Combining Philosophers

All the ideas for Lynch,MP/Glasgow,JM, Scott Soames and Stephen Davies

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45 ideas

1. Philosophy / C. History of Philosophy / 5. Modern Philosophy / c. Modern philosophy mid-period
Analytic philosophy loved the necessary a priori analytic, linguistic modality, and rigour [Soames]
1. Philosophy / F. Analytic Philosophy / 3. Analysis of Preconditions
'Necessary' conditions are requirements, and 'sufficient' conditions are guarantees [Davies,S]
1. Philosophy / F. Analytic Philosophy / 5. Linguistic Analysis
If philosophy is analysis of meaning, available to all competent speakers, what's left for philosophers? [Soames]
2. Reason / D. Definition / 1. Definitions
A definition of a thing gives all the requirements which add up to a guarantee of it [Davies,S]
2. Reason / D. Definition / 13. Against Definition
Feminists warn that ideologies use timeless objective definitions as a tool of repression [Davies,S]
4. Formal Logic / D. Modal Logic ML / 1. Modal Logic
The interest of quantified modal logic is its metaphysical necessity and essentialism [Soames]
5. Theory of Logic / F. Referring in Logic / 2. Descriptions / a. Descriptions
Indefinite descriptions are quantificational in subject position, but not in predicate position [Soames]
5. Theory of Logic / F. Referring in Logic / 2. Descriptions / c. Theory of definite descriptions
Recognising the definite description 'the man' as a quantifier phrase, not a singular term, is a real insight [Soames]
5. Theory of Logic / G. Quantification / 7. Unorthodox Quantification
The universal and existential quantifiers were chosen to suit mathematics [Soames]
7. Existence / C. Structure of Existence / 3. Levels of Reality
A necessary relation between fact-levels seems to be a further irreducible fact [Lynch/Glasgow]
7. Existence / C. Structure of Existence / 5. Supervenience / c. Significance of supervenience
If some facts 'logically supervene' on some others, they just redescribe them, adding nothing [Lynch/Glasgow]
7. Existence / D. Theories of Reality / 6. Physicalism
Nonreductive materialism says upper 'levels' depend on lower, but don't 'reduce' [Lynch/Glasgow]
The hallmark of physicalism is that each causal power has a base causal power under it [Lynch/Glasgow]
9. Objects / D. Essence of Objects / 7. Essence and Necessity / a. Essence as necessary properties
Kripkean essential properties and relations are necessary, in all genuinely possible worlds [Soames]
10. Modality / A. Necessity / 5. Metaphysical Necessity
There are more metaphysically than logically necessary truths [Soames]
We understand metaphysical necessity intuitively, from ordinary life [Soames]
10. Modality / C. Sources of Modality / 3. Necessity by Convention
A key achievement of Kripke is showing that important modalities are not linguistic in source [Soames]
10. Modality / E. Possible worlds / 2. Nature of Possible Worlds / a. Nature of possible worlds
Kripkean possible worlds are abstract maximal states in which the real world could have been [Soames]
19. Language / A. Nature of Meaning / 4. Meaning as Truth-Conditions
To study meaning, study truth conditions, on the basis of syntax, and representation by the parts [Soames]
Tarski's account of truth-conditions is too weak to determine meanings [Soames]
19. Language / C. Assigning Meanings / 2. Semantics
Semantics as theory of meaning and semantics as truth-based logical consequence are very different [Soames]
19. Language / C. Assigning Meanings / 6. Truth-Conditions Semantics
Semantic content is a proposition made of sentence constituents (not some set of circumstances) [Soames]
19. Language / C. Assigning Meanings / 10. Two-Dimensional Semantics
Two-dimensionalism reinstates descriptivism, and reconnects necessity and apriority to analyticity [Soames]
19. Language / D. Propositions / 4. Mental Propositions
We should use cognitive states to explain representational propositions, not vice versa [Soames]
21. Aesthetics / A. Aesthetic Experience / 2. Aesthetic Attitude
Aesthetic experience involves perception, but also imagination and understanding [Davies,S]
21. Aesthetics / A. Aesthetic Experience / 3. Taste
The faculty of 'taste' was posited to explain why only some people had aesthetic appreciation [Davies,S]
21. Aesthetics / A. Aesthetic Experience / 6. The Sublime
The sublime is negative in awareness of insignificance, and positive in showing understanding [Davies,S]
21. Aesthetics / B. Nature of Art / 1. Defining Art
The idea that art forms are linked into a single concept began in the 1740s [Davies,S]
Defining art as representation or expression or form were all undermined by the avant-garde [Davies,S]
'Aesthetic functionalism' says art is what is intended to create aesthetic experiences [Davies,S]
21. Aesthetics / B. Nature of Art / 4. Art as Expression
Music may be expressive by being 'associated' with other emotional words or events [Davies,S]
It seems unlikely that sad music expresses a composer's sadness; it takes ages to write [Davies,S]
21. Aesthetics / B. Nature of Art / 6. Art as Institution
The 'institutional' theory says art is just something appropriately placed in the 'artworld' [Davies,S]
21. Aesthetics / B. Nature of Art / 8. The Arts / a. Music
Music is too definite to be put into words (not too indefinite!) [Davies,S]
21. Aesthetics / C. Artistic Issues / 1. Artistic Intentions
The title of a painting can be vital, and the artist decrees who the portrait represents [Davies,S]
We must know what the work is meant to be, to evaluate the artist's achievement [Davies,S]
Intentionalism says either meaning just is intention, or ('moderate') meaning is successful intention [Davies,S]
The meaning is given by the audience's best guess at the author's intentions [Davies,S]
21. Aesthetics / C. Artistic Issues / 2. Copies of Art
If we could perfectly clone the Mona Lisa, the original would still be special [Davies,S]
Art that is multiply instanced may require at least one instance [Davies,S]
21. Aesthetics / C. Artistic Issues / 4. Emotion in Art
Music isn't just sad because it makes the listener feel sad [Davies,S]
21. Aesthetics / C. Artistic Issues / 7. Art and Morality
Immorality may or may not be an artistic defect [Davies,S]
If the depiction of evil is glorified, that is an artistic flaw [Davies,S]
It is an artistic defect if excessive moral outrage distorts the story, and narrows our sympathies [Davies,S]
A work which seeks approval for immorality, but alienates the audience, is a failure [Davies,S]