14 ideas
| 4483 | If abstract terms are sets of tropes, 'being a unicorn' and 'being a griffin' turn out identical [Loux] |
| Full Idea: If trope theorists say abstract singular terms name sets of tropes, what is the referent of 'is a unicorn'? The only candidate is the null set (with no members), but there is just one null set, so 'being a unicorn' and 'being a griffin' will be identical. | |
| From: Michael J. Loux (Metaphysics: contemporary introduction [1998], p.86) | |
| A reaction: Not crucial, I would think, given that a unicorn is just a horse with a horn. Hume explains how we do that, combining ideas which arose from actual tropes. |
| 4481 | Austere nominalists insist that the realist's universals lack the requisite independent identifiability [Loux] |
| Full Idea: Austere nominalists insist that the realist's universals lack the requisite independent identifiability. | |
| From: Michael J. Loux (Metaphysics: contemporary introduction [1998], p.60) | |
| A reaction: Plato's view seems to be that we don't identify universals independently. We ascend The Line, or think about the shadows in The Cave, and infer the universals from an array of particulars (by dialectic). |
| 4477 | Universals come in hierarchies of generality [Loux] |
| Full Idea: Universals come in hierarchies of generality. | |
| From: Michael J. Loux (Metaphysics: contemporary introduction [1998], p.24) | |
| A reaction: If it is possible to state facts about universals, this obviously encourages a rather Platonic approach to them, as existent things with properties. But maybe the hierarchies are conventional, not natural. |
| 4482 | Austere nominalism has to take a host of things (like being red, or human) as primitive [Loux] |
| Full Idea: In return for a one-category ontology (with particulars but no universals), the austere nominalist is forced to take a whole host of things (like being red, or triangular, or human) as unanalysable or primitive. | |
| From: Michael J. Loux (Metaphysics: contemporary introduction [1998], p.68) | |
| A reaction: I see that 'red' might have to be primitive, but being human can just be a collection of particulars. It is no ontologically worse to call them 'primitive' than to say they exist. |
| 4478 | Nominalism needs to account for abstract singular terms like 'circularity'. [Loux] |
| Full Idea: Nominalists have been very concerned to provide an account of the role of abstract singular terms (such as 'circularity'). | |
| From: Michael J. Loux (Metaphysics: contemporary introduction [1998], p.34) | |
| A reaction: Whether this is a big problem depends on our view of abstraction. If it only consists of selecting one property of an object and reifying it, then we can give a nominalist account of properties, and the problem is solved. |
| 4480 | Times and places are identified by objects, so cannot be used in a theory of object-identity [Loux] |
| Full Idea: Any account of the identity of material objects which turns on the identity of places and times must face the objection that the identity of places and times depends, in turn, on the identities of the objects located at them. | |
| From: Michael J. Loux (Metaphysics: contemporary introduction [1998], p.56) | |
| A reaction: This may be a benign circle, in which we concede that there are two basic interdependent concepts of objects and space-time. If you want to define identity - in terms of what? |
| 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). |
| 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. |
| 13304 | Learned men gain more in one day than others do in a lifetime [Posidonius] |
| Full Idea: In a single day there lies open to men of learning more than there ever does to the unenlightened in the longest of lifetimes. | |
| From: Posidonius (fragments/reports [c.95 BCE]), quoted by Seneca the Younger - Letters from a Stoic 078 | |
| A reaction: These remarks endorsing the infinite superiority of the educated to the uneducated seem to have been popular in late antiquity. It tends to be the religions which discourage great learning, especially in their emphasis on a single book. |
| 20820 | Time is an interval of motion, or the measure of speed [Posidonius, by Stobaeus] |
| Full Idea: Posidonius defined time thus: it is an interval of motion, or the measure of speed and slowness. | |
| From: report of Posidonius (fragments/reports [c.95 BCE]) by John Stobaeus - Anthology 1.08.42 | |
| A reaction: Hm. Can we define motion or speed without alluding to time? Looks like we have to define them as a conjoined pair, which means we cannot fully understand either of them. |