18 ideas
| 16405 | To understand a name (unlike a description) picking the thing out is sufficient? [Stalnaker] |
| 16407 | Possible worlds allow separating all the properties, without hitting a bare particular [Stalnaker] |
| 16397 | If it might be true, it might be true in particular ways, and possible worlds describe such ways [Stalnaker] |
| 16398 | Possible worlds allow discussion of modality without controversial modal auxiliaries [Stalnaker] |
| 16399 | Possible worlds are ontologically neutral, but a commitment to possibilities remains [Stalnaker] |
| 16396 | Kripke's possible worlds are methodological, not metaphysical [Stalnaker] |
| 16408 | Rigid designation seems to presuppose that differing worlds contain the same individuals [Stalnaker] |
| 16406 | If you don't know what you say you can't mean it; what people say usually fits what they mean [Stalnaker] |
| 16404 | In the use of a name, many individuals are causally involved, but they aren't all the referent [Stalnaker] |
| 16403 | 'Descriptive' semantics gives a system for a language; 'foundational' semantics give underlying facts [Stalnaker] |
| 16401 | To understand an utterance, you must understand what the world would be like if it is true [Stalnaker] |
| 20440 | Art is a referential activity, hence indefinable, but it has a set of symptoms [Goodman] |
| 20439 | Artistic symbols are judged by the fruitfulness of their classifications [Goodman, by Giovannelli] |
| 20438 | A performance is only an instance of a work if there is not a single error [Goodman] |
| 20437 | A copy only becomes an 'instance' of an artwork if there is a system of notation [Goodman] |
| 5049 | Intelligent pleasure is the perception of beauty, order and perfection [Leibniz] |
| 5048 | Perfection is simply quantity of reality [Leibniz] |
| 5050 | Evil serves a greater good, and pain is necessary for higher pleasure [Leibniz] |