19 ideas
| 11103 | We aren't stuck with our native conceptual scheme; we can gradually change it [Quine] |
| 11092 | A river is a process, with stages; if we consider it as one thing, we are considering a process [Quine] |
| 11093 | We don't say 'red' is abstract, unlike a river, just because it has discontinuous shape [Quine] |
| 11101 | General terms don't commit us ontologically, but singular terms with substitution do [Quine] |
| 11096 | Discourse generally departmentalizes itself to some degree [Quine] |
| 11099 | Understanding 'is square' is knowing when to apply it, not knowing some object [Quine] |
| 11094 | 'Red' is a single concrete object in space-time; 'red' and 'drop' are parts of a red drop [Quine] |
| 11097 | Red is the largest red thing in the universe [Quine] |
| 17595 | To unite a sequence of ostensions to make one object, a prior concept of identity is needed [Quine] |
| 11095 | We should just identify any items which are indiscernible within a given discourse [Quine] |
| 19440 | How do you know you have conceived a thing deeply enough to assess its possibility? [Vaidya] |
| 11104 | Concepts are language [Quine] |
| 11102 | Apply '-ness' or 'class of' to abstract general terms, to get second-level abstract singular terms [Quine] |
| 20400 | Intentions either succeed or fail, so external evidence for them is always irrelevant [Wimsatt/Beardsley, by Davies,S] |
| 7266 | The author's intentions are irrelevant to the judgement of a work's success [Wimsatt/Beardsley] |
| 7267 | Poetry, unlike messages, can be successful without communicating intentions [Wimsatt/Beardsley] |
| 7268 | The thoughts of a poem should be imputed to the dramatic speaker, and hardly at all to the poet [Wimsatt/Beardsley] |
| 7269 | The intentional fallacy is a romantic one [Wimsatt/Beardsley] |
| 7271 | Biography can reveal meanings and dramatic character, as well as possible intentions [Wimsatt/Beardsley] |