19 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. |
| 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. |
| 472 | No things would be clear to us as entity or relationships unless there existed Number and its essence [Philolaus] |
| Full Idea: No existing things would be clear to anyone, either in themselves or in their relationship to one another, unless there existed Number and its essence. | |
| From: Philolaus (On the Cosmos (lost) [c.435 BCE], B11), quoted by John Stobaeus - Anthology 1.03.8 |
| 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). |
| 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] |
| 1518 | Everything must involve numbers, or it couldn't be thought about or known [Philolaus] |
| Full Idea: Everything which is known has number, because otherwise it is impossible for anything to be the object of thought or knowledge. | |
| From: Philolaus (On the Cosmos (lost) [c.435 BCE], B04), quoted by John Stobaeus - Anthology 1.21.7b |
| 1519 | Harmony must pre-exist the cosmos, to bring the dissimilar sources together [Philolaus] |
| Full Idea: It would have been impossible for the dissimilar and incompatible sources to have been made into an orderly universe unless harmony had been present in some form or other. | |
| From: Philolaus (On the Cosmos (lost) [c.435 BCE], B06), quoted by John Stobaeus - Anthology 1.21.7d |
| 473 | There is no falsehood in harmony and number, only in irrational things [Philolaus] |
| Full Idea: The nature of number and harmony admits of no falsehood; for this is unrelated to them. Falsehood and envy belong to the nature of the Unlimited and the Unintelligent and the Irrational. | |
| From: Philolaus (On the Cosmos (lost) [c.435 BCE], B11), quoted by (who?) - where? |
| 469 | Existing things, and hence the Cosmos, are a mixture of the Limited and the Unlimited [Philolaus] |
| Full Idea: Since it is plain that existing things are neither wholly from the Limiting, nor wholly from the Unlimited, clearly the cosmos and its contents were fitted together from both the Limiting and the Unlimited. | |
| From: Philolaus (On the Cosmos (lost) [c.435 BCE], B02), quoted by John Stobaeus - Anthology 1.21.7a |
| 476 | Self-created numbers make the universe stable [Philolaus] |
| Full Idea: Number is the ruling and self-created bond which maintains the everlasting stability of the contents of the universe. | |
| From: Philolaus (On the Cosmos (lost) [c.435 BCE], B23), quoted by (who?) - where? |
| 1787 | Philolaus was the first person to say the earth moves in a circle [Philolaus, by Diog. Laertius] |
| Full Idea: Philolaus was the first person to affirm that the earth moves in a circle. | |
| From: report of Philolaus (On the Cosmos (lost) [c.435 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 08.Ph.3 |