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Religion and Philosophy

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  1. Idealism and the Ontological Argument.William J. Mander - 2012 - British Journal for the History of Philosophy 20 (5):993-1014.
    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 (...)
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  • The question-and-answer logic of historical context.Christopher Fear - 2013 - History of the Human Sciences 26 (3):68-81.
    Quentin Skinner has enduringly insisted that a past text cannot be ‘understood’ without the reader knowing something about its historical and linguistic context. But since the 1970s he has been attacked on this central point of all his work by authors maintaining that the text itself is the fundamental guide to the author’s intention, and that a separate study of the context cannot tell the historian anything that the text itself could not. Mark Bevir has spent much of the last (...)
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  • Art as the Expression of Emotion in the Language of Imagination: Dickie's Misunderstandings of Collingwood's Aesthetics.José Juan González - 2011 - Art, Emotion and Value. Proceedings of the 5th Mediterranean Congress of Aesthetics. Cartagena (Spain), 4th-8th July 2011:175-184.
    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 (...)
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