10 ideas
| 6405 | Moore's 'The Nature of Judgement' (1898) marked the rejection (with Russell) of idealism [Moore,GE, by Grayling] |
| Full Idea: The rejection of idealism by Moore and Russell was marked in 1898 by the publication of Moore's article 'The Nature of Judgement'. | |
| From: report of G.E. Moore (The Nature of Judgement [1899]) by A.C. Grayling - Russell Ch.2 | |
| A reaction: This now looks like a huge landmark in the history of British philosophy. |
| 7527 | Analysis for Moore and Russell is carving up the world, not investigating language [Moore,GE, by Monk] |
| Full Idea: For Moore and Russell analysis is not - as is commonly understood now - a linguistic activity, but an ontological one. To analyse a proposition is not to investigate language, but to carve up the world so that it begins to make some sort of sense. | |
| From: report of G.E. Moore (The Nature of Judgement [1899]) by Ray Monk - Bertrand Russell: Spirit of Solitude Ch.4 | |
| A reaction: A thought dear to my heart. The twentieth century got horribly side-tracked into thinking that ontology was an entirely linguistic problem. I suggest that physicists analyse physical reality, and philosophers analyse abstract reality. |
| 22302 | Moor bypassed problems of correspondence by saying true propositions ARE facts [Moore,GE, by Potter] |
| Full Idea: Moore avoided the problematic correspondence between propositions and reality by identifying the former with the latter; the world consists of true propositions, and there is no difference between a true proposition and the fact that makes it true. | |
| From: report of G.E. Moore (The Nature of Judgement [1899]) by Michael Potter - The Rise of Analytic Philosophy 1879-1930 28 'Refut' | |
| A reaction: This is "the most platonic system of modern times", he wrote (letter 14.8.1898). He then added platonist ethics. This is a pernicious and absurd doctrine. The obvious problem is that false propositions can be indistinguishable, but differ in ontology. |
| 7526 | Hegelians say propositions defy analysis, but Moore says they can be broken down [Moore,GE, by Monk] |
| Full Idea: Moore rejected the Hegelian view, that a proposition is a unity that defies analysis; instead, it is a complex that positively cries out to be broken up into its constituent parts, which parts Moore called 'concepts'. | |
| From: report of G.E. Moore (The Nature of Judgement [1899]) by Ray Monk - Bertrand Russell: Spirit of Solitude Ch.4 | |
| A reaction: Russell was much influenced by this idea, though it may be found in Frege. Anglophone philosophers tend to side instantly with Moore, but the Hegel view must be pondered. An idea comes to us in a unified flash, before it is articulated. |
| 22693 | The works we value most are in sympathy with our own moral views [John,E] |
| Full Idea: The works we tend to value most highly are ones that are in sympathy with the moral views we actually accept. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intro) | |
| A reaction: I would have to endorse this. She admits that we may rate other works very highly, but they won't appear on our list of favourites. This fact may well distort philosophical discussions of morality and art. |
| 22694 | We should understand what is morally important in a story, without having to endorse it [John,E] |
| Full Idea: Our responses to literature should show that we grasp whatever counts as morally important within the narrative, but not necessarily that we judge and feel in the way deemed appropriate by the work. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Accommodating') | |
| A reaction: She gives as an example a story by Hemingway which places a high value on the courageous hunting of big game. A second example is the total amorality of a Highsmith novel. This idea seems exactly right to me. |
| 22695 | We value morality in art because that is what we care about - but it is a contingent fact [John,E] |
| Full Idea: Moral value is valuable in art because people care about moral value. This runs deep, but it is a contingent matter, and the value of morality in art hinges on art's need to provide something precious to us. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], 'Contingency') | |
| A reaction: I think this is exactly right. Thrillers are written with very little moral concern, for a readership which cares about brave and exciting deeds. Even there, violence has its ethics. |
| 22692 | A work can be morally and artistically excellent, despite rejecting moral truth [John,E] |
| Full Idea: A work that rejects moral truth can be artistically excellent, in part because of its moral content. | |
| From: Eileen John (Artistic Value and Opportunistic Moralism [2006], Intr) | |
| A reaction: She cites the film 'Trainspotting', about desperate drug addicts, because it gives an amoral insight into their world. |
| 1748 | Archelaus was the first person to say that the universe is boundless [Archelaus, by Diog. Laertius] |
| Full Idea: Archelaus was the first person to say that the universe is boundless. | |
| From: report of Archelaus (fragments/reports [c.450 BCE]) by Diogenes Laertius - Lives of Eminent Philosophers 02.Ar.3 |
| 5989 | Archelaus said life began in a primeval slime [Archelaus, by Schofield] |
| Full Idea: Archelaus wrote that life on Earth began in a primeval slime. | |
| From: report of Archelaus (fragments/reports [c.450 BCE]) by Malcolm Schofield - Archelaus | |
| A reaction: This sounds like a fairly clearcut assertion of the production of life by evolution. Darwin's contribution was to propose the mechanism for achieving it. We should honour the name of Archelaus for this idea. |