This is the long-awaited publication of a set of writings by the British philosopher, historian, and archaeologist R.G. Collingwood (1889-1943) on critical, anthropological, and cultural themes only hinted at in his previously available work. At the core are six essays on folktale and magic in which Collingwood applies the principles of his philosophy of history to problems in the long-term evolution of human society and culture. The volume opens with three substantial introductory essays by the editors, authorities (...) in their various fields, who provide their explanatory and contextual notes to guide the reader through the texts. The Philosophy of Enchantment highlights the broad range of Collingwood's intellectual engagements, their integration, and their relevance to current areas of debate in the fields of philosophy, cultural studies, social and literary history, and anthropology. (shrink)

This volume brings together academics from a variety of disciplines to discuss Collingwood's contributions to philosophy, aesthetics, philosophy of history, political philosophy and archaeological theory. It begins with a general survey of his contribution to history, politics and philosophy.

The New Leviathan, originally published in 1942, a few months before the author's death, is the book which R. G. Collingwood chose to write in preference to completing his life's work on the philosophy of history. It was a reaction to the Second World War and the threat which Nazism and Fascism constituted to civilization. The book draws upon many years of work in moral and political philosophy and attempts to establish the multiple and complex connections between the levels (...) of consciousness, society, civilization, and barbarism. Collingwood argues that traditional social contract theory has failed to account for the continuing existence of the non-social community and its relation to the social community in the body politic. He is also critical of the tendency within ethics to confound right and duty. The publication of additional manuscript material in this revised edition demonstrates in more detail how Collingwood was determined to show that right and duty occupy different levels of rational practical consciousness. The additional material also contains Collingwood's unequivocal rejection of relativism. David Boucher's introduction shows that The New Leviathan and The Idea of History are integrally related and that neither can be properly understood independently of the other. He is also concerned to show how many of Collingwood's ideas have a contemporary relevance, and that his ideas on barbarism are not so unusual as they might at first appear. (shrink)

The New Leviathan, originally published in 1942, a few months before the author's death, is the book which R. G. Collingwood chose to write in preference to completing his life's work on the philosophy of history. It was a reaction to the Second World War and the threat which Nazism and Fascism constituted to civilization. The book draws upon many years of work in moral and political philosophy and attempts to establish the multiple and complex connections between the levels (...) of consciousness, society, civilization, and barbarism. Collingwood argues that traditional social contract theory has failed to account for the continuing existence of the non-social community and its relation to the social community in the body politic. He is also critical of the tendency within ethics to confound right and duty. The publication of additional manuscript material in this revised edition demonstrates in more detail how Collingwood was determined to show that right and duty occupy different levels of rational practical consciousness. The additional material also contains Collingwood's unequivocal rejection of relativism. David Boucher's introduction shows that The New Leviathan and The Idea of History are integrally related and that neither can be properly understood independently of the other. He is also concerned to show how many of Collingwood's ideas have a contemporary relevance, and that his ideas on barbarism are not so unusual as they might at first appear. (shrink)

ABSTRACTR. G. Collingwood is mostly remembered for his theory that historical understanding consists in re-enacting the thoughts of the historical figure whom one is studying. His first recognizable expression of this view followed from an argument about the emptiness of psychological interpretations of religion, and throughout his career Collingwood offered history as re-enactment as an alternative to psychology. Over time, his argument that the psychology of religion could not be relevant to the veracity of religious beliefs was supplanted (...) by the argument that psychology is self-undermining because the psychologist’s procedure of attributing beliefs to blind psychic needs could apply just as easily to the psychologist him- or herself. As an alternative to what he took to be the self-defeating psychological position, Collingwood put forward the study of the development of beliefs as the motivations for actions, which led him to his views that “all history is the history of thought” and that, in order to understand an historical event, we must mentally re-enact the thoughts that stood behind it. (shrink)

This paper addresses the views of R.G. Collingwood and Theodor Adorno on the role of amusement and art in what each of them saw as the crisis of contemporary Western civilization. We will begin by showing how the aesthetic theories of Collingwood and Adorno develop out of their shared concerns about the harmful effects of amusement and bad art on the consciousness of human beings. We will argue that a productive dialogue between these two figures clarifies that the (...) value of art consists in its ability to remedy the corruption of the mental and emotional lives of human beings and in helping to fashion a different social and political order. As part of this, we will show how, despite appearances, Adorno’s aesthetic cognitivism and Collingwood’s expression theory of art agree with and complement one another in significant ways. In establishing this point, this work will leave us with an understanding of art that is more comprehensive and better equipped to address the crisis of contemporary Western society. (shrink)

James Connelly and Giuseppina D'Oro present a new edition of R. G. Collingwood's classic work of 1933, supplementing the original text with important related writings from Collingwood's manuscripts which appear here for the first time. The editors also contribute a substantial new introduction. The volume will be welcomed by all historians of twentieth-century philosophy.

This treatise on aesthetics criticizes various psychological theories of art, offers new theories and interpretations, and draws important inferences concerning ...

Published posthumously in 1964, this volume contains a fantastic collection of essays by R. G. Collingwood on the subject of art and it's relationship with philosophy. Robin George Collingwood, FBA (1889 - 1943) was an English historian, philosopher, and archaeologist most famous for his philosophical works including "The Principles of Art" (1938) and the posthumously-published "The Idea of History" (1946). This fascinating volume will appeal to those with an interest in Collingwood's seminal work, and is not to (...) be missed by students of philosophy and art. Contents include: "Ruskin not a Philosophical Writer," "Ruskin's Attitude towards Philosophy," "On the Philosophy of Non-Philosophers," "Logicism and Historicism," "Ruskin as Historicist," "The Anti-Historicism of Ruskin's Contemporaries," "The Unity of the Spirit: Corollaries and Illustrations," "Ruskin and Browning," etc. Many vintage books such as this are increasingly scarce and expensive. It is with this in mind that we are republishing this volume today in an affordable, modern edition complete with a specially-commissioned new biography of the author. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This early work by Robin G. Collingwood was originally published in 1924 and we are now republishing it with a brand new introductory biography. 'Speculum Mentis' is an academic work on the subject of philosophy. Robin George Collingwood was born on 22nd February 1889, in Cartmel, England. He was the son of author, artist, and academic, W. G. Collingwood. He was greatly influenced by the Italian Idealists Croce, Gentile, and Guido de Ruggiero. Another important influence was his (...) father, a professor of fine art and a student of Ruskin. He published many works of philosophy, such as Speculum Mentis (1924), An Essay on Philosophic Method (1933), and An Essay on Metaphysics (1940). (shrink)

Collingwood published this article the same year that he published his first book on Aesthetics: "Outlines of a Philosophy of Art". The article can be divided in two main sections. In the first one Collingwood defends the existence of a Philosophy of Art in Plato's Republic, in close relation to the theory of reality expounded by Plato in the Book. From Collingwood's point of view, Plato understood art as "an appearance of an appearance", closely related to imagination, (...) and as a symbol of truth. The second section is a critique of Plato's conception previously presented from Collingwood's own perspective. (shrink)

This book is his remarkable diary of that voyage.

This volume presents a many-faceted view of the great Oxford philosopher R. G. Collingwood. At its centre is his Autobiography of 1939, a cult classic for its compelling 'story of his thought'. That work is accompanied here by previously unpublished writings by Collingwood and eleven specially written essays on aspects of his life and work.

The article discusses philosophical foundations of Nicholas Maxwell’s theory of scientific knowledge—Aim Oriented Empiricism. It is demonstrated that AOE evokes many illuminating, overshadowed by positivistic tradition, insights on the nature of cognition, language, and the relationship between philosophy and strict sciences. It corresponds with Jürgen Habermas’s theory of speech acts and R. G. Collingwood’s account of philosophical method. What calls serious doubts, though, is the very way in which Maxwell relates his conception to the project of wisdom society. (...) It is argued that while AOE considerably contributes to our understanding of science, wisdom and rationality, it nonetheless falls short of giving a convincing account of how the idea of wisdom society should be implemented. (shrink)