1807], Pref 34) | |
| A reaction: This would appear to be precisely the idea of scientific essentialism - if he is saying that science seeks to understand the movement (or power) of essences as they occur in nature. |
| 8933 | Science confronts the inner necessities of objects [Hegel] |
| Full Idea: Scientific cognition demands surrender to the life of the object, or, what amounts to the same thing, confronting and expressing its inner necessity. | |
| From: Georg W.F.Hegel (Phenomenology of Spirit [1807], Pref 53) | |
| A reaction: This strikes me as being a much better account of what science tries to do than all the modern talk about laws and theories. |
| 21775 | The God of revealed religion can only be understood through pure speculative knowledge [Hegel] |
| Full Idea: God is attainable in pure speculative knowledge alone and is only in that knowledge, and is only that knowledge itself, for He is Spirit; and this speculative knowledge is the knowledge of revealed religion. | |
| From: Georg W.F.Hegel (Phenomenology of Spirit [1807], p.461), quoted by Stephen Houlgate - An Introduction to Hegel 04 'Absolute' | |
| A reaction: If you were hoping to find out why Hegel believed in God, I fear this is the best evidence available. He is evidently opposed to natural theology. Hegel's language makes it very hard to grasp how we sees the nature of God. |
| 6917 | God is the essence of thought, abstracted from the thinker [Hegel, by Feuerbach] |
| Full Idea: In Hegel the essence of God is actually nothing other than the essence of thought, or thought abstracted from the ego, that is, from the one who thinks. | |
| From: report of Georg W.F.Hegel (Phenomenology of Spirit [1807]) by Ludwig Feuerbach - Principles of Philosophy of the Future §23 | |
| A reaction: Presumably Descartes' Cogito is the origin for this train of thought. This is Feuerbach's reading of Hegel, but the former was keen on the idea of God as idealised humanity. |
| 6915 | Hegel made the last attempt to restore Christianity, which philosophy had destroyed [Hegel, by Feuerbach] |
| Full Idea: The Hegelian philosophy is the last magnificent attempt to restore Christianity, which was lost and wrecked, through philosophy, and to restore Christianity (as usual in the modern era) by identifying it with the negation of Christianity. | |
| From: report of Georg W.F.Hegel (Phenomenology of Spirit [1807]) by Ludwig Feuerbach - Principles of Philosophy of the Future §21 | |
| A reaction: What is meant by the 'negation' of Christianity needs some untangling, but I suspect that a lot of 'continental' philosophy 1750-1950 is to do with Christianity, unlike British empiricism, which is intrinsically atheistic. |