The principle of selection necessarily follows if we accept that a poem is a verbal structure of a very complex kind involving the interaction of all kinds of elements—ideas, images, rhythms, rhetorical features, narrative, logical patterns, whatever. The possible relationships among all these elements seem infinite or at least, in Frye's phrase, unlimited. Hence, a definitive critique of any work seems, even in theory, impossible. It is hard to see how the human mind could consciously contemplate, much less articulate, all (...) aspects at once, even in short pieces; as the various aspects are enumerated, we begin to lose sight of the wood for the trees, to lose our grip on the integrated whole which we at least partially intuit at a given moment in time. And so many are the attitudes and interests which may be brought to bear upon a poem that the critique which once seemed definitive soon seems incomplete to the critic after a further reading, for every time we read a work of any complexity, we find something new; and even the less sensitive know that each new school of criticism, not to mention each latest shift in politics, society, or psychology, will throw at least some of our masterpieces into a new light. As for translation, the only way to avoid it would be wholesale quotation, and even that would be a partial translation in that it would alter the poet's total meaning by substituting a part for the whole. John C. Sherwood, professor of English at the University of Oregon, is the author of articles on Dryden, modern literature, and English composition. He is currently at work on an annotated bibliography of R. S. Crane. (shrink)

This book represents the most comprehensive attempt to date to explore and test Derrida's contribution and influence on the study of theology, biblical studies, and the philosophy of religion. Over the course of the last decade, the writings of Derrida and the key concepts that emerge from his work such as the gift, apocalypse, hospitality, and messianism have wrought far-reaching and irresistible changes in the way that scholars approach biblical texts, comparative religious studies, and religious violence, for instance, as well (...) as the way they understand basic religious themes as myth, creation, forgiveness, one-ness, and multiplicity. In addition to original contributions from over twenty highly-regarded scholars including John Caputo, Daniel Boyarin, Edith Wyschogrod, Tim Beal, and Gil Anidjar, the volume opens with a lengthy interview with Derrida. (shrink)

Using state-of-the-art observational datasets and results from a large archive of computer model simulations, a consortium of scientists from 12 different institutions has resolved a long-standing conundrum in climate science—the apparent discrepancy between simulated and observed temperature trends in the tropics. Research published by this group indicates that there is no fundamental discrepancy between modeled and observed tropical temperature trends when one accounts for: the uncertainties in observations; and the statistical uncertainties in estimating trends from observations. These results refute a (...) recent claim that model and observed tropical temperature trends “disagree to a statistically significant extent”. This claim was based on the application of a flawed statistical test and the use of older observational datasets. (shrink)

This paper suggests that Collingwood's fairy tales writings can be read as a historical study on the origins of European religion. His interest in fairy tales belongs to a clear tradition, whose members include John Ruskin, Benedetto Croce and most importantly Giambattista Vico, that realised the potential of fairy tales as evidence for historical knowledge. In this context fairy tales should be understood as myths that are not symbols but truthful, poetically expressed, narrations of the lives and societies (...) of past people. Furthermore the connection of certain of those myths with religion was also recognised as an important element. Collingwood in his fairy tales study extends and clarifies this line of inquiry. He interprets certain themes of fairy tales as myths, suggesting that the origins of European religion and society can be detected in the totemistic beliefs of the pre-Neolithic people. (shrink)

It is not my intention in this brief essay to give an exhaustive critical analysis of the theory of art championed by Croce and his follower Collingwood; I intend only to point out certain confusions in and misunderstandings of their theory, and to make a few critical comments in the light of them. Nor do I wish to imply that the theories of Croce and Collingwood are identical; but although they diverge on some points, and although each develops (...) views that the other discusses only briefly, they are so substantially alike on all important points that, as reviewers were quick to point out on the appearance of Collingwood's The Principles of Art , the two can for all practical purposes be considered as one theory. (shrink)

John Grote struggled to construct an intelligible account of philosophy at a time when radical change and sectarian conflict made understanding and clarity a rarity. This book answers three questions: * How did John Grote develop and contribute to modern Cambridge and British philosophy? * What is the significance of these contributions to modern philosophy in general and British Idealism and language philosophy in particular? * How were his ideas and his idealism incorporated into the modern philosophical tradition? (...) Grote influenced his contemporaries, such as his students Henry Sidgwick and John Venn, in both style and content; he forged a brilliantly original philosophy of knowledge, ethics, politics and language, from a synthesis of the major British and European philosophies of his day; his social and political theory provide the origins of the 'new liberal' ideas later to reach their zenith in the writings of Green, Sidgwick, and Collingwood; he founded the ‘Cambridge style’ associated with Moore, Russell, Broad, McTaggart and Wittgenstein; and he was also a major influence on Oakeshott. (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)

Ridley’s overall strategy, in bare outline form, seems to be this. Collingwood's points about the close connections between artistic expression and physical involvement with a medium are so good that anything else he says must be reinterpreted so as to be consistent with these Expression insights. In particular his overall theory of art, usually interpreted as an "Ideal theory" (according to which a work of art is somehow "in the head", perhaps as the content of a mental imaginative act (...) of expression) must be charitably reinterpreted to remove any apparent references to such mental entities. I spell out two related puzzlements with this strategy. (shrink)

Darwinism, Democracy, and Race examines the development and defence of an argument that arose at the boundary between anthropology and evolutionary biology in twentieth-century America. In its fully articulated form, this argument simultaneously discredited scientific racism and defended free human agency in Darwinian terms. The volume is timely because it gives readers a key to assessing contemporary debates about the biology of race. By working across disciplinary lines, the book's focal figures--the anthropologist Franz Boas, the cultural anthropologist Alfred Kroeber, the (...) geneticist Theodosius Dobzhansky, and the physical anthropologist Sherwood Washburn--found increasingly persuasive ways of cutting between genetic determinist and social constructionist views of race by grounding Boas's racially egalitarian, culturally relativistic, and democratically pluralistic ethic in a distinctive version of the genetic theory of natural selection. Collaborators in making and defending this argument included Ashley Montagu, Stephen Jay Gould, and Richard Lewontin. Darwinism, Democracy, and Race will appeal to advanced undergraduates, graduate students, and academics interested in subjects including Philosophy, Critical Race Theory, Sociology of Race, History of Biology and Anthropology, and Rhetoric of Science. (shrink)

The syllogistic mnemonic known by its first two words Barbara Celarent introduced a constellation of terminology still used today. This concatenation of nineteen words in four lines of verse made its stunning and almost unprecedented appearance around the beginning of the thirteenth century, before or during the lifetimes of the logicians William of Sherwood and Peter of Spain, both of whom owe it their lasting places of honor in the history of syllogistic. The mnemonic, including the theory or theories (...) it encoded, was prominent if not dominant in syllogistics for the next 700 years until a new paradigm was established in the 1950s by the great polymath Jan Łukasiewicz, a scholar equally at home in philosophy, classics, mathematics, and logic. Perhaps surprisingly, the then-prominent syllogistic mnemonic played no role in the Łukasiewicz work. His 1950 masterpiece does not even mention the mnemonic or its two earliest champions William and Peter. The syllogistic mnemonic is equally irrelevant to the post-Łukasiewicz paradigm established in the 1970s and 1980s by John Corcoran, Timothy Smiley, Robin Smith, and others. Robin Smith’s comprehensive 1989 treatment of syllogistic does not even quote the mnemonic’s four verses. Smith’s work devotes only 2 of its 262 pages to the mnemonic. The most recent translation of Prior Analytics by Gisela Striker in 2009 continues the post-Łukasiewicz paradigm and accordingly does not quote the mnemonic or even refer to the code—although it does use the terminology. Full mastery of modern understandings of syllogistic does not require and is not facilitated by ability to decode the mnemonic. Nevertheless, an understanding of the history of logic requires detailed mastery of the syllogistic mnemonic, of the logical theories it spawned, and of the conflicting interpretations of it that have been offered over the years by respected logicians such as De Morgan, Jevons, Keynes, and Peirce. More importantly, an understanding of the issues involved in decoding the mnemonic might lead to an enrichment of the current paradigm—an enrichment so profound as to constitute a new paradigm. After presenting useful expository, bibliographic, hermeneutic, historical, and logical background, this paper gives a critical exposition of Smith’s interpretation. (shrink)

The author states that, taking into account Collingwood's unpublished manuscripts, there is an important relation between Collingwood's doctrine of absolute presuppositions and his theory of historical understanding.

Philosophers have tried to explain how science finds the truth by using new developments in logic to study scientific language and inference. R. G. Collingwood argued that only a logic of problems could take context into account. He was ignored, but the need to reconcile secure meanings with changes in context and meanings was seen by Karl Popper, W. v. O. Quine, and Mario Bunge. Jagdish Hattiangadi uses problems to reconcile the need for security with that for growth. But (...) he mistakenly insists that all problems are mere contradictions and artificially separates rigid from flexible aspects of meanings. In order to resolve the conflict we must (1) replace the quest for rigid terms with techniques for improvement, (2) use plausible arguments to uncover confused meanings, (3) use frameworks to choose problems and to regulate meanings, and (4) employ a bootstrap approach that uses frameworks to improve meanings and refined meanings to improve frameworks. (shrink)

Preface The status of sovereignty as a highly ambiguous concept is well established. Pointing out or deploring, the ambiguity of the idea has itself become a recurring motif in the literature on sovereignty. As the legal theorist and international lawyer Alf Ross put it, “there is hardly any domain in which the obscurity and confusion is as great as here.” 1 The concept of sovereignty is often seen as a downright obstacle to fruitful conceptual analysis, carried over from its proper (...) setting in history to “plague and befog contemporary thought.” 2 . . . So contested is the concept that, rather than pursuing the contestation, many political theorists think we should give up so protean a notion. Granting that the debate on the relevance of sovereignty frustratingly oscillates between claims that it will either continue to exist or that it is about to disappear, forgetting it altogether, and thereby escaping this seemingly endless argument, can easily appear as the most urgent task for political theory . The following argument makes a case that the “urgent task” is not the abandonment of the concept of sovereignty, but an understanding of its essential philosophical nature as an integrated and evolving expression of practical reason. Sovereignty is neither ambiguous nor obscure once its fundamental presuppositions are laid bare and its many philosophical and historical manifestations shown to be the product, in actuality, of a single, dialectally dynamic but integrated set of metaphysical elements. This is the first of three arguments describing the evolution of international law as a manifestation of practical reason through an application of philosophical method to the source , locus , and scope of the concept of sovereignty. It moves from a dialectic balance favoring utility to a balance dominated by legal right to a dialectic of duty to humanity and nature. All three arguments are meant to be a contribution to the new field of International Legal Philosophy as defined by Phillip Allott. 4 This field combines a sensitivity to legal practice with an effort to understand the underlying philosophical determinants of empirical choice and behavior. One purpose of international legal philosophy is to “remove” from the minds of those who study the law what Diderot defined as “the sophism of the ephemeral,” and what Allott calls “the disempowering idea that what xii Preface happens to exist now is inevitable and permanent.” 5 A core imperative is to “reunderstand what it is to be a thinking being” 6 and to rediscover the dialectic between the private and the public as it determines, and is redetermined by, legal practice. This requires a “revolution in the human mind” 7 so that we may transcend the current dependence on positivist methods and empirical fact as an end-in-itself, and try to understand the underlying and more constant and essential ideas and inherent dialectics that constitute the substructure or “metaphysics” of international law. I will approach this “revolution” with the use of R. G. Collingwood’s philosophical method 8 and the philosophy of David Hume, applied to international law as an expression of practical reason. The goal of philosophical method is the construction of a comprehensive policy argument (CPA) for a public policy or legal issue. In addition to the conventional use of empirical models and their logic of investigation in the study of policy and law, CPA requires that an underlying philosophical logic of concepts be deciphered to identify the ideas within the issue, and their definition, overlap, and systematic interdependence. Philosophical method is a means with which to interpret and understand competing systematic and complete conceptual logics, existing at the core of an issue and pertinent to policy change. Philosophical method is therefore not meant to be a replacement for the empirical investigation of a policy or legal issue, or the use of scientific method in social studies. Rather, it is a complimentary and prerequisite method that seeks to transcend the limitations of positivism and present a more complete understanding of the philosophical presuppositions of positivist ideas like power, interest, or strategic rationality. Philosophical method is meant to be used with the facts of the policy or legal issue to match an illuminating logic of concepts with a pertinent logic of investigation . Within the CPA, the use of philosophical method and the metaphysics of a policy or legal issue is assumed to be critical to the full understanding of the overlapping concepts, dialectics, and scale of forms that determine, and are determined by, the empirical context of the policy or legal topic. Specifically, instead of utilizing bits and pieces of various theoretical arguments to address narrowly focused empirical questions, as positivism prescribes, I will address the evolution of international law as practical reason in three phases. Each will be approached through a single integrated logic of philosophical concepts from a particular philosopher (i.e., David Hume, G. W. F. Hegel, Immanuel Kant). This philosophically holistic approach to the law is based on the assumption that only through the use of a single integrated argument in legal analysis can sovereignty, or any concept, be understood as a truly systematic and logical whole. A complete philosophical paradigm has a dialectic integrity and systematic logic that can more adequately describe the evolving essence of a concept like sovereignty. This approach also has the advantage of generating a number of distinct holistic descriptions of the law through the application of different philosophical systems, one at a time, to its factual structure. 9 Positivism does not seek Preface xiii holism, and rejects the idea that “theory” has such a characteristic. The essential or comprehensive substructure of any idea is therefore ignored in a method that recommends the observation of empirical problems through the use of whatever hodgepodge of theoretical elements is seen fit to frame its superstructure. This failure to deal with metaphysics has retarded both an essential understanding of international law as a species of legal system, and any holistic and dialectical conceptualization of its inherent concepts, like sovereignty. A second positivist convention expects modern theorists to create new theory rather than to refine and apply that of existing philosophy. This predisposition is driven by the positivist goal of discovery that ignores refinement as a possible purpose of philosophical analysis. Collingwood argues that philosophy must take that set of ideas already known and utilize existing systematic philosophical arguments to refine them so that they evolve closer to their essence as concepts. Considering this imperative, the idea of sovereignty can be assumed to have had valid usage for hundreds of years, over which time, the concept has evolved to mean different things, each a refinement of the definition that preceded it. Transcending positivism means that the scholar’s search is not for “new” material, but to decipher the metaphysical essence of a concept as it has been made manifest over time and context. These manifestations are rooted, and refined from, the known terms of that concept’s inherent idea(s). Rather than depending exclusively on positivism and its conventions, my work utilizes, in addition to Collingwood, the intact philosophical systems of Hume, Hegel, and Kant to trace the refinement of international law as a product of human practical reason. These paradigms, or integrated systems of logical concepts, will be applied to legal practice individually, so that each CPA can be deciphered separately. This provides a set of integrated and logically intact paradigms for the evolutionary stages of practical reason in international law. Because each argument is applied systematically, a deeper understanding of the source, locus, and scope in the development of law in general, and international law in particular, is possible where it is not with the application of various disconnected components of many theories. Each CPA based on Hume, Hegel, or Kant can then be used to describe a distinct context that its logic of concepts best illuminates; specifically, the (1) genesis, (2) contemporary dilemmas, and (3) future of the international legal system. By widening the perspective of international lawyers and policymakers, they can more easily perceive the dialectic of ideas that has created, and is refined by, the legal practice in which they participate. We also move toward Allott’s goal of “human self-perfecting.” 10 And, in addition, by providing a more complete knowledge of the origins of legal practice and its evolution, we illuminate the practical possibilities for what we might “choose to be” 11 in the future. To achieve this, the essential metaphysical elements of state sovereignty and its inherent evolutionary scale of forms will be deciphered and described. This will transform what appears to be a multitude of definitions and xiv Preface practical realizations of the concept of sovereignty into a set of interdependent manifestations of a single substructure, made of a single set of dialectic elements. The interpretation of international law through practical reason sorts and integrates a diverse and discordant literature and defines state sovereignty as a single concept evolving on a scale of forms that allows it to exhibit diverse character traits, all arising from different combinations of common and essential metaphysical elements. This approach, compared to positivist methods and legal realism, allows one to transcend current agreement that sovereignty is, at best, a narrowly focused set of empirical characteristics or, at worst, “organized hypocrisy.” 12 This method also encourages the scholar and practitioner to understand the predispositions and pitfalls of the concept of sovereignty, as well as its potential future paths, more effectively. The use of philosophical method to create policy paradigms out of preexisting philosophical systems and apply these to international law will be called Philosophical-Policy & Legal Design . This approach allows the use of preexisting and complete philosophical arguments that provide an adequate logic of concepts to chart the evolution of the idea of sovereignty along its scale of forms. An examination of the source of practical reason in human social convention with the employment of a philosophical-policy drawn from Hume’s logic of concepts about human nature will demonstrate this new approach. Why Hume? Because, up to now, without an adequate substructure we have arguments, like Brunne é’ s and Troope’s, 13 that may correctly identify international law as an “interactional” system, but cannot present any argument as to why it is, where this empirical reality comes from, or what its implications are for the future. Comparatively, Hume provides a logic of philosophical concepts that answers these concerns. First, he fulfills the requirements for a fuller understanding of the origin and evolution of law from social convention and the dependence of social convention on the human imperative for society. Second, he offers a more adequate delineation of the overlapping concepts of the law in terms of the ideas and institutions that deal with norms and justice (e.g., principle, process, practice, rule, power, interest). Third, he provides a fundamental understanding of the essential dialectics at the core of a conceptualization of the law with both unconscious and conscious human participation (i.e., passion. (shrink)

According to R. G. Collingwood in The Principles of Art, art is the expression of emotion--a much-criticized view. I attempt to provide some groundwork for a defensible modern version of such a theory via some novel further criticisms of Collingwood, including the exposure of multiple ambiguities in his main concept of expression of emotion, and a demonstration that, surprisingly enough, his view is unable to account for genuinely creative artistic activities. A key factor in the reconstruction is a (...) replacement of the concept of expression with that of interpretation: what artists do is to interpret, rather than express, their initial emotions, in creative ways that may go far beyond their initial impulses. Thus more broadly the paper attempts to show that the concept of interpretation is just as central to understanding artistic creativity as it is in the analysis of the critical appreciation of artworks. (shrink)

This paper examines the controversy surrounding anthropologist Carleton S. Coon's 1962 book, "The Origin of Races." Coon maintained that the human sspecies was divided into five races before it had evolved into Homo sapiens and that the races evolved into sapiens at different times. Coon's thesis was used by segregationists in the United States as proof that African Americans were "junior" to white Americans and hence unfit for full participation in American society. The paper examines the interactions among Coon, segregationist (...) Carleton Putnam, geneticist Theodosius Dobzhansky, and anthropologist Sherwood Washburn. The paper concludes that Coon actively aided the segregationist cause in violation of his own standards for scientific objectivity. (shrink)

Contents: John BURNHEIM: Introduction. Mihály VAJDA: A Lover of Philosophy - A Lover of Europe. Phillippe DESPOIX: On the Possibility of a Philosophy of Values. A Dialogue within the Budapest School. Martin JAY: Women in Dark Times: Agnes Heller and Hannah Arendt. Johann P. ARNASON: The Human Condition and the Modern Predicament. Richard J. BERNSTEIN: Agnes Heller: Philosophy, Rational Utopia and Praxis. Zygmunt BAUMAN: Narrating Modernity. Peter BEILHARZ: Theories of History - Agnes Heller and R.G. Collingwood. Richard WOLIN: (...) Heller's Theory of Everyday Life. Paul HARRISON: Radical Philosophy and the Theory of Modernity. Arthur J. JACOBSON: The Limits of Formal Justice. Peter MURPHY: Civility and Radicalism. Peter MURPHY: Pluralism and Politics. Victoria CAMPS: The Good Life: A Moral Gesture. Laura BOELLA: Philosophy Beyond and the Baseless and Tragic Character of Action. György MÁRKUS: The Politics of Morals. Agnes HELLER: A Reply to My Critics. The Bibliography of Agnes Heller. (shrink)

Art as communication, by L. Tolstoi.--Art, intuition, and expression, by B. Groce.--Art as expression, by R. G. Collingwood.--The Groce-Collingwood theory of art, by J. Hospers.--The act of expression, by J. Dewey.--Art and the language of the emotions, by C. J. Ducasse.--Music as impressive and music as expressive, by E. Gurney.--Expression, by G. Santayana.--The expressiveness of colors, by W. Kadinsky.--Expression and association, by C. Hartshorne.--Expressiveness, by R. Arnheim.--The expression theory of art, by O, K. Bouwsma.--The concept of expression in (...) art, by V. Tomas, D. Morgan and M. Beardsley.--Musical expression, by M. Beardsley.--Expressive predicates of art, by G. Sircello. (shrink)

Hegel thought he had shown that if one wanted to be a metaphysician he/she had to be an idealist. One may not have to be a metaphysician, but if one is to be a metaphysician, then spirit, mind, person is the unavoidable analogy or model. Diefenbeck’s book can be understood as an elaborate documentation of Hegel’s claim. Thus we have a full-scale dialectical development of the position which holds that the subject and the subject’s activity, rather than “objective truth”, are (...) the fundamental reality. For Diefenbeck the rumor of idealism’s demise is somewhat exaggerated. Although the book is clearly influenced by Hegel and Collingwood, it presents an independent argument for the principle and primacy of subjectivity. It is a thoroughly scholarly study even though it lacks the usual apparatus of footnotes and bibliography. This book is the refined outcome of Diefenbeck’s long and distinguished teaching career at Southern Illinois University at Carbondale. It is included in the George Kimball Plochmann series, Philosophical Explorations. Diefenbeck’s exploration of the centrality of subjectivity in knowledge and reality deserves careful attention. It will be of particular interest to personalists, panpsychists, and idealists in general. (shrink)

"Quite otherwise than the scientist, and far more than the historian," writes R. G. Collingwood, "the philosopher must go to school with the poets in order to learn the use of language, and must use it in their way: as a means of exploring one's own mind, and bringing to light what is obscure and doubtful in it." Whereas the poet "yields himself to every suggestion that his language makes," however, the philosopher's words are assembled "only to reveal the (...) thought which they express, and are valuable not in themselves but as a means to that end." On this view, notes Collingwood, philosopher is to poet as lensgrinder is to jeweler: his art must conceal itself.1 And yet, the urge to emulate goes both ways, since... (shrink)

R. G. Collingwood (1889–1943) had several arguments that analyzed race in history and anthropology. These appear mainly in Roman Britain (both in theory and practice of history), The Idea of History, and The Principles of History. This latter work, which is fairly new to Collingwood scholarship (1999), contains the most important arguments. Collingwood argued that race is grounded in the historical process and this includes a people's environment, more so than genetics or evolution. He used the nature (...) of art as an example in his main argument. This spills over in his view of anthropology—in particular physical anthropology that was influenced by John Beddoe. His view is contrasted with Claude Lévi-Strauss who held that physical anthropology is at the forefront of social or cultural anthropology which follows its lead. Whereas Collingwood held that in studying blood types, skulls, and bones, 'one does not get inside the object or recreate its object inside itself.' Consequently, cultural anthropology will always provide the key to racial considerations. What is revealed is that emotions and rationality are the same across cultures; also, that superiority/inferiority claims about race are mythical and lead us into darkness and superstition. (shrink)

In An Autobiography, R.G. Collingwood offers a strikingly compact reductio ad absurdum of John Cook Wilson's metaphysical realism. Cook Wilson formulates the thesis as the inefficacy of epistemic states to determine the properties of objects of knowledge. He explains realism, according to Collingwood, as the view that 'knowing makes no difference to what is known'. Collingwood objects that any such formulation is 'meaningless'. The problem is that by implication the metaphysical realist is supposed to know that (...) Cook Wilson's principle is true, which requires the realist per impossibile to know what something is like even when its properties are unknown. (shrink)

The most searching elaboration of the detective image of the historian has come from the pen of R. G. Collingwood. His short detective story "Who Killed John Doe?" implied that, in spite of the often tentative nature of the question-answer process in a successful historical investigation, the pieces of the puzzle fit together and their coherence becomes self-evident. The predominance of physical evidence in Collingwood's detective story had its counterpart in his research on Hadrian's Wall. In examining (...) the questions raised by his investigations, and distinguishing between direct and circumstantial evidence, Collingwood was able to formulate a comprehensive theory concerning the date of the Wall's construction, the purpose of the Wall, the date of the related turf wall at Birdoswald, the chronological position of the fourteen forts along the Wall, and the role and date of the Vallum following the Walls' course. The pattern of research into the mysteries of Hadrian's Wall has hardly conformed to the linear, step-by-step schema of Collingwood's logic of question and answer. As with much detective work, it has embodied its share of informed guesswork, mistaken inference, false leads, and fortuitous revelations. (shrink)

This paper examines the methodological propositions of Quentin Skinner, whose influence on intellectual history, including the history and philosophy of science (HPS), cannot be disregarded. It is well known that Skinner’s method is based on John L. Austin’s theory of speech acts. Nonetheless, the very idea of applying ordinary language philosophy to the subject matter of history rests on other assumptions that form Skinner’s philosophy of historiography. The paper focuses on reconstructing this philosophy of historiography and especially on R. (...) G. Collingwood as a primary source of inspiration. This famous British philosopher, historian, and archaeologist authored many inspirational texts concerning the historical craft. The complex and sometimes contradictory structure of his posthumously published texts requires careful interpretation, and many philosophers see Collingwood as an obscure thinker. The paper argues that even though Skinner openly denounces Collingwood’s central concept of re-enactment, his philosophy of historiography is deeply influenced by a specific understanding of Collingwood’s legacy. (shrink)

Contemporary analytic aestheticians have little interest in the old paradigm of expression theory. They observe that expression theorists tend to locate the essence of art in the externalization of emotion, and they argue persuasively that this tendency is unfortunate. Then they consign expression theorists like Dewey; Collingwood, and Croce to the dustbin of history. This dismissive posture has become standard in aesthetics, for some good reasons. But at least in the case of Dewey, the reasons don't apply. The burden (...) of my dissertation is to make a case for this claim. ;While Dewey does help himself to the vocabulary of expressionism in Art as Experience, he uses it to make arguments less appropriate to a fin-de-siecle expression theorist than to a contemporary cultural critic. He never claims that art is essentially the expression of emotion; he doesn't even agree that emotion is what's expressed in art. His account of expression in art is about the production and reproduction of culture by means of individual agency. It is what Charles Taylor calls expressivism, not expressionism. ;My interpretation of Dewey's aesthetics diverges radically from the one in Alan Tormey's The Concept of Expression, which has become a kind of controlling precedent for the analytic approach to expressionism. I avoid and reject Tormey's reading by locating Dewey's musings on expression in the broader contexts of his conception of the aesthetic, his pragmatist philosophical system, and the tradition of expressivist thought that includes Hamann, Herder, Hegel and Marx. Proceeding in this way not only reveals certain motivations and themes that would otherwise remain obscure, but also highlights certain insights that point toward new, more culturally grounded modes of aesthetic theorizing. I try to recover Dewey's work as a step toward this new aesthetics, an approach that I call, following Cornel West, prophetic aesthetics. (shrink)

This paper is about the development of logic in the Aristotelian tradition, from Aristotle to the mid-fourteenth century. I will compare four systems of logic with regard to their expressive power. 1. Aristotle’s own logic, based mostly on chapters 1-2 and 4-7 of his Prior Analytics 2. An expanded version of Aristotle’s logic that one finds, e.g., in Sherwood’s Introduction to Logic and Peter of Spain’s Tractatus 3-5. Versions of the logic of later supposition theorists such as William Ockham, (...) John Buridan, and Paul of Venice. Version 4 is the logic without relatives ; version 5 adds relatives. I am ignoring modals, conditionals that are not ut nunc, infinitizing negation, exclusives and exceptives, all exponibles, all insolubles, and terms with simple or material supposition, ampliation and restriction, and many other things. (shrink)

Presents John Locke's seventeenth-century classic work on political and social theory; and includes a history of the text, as well as notes and a bibliography.