9 ideas
| 11211 | If a sound conclusion comes from two errors that cancel out, the path of the argument must matter [Rumfitt] |
| Full Idea: If a designated conclusion follows from the premisses, but the argument involves two howlers which cancel each other out, then the moral is that the path an argument takes from premisses to conclusion does matter to its logical evaluation. | |
| From: Ian Rumfitt ("Yes" and "No" [2000], II) | |
| A reaction: The drift of this is that our view of logic should be a little closer to the reasoning of ordinary language, and we should rely a little less on purely formal accounts. |
| 11210 | Standardly 'and' and 'but' are held to have the same sense by having the same truth table [Rumfitt] |
| Full Idea: If 'and' and 'but' really are alike in sense, in what might that likeness consist? Some philosophers of classical logic will reply that they share a sense by virtue of sharing a truth table. | |
| From: Ian Rumfitt ("Yes" and "No" [2000]) | |
| A reaction: This is the standard view which Rumfitt sets out to challenge. |
| 11212 | The sense of a connective comes from primitively obvious rules of inference [Rumfitt] |
| Full Idea: A connective will possess the sense that it has by virtue of its competent users' finding certain rules of inference involving it to be primitively obvious. | |
| From: Ian Rumfitt ("Yes" and "No" [2000], III) | |
| A reaction: Rumfitt cites Peacocke as endorsing this view, which characterises the logical connectives by their rules of usage rather than by their pure semantic value. |
| 11214 | We learn 'not' along with affirmation, by learning to either affirm or deny a sentence [Rumfitt] |
| Full Idea: The standard view is that affirming not-A is more complex than affirming the atomic sentence A itself, with the latter determining its sense. But we could learn 'not' directly, by learning at once how to either affirm A or reject A. | |
| From: Ian Rumfitt ("Yes" and "No" [2000], IV) | |
| A reaction: [compressed] This seems fairly anti-Fregean in spirit, because it looks at the psychology of how we learn 'not' as a way of clarifying what we mean by it, rather than just looking at its logical behaviour (and thus giving it a secondary role). |
| 6316 | We translate in a way that makes the largest possible number of statements true [Wilson,NL] |
| Full Idea: We select as designatum that individual which will make the largest possible number of statements true. | |
| From: N.L. Wilson (Substances without Substrata [1959]), quoted by Willard Quine - Word and Object II.§13 n | |
| A reaction: From the Quine's reference, it sounds as if Wilson was the originator of the well-known principle of charity, later taken up by Davidson. If so, he should be famous, because it strikes me as a piece of fundamental and important wisdom. |
| 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. |