Osama bin Laden means well. This is evident from his declarations, juridical decrees, lectures, epistles, and written reminders, which Bruce Lawrence has made available in Messages to the World: The Statements of Osama Bin Laden a single volume. Duty, Osama claims, compels Muslims' support for jihad against the???Crusader???Jewish Alliance???. But many attack his goals and behavior as immoral. Initiatives he has supported or directed represent his strategy for fulfilling his duty and demonstrate its apparent immorality at the same time: notably, (...) attacks on U.S. embassies, the 9/11 attacks, and more recently an alleged plot to detonate hydrogen peroxide bombs in public transportation venues. Moreover, his willingness to kill innocents generally is self-evidently wrong, as is his blanket hatred of Jews, Americans, and Christians ; although on one occasion he has declared that???many in the West are polite and good people???. (shrink)

This out of print work offered researchers a comprehensive and easy to use bibliography of primary and secondary works by or about Collingwood. More than 1,200 citations were listed alphabetically by standard bibliographical categories in this volume, which contained a periodical index as well as author and subject indexes. In addition, each book entry included a "review alert" listing the names of reviewers. Author notes clarified the significance of a listed work when this was not apparent from the title, and (...) the number of pages was indicated for very long or very short monographs. This volume remains a standard reference work for Collingwood scholars and it is available in research libraries around the country. (shrink)

A detailed view, if not a theory, of dreams emerges from R. G. Collingwood's expression theory of art and his view that art is necessary to psychological and social well-being. Commentaries on Collingwood's aesthetic theory overlook his view of dreams, yet careful examination of it yields two surprising results: on his view dreams could be artworks, even though he appears to deny this, and dreams could have the psychological and social significance that art has. Two objections arise. Dreams cannot be (...) artworks because dreams are private, while artworks are public, and dreams are not intentionally created, while artworks are. Collingwood's aesthetic theory meets these objections, thus providing fertile ground for discussion about dreams and art. This paper argues that on Collingwood's view dreams can be artworks; art cannot be distinguished from dreams on the basis of publicity or intentionality; and to the extent that dreams can be artworks they might be significant to psychological and social well-being. (shrink)

"This book addresses the apparent contradiction in moral condemnation of good artworks.

There is something unsatisfactory about the moral condemnation of good works of art: the judgement "that work of art is aesthetically good and morally bad" seems unreasonable. Since the unreasonableness is not one of direct contradiction, it would seem that there must be an indirect contradiction involving a third thing to which aesthetic value and moral value are both connected. ;This dissertation aims to examine this unreasonableness by studying one significant position concerning it. This is the position found by combining (...) the aesthetic theory and moral theory of R. G. Collingwood , and by articulating a theory of judgement and criticism on his behalf. ;The main findings of this dissertation are as follows. First, Collingwood's concept of mind underlies both his aesthetic theory and his moral theory. It also suggests two levels of judgement: mere assertion or denial, and assertion of a ground for that assertion or denial. Second, Collingwood regards a good work of art as successful expression of the artist's emotion, and bad art as failure to express emotion. Third, Collingwood regards a morally good act as an act done from duty and a morally bad act as an act done contrary to duty. Fourth, on the first-level aesthetic judgements and moral judgements seem unconnected. But on the second-level they are shown to have the same ground--duty. The form of a second-level affirmative aesthetic judgement is "That is a good work of art, because the artist acted from his duty to express his emotion honestly." ;The conclusion is that, for Collingwood, an aesthetically good work of art has to be morally good as well, because an aesthetically good work of art is an act done from duty. Therefore, an affirmative aesthetic judgement and a negative moral judgement about the same work contradict each other. However, Collingwood's view does not take into account the possibility of the artist's having greater duties or conflicting duties; in expressing his emotion, the artist may be neglecting or acting contrary to some greater duty. (shrink)