10 ideas
| 8872 | It is widely supposed that externalism cannot be reconciled with first-person authority [Davidson] |
| Full Idea: It has been widely supposed that externalism, which holds that the contents of a person's propositional attitudes are partly determined by factors of which the person may be ignorant, cannot be reconciled with first-person authority. | |
| From: Donald Davidson (Epistemology Externalized [1990], p.197) | |
| A reaction: It is certainly a bit puzzling if you go around saying 'Actually, people don't know their own thoughts'. Davidson aims to defend first-person authority. The full story is developed in Tyler Burge's views on 'anti-individualism'. |
| 8874 | It is hard to interpret a speaker's actions if we take a broad view of the content [Davidson] |
| Full Idea: It will explain a speaker's actions far better if we interpret him as he intended to be interpreted, than if we suppose he means and thinks what someone else might mean and think who used the same words 'correctly'. | |
| From: Donald Davidson (Epistemology Externalized [1990], p.199) | |
| A reaction: This comes down to the fact that our actions have to be motivated by internal meanings. If I defer to experts on the essence of gold, I still buy gold according to how I myself understand it. So meaning has two components? |
| 22687 | Maybe literary assessment is evaluating the artist as a suitable friend [Gaut] |
| Full Idea: An approach in Hume (elaborated by Wayne Booth) holds that literary assessment is akin to an act of befriending, for one assesses the author of a work as a suitable friend. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Some') | |
| A reaction: I like the idea that art exploits our normal range of social emotions and attitudes, so I think this has some truth, but some of the best artists are so out of my league as to not even be candidates for friendship. Dostoevsky? Webster? Caravaggio? |
| 22686 | Formalists say aesthetics concerns types of beauty, or unity, complexity and intensity [Gaut] |
| Full Idea: The formal objects which individuate the aesthetic attitude may be narrowly aesthetic, as beauty, and its subspecies, such as grace and elegance, or more broadly by other formalist criteria, such as Beardley's unity, complexity and intensity. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Objections 1') | |
| A reaction: I'm not sure about unity or complexity, but intensity was endorsed by Henry James. Intensity doesn't sound very 'formal'. 'Beauty' doesn't seem the right word for the wonderful 'King Lear', or even for Jane Austen novels. |
| 22690 | 'Moralism' says all aesthetic merits are moral merits [Gaut] |
| Full Idea: The view that the only aesthetic merit of works are ethical ones is known as 'moralism'. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], n 1) | |
| A reaction: [He says this view was demolished by R.W.Beardsmore in 1971] Gaut contrasts this with his own carefully modulated 'ethicism'. Moralism predominated in the eighteenth century, but now looks clearly wrong (or naïve). |
| 468 | Musical performance can reveal a range of virtues [Damon of Ath.] |
| Full Idea: In singing and playing the lyre, a boy will be likely to reveal not only courage and moderation, but also justice. | |
| From: Damon (fragments/reports [c.460 BCE], B4), quoted by (who?) - where? |
| 22684 | Good ethics counts towards aesthetic merit, and bad ethics counts against it [Gaut] |
| Full Idea: I defend 'ethicism', which says that ethically admirable attitudes count toward the the aesthetic merit of a work, and ethically reprehensible attitudes count against its aesthetic merit. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: He recognises that morally admirable works can explore unethical behaviour, and also that identifying the 'attitude' of a work is not simple. The ethics are not necessary. 'Triumph of the Will' is a classic test case. I disagree with Gaut. |
| 22689 | If we don't respond ethically in the way a work prescribes, that is an aesthetic failure [Gaut] |
| Full Idea: Our having reason not to respond in the way prescribed (because it is unethical) is a failure of the work …so that is an aesthetic failure, which is an aesthetic defect. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Merited') | |
| A reaction: A key argument for Gaut's theory of 'ethicism' about literature. If 'Triumph of the Will' gets the right response from Nazi sympathisers, that is probably all aesthetic success. Jane Austen hasn't failed if she is rejected as bourgeois. |
| 22685 | Good art does not necessarily improve people (any more than good advice does) [Gaut] |
| Full Idea: Ethicism does not entail the causal thesis that good art ethically improves people, …any more than it follows that earnest ethical advice improves people. | |
| From: Berys Gaut (The Ethical Criticism of Art [1998], 'Ethicism') | |
| A reaction: How successful were sermons, in the great days of Christianity? It seems hard to disagree with Gaut's point. |
| 8873 | The cause of a usage determines meaning, but why is the microstructure of water relevant? [Davidson] |
| Full Idea: While I agree that the usual cause of the use of the word determines what it means, I do not see why sameness of microstructure is necessarily the relevant similarity that determines my reference of the word 'water'. | |
| From: Donald Davidson (Epistemology Externalized [1990], p.198) | |
| A reaction: This is a problem for essentialists who build their views on semantic considerations. But the stability of what causes 'water' thoughts is the microstructure of water. However, that is an explantion of meaning, not a definition of it. |