Combining Philosophers

All the ideas for Eubulides, Harold Noonan and W Wimsatt/W Beardsley

expand these ideas     |    start again     |     specify just one area for these philosophers


18 ideas

5. Theory of Logic / L. Paradox / 1. Paradox
If you know your father, but don't recognise your father veiled, you know and don't know the same person [Eubulides, by Dancy,R]
5. Theory of Logic / L. Paradox / 6. Paradoxes in Language / a. The Liar paradox
If you say truly that you are lying, you are lying [Eubulides, by Dancy,R]
5. Theory of Logic / L. Paradox / 6. Paradoxes in Language / b. The Heap paradox ('Sorites')
Removing one grain doesn't destroy a heap, so a heap can't be destroyed [Eubulides, by Dancy,R]
6. Mathematics / A. Nature of Mathematics / 4. Using Numbers / c. Counting procedure
It is controversial whether only 'numerical identity' allows two things to be counted as one [Noonan]
9. Objects / E. Objects over Time / 4. Four-Dimensionalism
I could have died at five, but the summation of my adult stages could not [Noonan]
9. Objects / E. Objects over Time / 5. Temporal Parts
Stage theorists accept four-dimensionalism, but call each stage a whole object [Noonan]
9. Objects / F. Identity among Objects / 2. Defining Identity
Problems about identity can't even be formulated without the concept of identity [Noonan]
Identity is usually defined as the equivalence relation satisfying Leibniz's Law [Noonan]
Identity definitions (such as self-identity, or the smallest equivalence relation) are usually circular [Noonan]
Identity can only be characterised in a second-order language [Noonan]
9. Objects / F. Identity among Objects / 8. Leibniz's Law
Indiscernibility is basic to our understanding of identity and distinctness [Noonan]
Leibniz's Law must be kept separate from the substitutivity principle [Noonan]
21. Aesthetics / C. Artistic Issues / 1. Artistic Intentions
Intentions either succeed or fail, so external evidence for them is always irrelevant [Wimsatt/Beardsley, by Davies,S]
The author's intentions are irrelevant to the judgement of a work's success [Wimsatt/Beardsley]
Poetry, unlike messages, can be successful without communicating intentions [Wimsatt/Beardsley]
The thoughts of a poem should be imputed to the dramatic speaker, and hardly at all to the poet [Wimsatt/Beardsley]
The intentional fallacy is a romantic one [Wimsatt/Beardsley]
Biography can reveal meanings and dramatic character, as well as possible intentions [Wimsatt/Beardsley]