R.G. Collingwood (1889-1943) was an English philosopher, historian and practicing archaeologist. His work, particularly in the philosophy of action and history, has been profoundly influential in the 20th and 21st century. Although the importance of his work is indisputable, this is the first book to consider how and why it actually matters. Giussepina D'oro considers the importance of Collingwood as a thinker who thinks kaleidoscopically and, unlike lots of contemporary philosophers, refuses to focus on narrow, technical interests but instead, observes (...) the whole world of thought. Why Collingwood Matters revives Collingwood's conception of the role and character of philosophical analysis and shows how it informs his understanding of the mind, what it means to act, and what it means to understand the past historically. It also argues for the relevance of his metaphilosophical approach to the challenge posed by the Anthropocene and the global environmental crisis. Both an elucidation of Collingwood's thought and a lively exploration of it's contemporary relevance, Why Collingwood Matters provides a much-needed examination of a 20th-century polymath. (shrink)

*I would like to thank Michel ter Hark, Lodi Nauta and James Connelly, for their critical reading of earlier versions of this paper and for their comments. Gilbert Ryle and R. G. Collingwood are no...

This paper focuses on two conflations which frequently appear within the philosophy of history and other fields concerned with action explanation. The first of these, which I call the Conflating View of Reasons, states that the reasons for which we perform actions are reasons why (those events which are) our actions occur. The second, more general conflation, which I call the Conflating View of Action Explanation, states that whatever explains why an agent performed a certain action explains why (that event (...) which was) her action occurred. Both conflations ignore the fact that there are at least two distinct objects that legitimately qualify as objects of action explanation2. As Jennifer Hornsby (1993) has previous suggested, one thing we might wish to explain is ‘why did A do what she did?’ another is, ‘why did the event of her doing it occur?’ -/- I shall argue that when these two views are combined they give rise to a futile debate about explanation in the philosophies of history and the social sciences, and to an almost identical debate in moral psychology and the philosophy of mind. In so doing, I shall also examine a proposed distinction between explaining a phenomenon, and rendering it intelligible. I conclude by distinguishing between four different objects of historical understanding, each of which is to be understood in the light of the aforementioned distinctions between event and thing done, and explanation and intelligibility. (shrink)

Collingwood's theory of presuppositions has never been taken very seriously. But critics have completely overlooked its significance as a theory or model of inquiry intimately tied to certain aspects of discourse in a context of investigation. Viewed this way, Collingwood's theory is on very strong ground, especially when it is reconstructed with the aid of a formal language. The reconstruction shows what is essential to the theory and what is not, allowing us to disregard those of Collingwood's extravagant claims which (...) have frustrated an understanding of his theory's real strength. The reconstruction also provides a general framework within which recent discussion of presuppositions can be unified. (shrink)

The ontological proof became something of a signature argument for the British Idealist movement and this paper examines how and why that was so. Beginning with an account of Hegel's understanding of the argument, it looks at how the thesis was picked up, developed and criticized by the Cairds, Bradley, Pringle-Pattison and others. The importance of Bradley's reading in particular is stressed. Lastly, consideration is given to Collingwood's lifelong interest in the proof and it is argued that his attention is (...) best understood as a direct continuation of theirs. In view of the fact that recent commentators have tried to draw a sharp line between Collingwood's approach to metaphysics and ontology and that of his predecessors, the establishment of this connection calls for a measure of reassessment on both sides. (shrink)

John Cook Wilson (1849–1915) was Wykeham Professor of Logic at New College, Oxford and the founder of ‘Oxford Realism’, a philosophical movement that flourished at Oxford during the first decades of the 20th century. Although trained as a classicist and a mathematician, his most important contribution was to the theory of knowledge, where he argued that knowledge is factive and not definable in terms of belief, and he criticized ‘hybrid’ and ‘externalist’ accounts. He also argued for direct realism in perception, (...) criticizing both empiricism and idealism, and argued for a moderate nominalist view of universals as being in rebus and only ‘apprehended’ by their particulars. His influence helped swaying Oxford away from idealism and, through figures such as H. A. Prichard, Gilbert Ryle, or J. L. Austin, his ideas were also to some extent at the origin of ‘moral intuitionism’ and ‘ordinary language philosophy’ which defined much of Oxford philosophy until the second half of the twentieth-century. Nevertheless, his name and legacy were all but forgotten for generations after World War II. Still, his views on knowledge are with us today, being in part at work in the writings of philosophers as diverse as John McDowell, Charles Travis, and Timothy Williamson. (shrink)

It is a common statement in the most traditional views of the history of the philosophy of art to consider the nineteenth century as the moment of birth of the expressionist theory of art, a theory that ended pushing aside the already declining imitation theory of art. It is also usually understood that the expressionist theory defended that the essence of art was to express emotion, that the artist aim was to translate somehow emotions into artworks, and that these emotions (...) ended in some way reaching the audience or the public of the work of art that was contemplated, listened to, or read... -/- This explanation of art received a further development during the first half of the twentieth century by R. G. Collingwood among others, but was soon replaced by other theories that moved in a wider scope. Nevertheless Collingwood's approach to art continues being a reference for the reflection of many contemporary philosophers, although the general sense of their approach to his philosophy of art is mainly negative: it is more worried about criticizing Collingwood's view than about understanding it. -/- The aim of this exposition is not to defend Collingwood's explanation of art, but to show many important errors of interpretation that have become a common place in the objections that are made against his proposal. To accomplish it, I pretend to take a close look to the criticisms to his theory made by one of the most important exponents of the aesthetics of the analytical tradition, George Dickie. I have chosen him because he both summarizes and has contributed to extend quite well the general tone of the objections against Collingwood's account of art. These mainly focus on the understanding of art as imagination, on the definition of art as expression of emotion, and on the relation between these two approaches to art. By dismantling them, I hope to give some clues to help in a better understanding of these concepts in Collingwood's philosophy of art, not only because of the historical value that this might have, but because of the light that Collingwood's approach to art can throw upon contemporary reflections on the relation between art, emotion and value. (shrink)