This treatise on aesthetics begins by showing that the word "art" is used as a name not only for "art proper" but also for certain things which are "art falsely so called." These are craft or skill, magic, and amusement, each of which, by confusion with art proper, generates a false aesthetic theory. In the course of attacking these theories the author criticizes various psychological theories of art, offers a new theory of magic, and reinterprets Plato's so-called "attack (...) on art," showing that it has been entirely misunderstood. Finally, he draws important inferences concerning the position of art in human society. (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 treatise on aesthetics criticizes various psychological theories of art, offers new theories and interpretations, and draws important inferences concerning ...

This early work by Robin G. Collingwood was originally published in 1939 and we are now republishing it with a brand new introductory biography. 'An Autobiography' is the story of Collingwood's personal and academic life. 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)

2014 Reprint of 1940 Edition. Full facsimile of the original edition, not reproduced with Optical Recognition Software. One of Collingwood's finest works, "Essay on Metaphysics" considers the nature of philosophy, and puts forward Collingwood's original and influential theories of causation, presuppositions, and the logic of question and answer. From the mid-thirties onwards Collingwood's work increasingly engaged in a dialogue with the newly emerging school of analytic philosophy. In this work he attacked the neo-empiricist assumptions prevalent in early (...) analytic philosophy and advocated a logical/epistemological transformation of metaphysics from a study of being or ontology to a study of the absolute presuppositions or heuristic principles which govern different forms of enquiry. Collingwood thus occupies a distinctive position in the history of British philosophy in the first half of the 20th century. He rejects equally the neo-empiricist assumptions that prevailed in early analytic philosophy and the kind of metaphysics that the analytical school sought to overthrow. (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.

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)

Even the best of artists are human, and therefore capable of turning out bad work. The father of poets has set his children the example of nodding, and small blame to his children if in this, as in other matters, they have followed where Homer led. Critics, that hardy and self-sacrificing race of beings who voluntarily incur the enmity of artists for the sake of the common welfare, have to classify the various manners and causes of nodding in poets. I (...) do not claim to be a critic, but I want to call your attention to a particular kind of nodding which presents a curious problem in the theory of art. I will call it the nod of the uncongenial subject. (shrink)

Aaron Ridley has concluded that “Collingwood’s global Idealism is really only a distraction from the much more important and interesting ideas that constitute his aesthetics.” My paper takes issue with this conclusion. Collingwood’s idealism is an integral part of his aesthetics, and it simply cannot be shucked off, leaving his aesthetics untouched and intact. A careful reading of Collingwood’s oeuvre in aesthetics reveals that it is his long-standing antipathy to realism that grounds both his critique of pseudo-art and his own (...) theory of art, particularly his idealist theory of the imagination. If Collingwood’s aesthetics are interesting and important, so is the idealism that grounds them. (shrink)

Even the best of artists are human, and therefore capable of turning out bad work. The father of poets has set his children the example of nodding, and small blame to his children if in this, as in other matters, they have followed where Homer led. Critics, that hardy and self-sacrificing race of beings who voluntarily incur the enmity of artists for the sake of the common welfare, have to classify the various manners and causes of nodding in poets. I (...) do not claim to be a critic, but I want to call your attention to a particular kind of nodding which presents a curious problem in the theory of art. I will call it the nod of the uncongenial subject. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Significance of R. G. Collingwood’s Principles of HistoryDavid BoucherThe Principles of History is the work that Collingwood saw as his principal philosophical enterprise, the book for which his whole intellectual life had been a preparation. It was to have been a work divided into three books. 1 In the first there was to be a discussion of the characteristics that make the special science of history distinctive. In (...) the second history was to be compared with other sciences. Third, he intended to investigate the relationship between history and practical life. He thought of beginning his project by giving a brief account of the different senses of the concept of history. Book one was divided into four chapters. The first was to concentrate on evidence and testimony relating them to scissors-and-paste history. Chapter two was to present a theory of action, res gestae, or action expressive of thought, in contrast with the idea of process, or change, associated with pseudo-history. In chapter three reenactment was to be discussed and contrasted with the idea of a dead past. Chapter four was to argue that history in contrast with other purported pretenders to the title can justifiably claim to be the science of the mind. Book two was divided into three chapters. Chapter one was to discuss history and natural science, showing that neither could be reduced to each other. He also wanted to contend that the natural sciences are themselves historical achievements in that they depend upon the historical facts of observation and thought. Chapter two was to deal with history and the human sciences, such as economics, which he describes as crypto-histories. In the third chapter Collingwood intended to explore the relation between history and philosophy. In book three, which is described less precisely, he wanted to argue that history overcomes the distinction between theory and practice, and that reenactment overcomes the dualism between mind and its objects. This, he thought, would enable him to give a characterization of historical morality and historical civilization in contrast with their utilitarian counterparts.He began writing the book on 15 February 1939 and had finished the first three chapters by 23 February. Over a month later, on 26 and 27 March, he began chapter four but was unable to formulate his thoughts on the past, and the relation between history and philosophy. At this point he stopped, never to return to the manuscript again. What we have left of The Principles of History deviates considerably from the original plan. Only three chapters were written, the third of which does not contain the crucial discussion of re-enactment. In addition, uncompleted fragments of the beginnings of a fourth chapter remain.In this paper I intend to look at why Collingwood’s explicit authorization to publish the Principles of History was disregarded by Knox and Oxford University Press. In addition, I want to look at three aspects of the rediscovered manuscript. In the second and third sections, on the method and subject matter of history respectively, I examine the extent to which Knox’s suppression of the Principles of History contributed to a good deal of the confusion surrounding the interpretation of Collingwood’s key ideas. What emerges from the pages of the Principles of History is how integral The Principles of Art and An Essay on Metaphysics are to understanding Collingwood’s later philosophy of history, a connection that is distorted by the patchwork nature of The Idea of History.In the fourth section of the paper I suggest that the most significant omission to which Collingwood never returned was the theory of reenactment. Reenactment more than any other aspect of his writings has been placed by interpreters at the centre of Collingwood’s philosophy of history. W. H. Dray’s new book is wholly focused upon this theme. Dray did not, however, see The Principles of History in time to incorporate the implications for reenactment theory of Collingwood’s broadening of the subject matter of history to include the emotions. 2 The theory of reenactment could no longer be sustained by the earlier argument found in The Idea of History, because Collingwood, in The Principles of... (shrink)

A fine example of phenomenological analysis, this book describes the locus of aesthetics but does not offer an aesthetic theory. The work of art is characterized by the peculiar way it has of presenting itself to and of laying hold of its observer. This leads to an analysis of form and structure, of beauty and aesthetic truth, both in art and in nature.--R. G. S.

Many philosophers have been interested in aesthetics, but Collingwood was passionate about art. His theories were never merely theoretical: aesthetics for him was a vivid, vibrant thing, to be experienced immediately in worked paint and in sculptured stones, in poetry and music. Art and life were no dichotomy for Collingwood - for how could you have one without the other? Works of art were created in and for the real world, to be enjoyed by real people, to enchant to enhance. (...) Aaron Ridley's fascinating introduction opens up the work of this most rewarding of aesthetic thinkers, tracing his thought from its philosophic origins through to its practical consequence and ethical implications. The man who saw art as 'the community's medicine for the worst disease of mind' had a sense of its urgent importance which we ignore at our peril today. (shrink)

The distinction between propositional and doxastic justification has been of undisputed theoretical importance in a wide range of contemporary epistemological debates. Yet there are a host of intimately related issues that have rarely been discussed in connection with this distinction. For instance, the distinction not only applies to an individual’s beliefs, but also to group beliefs and to various other attitudes that both groups and individuals can take: credence, commitment, suspension, faith, and hope. Moreover, discussions of propositional and doxastic justification (...) have rarely focused on broader meta-epistemological issues, and yet meta-epistemological positions can have important implications for first-order views about this distinction. This volume addresses these and other issues by bringing together 16 essays that advance the state-of-the-art thinking on propositional and doxastic justification and explore how such thinking shapes and is shaped by a range of issues previously neglected in contemporary epistemology. (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 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 paper presents evidence and arguments against an interpretation of david Hume's idea of history which insists that he held to a static conception of human nature. This interpretation presumes that hume lacks a genuine historical perspective, and that consequently his notion of historiography contains a fallacy (viz., Of the universal man). It is shown here that this interpretation overlooks an important distinction between methodological and substantive uniformity in hume's discussion of human nature and action. When this distinction is appreciated, (...) the above criticisms appear misrepresentative of hume's ideas of history, human nature, and their connection. A different interpretation of these concepts is then developed. (shrink)

“ The doubtful story of successive events.” With this contemptuous phrase1 Bernard Bosanquet brushed aside the claim of history to be considered a study deserving the attention of a thoughtful mind. Unsatisfactory in form, because never rising above uncertainty; unsatisfactory in matter, because always concerned with the transitory, the successive, the merely particular as opposed to the universal; a chronicle of small beer, and an untrustworthy chronicle at that. Yet Bosanquet was well read in history; he had taught it as (...) a young man at Oxford, and his first published work had been a translation of a recent German book on the Athenian constitution; he knew that a vast amount of the world's best genius in the last hundred years had been devoted to historical studies; and when, late in life, he asked himself what it came to, that was all he could say. (shrink)

R.G. Collingwood defined historical knowledge as essentially ‘scientific’, and saw the historian's task as the ‘re-enactment of past thoughts’. The author argues the need to go beyond Collingwood, first by demonstrating the authenticity of available evidence, and secondly, using Namier as an example, by considering methodology as well as epistemology, and the need to relate past thoughts to their present context. The ‘law of the consumption of time’ encourages historians to focus on landmark events, theories and generalisations, thus breaking from (...) Collingwood's emphasis on fidelity to past ideas and interpreting the past from the concepts of the present. This conflict can only be reconciled by the study of historiography. (shrink)

R.G. Collingwood defined historical knowledge as essentially ‘scientific’, and saw the historian's task as the ‘re-enactment of past thoughts’. The author argues the need to go beyond Collingwood, first by demonstrating the authenticity of available evidence, and secondly, using Namier as an example, by considering methodology as well as epistemology, and the need to relate past thoughts to their present context. The ‘law of the consumption of time’ encourages historians to focus on landmark events, theories and generalisations, thus breaking from (...) Collingwood's emphasis on fidelity to past ideas and interpreting the past from the concepts of the present. This conflict can only be reconciled by the study of historiography. (shrink)

This book is his remarkable diary of that voyage.

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)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume XX, Number 2, November 1994, pp. 261-287 Collingwood's Understanding of Hume S. K. WERTZ What was David Hume's reception in the British idealistic tradition? In this paper, I shall contribute a short chapter on this question by examining Hume's place in R. G. Collingwood's thought.1 Such an examination has been lacking in the literature, so what follows is a comprehensive study of Collingwood's (...) use of Hume throughout all of R.G.'s writings. I shall mainly focus on two main, unrelated discussions of Hume: first is the theory of the imagination which primarily occurs in The Principles of Art, and second is the set of relations between human nature and human history which is principally found in The Idea of History. These sections will be followed by a section on minor discussions and omissions and a conclusion. It is a common misconception that Collingwood (1889-1943) has little to offer Hume scholarship, and I wish to amend that here. Actually, Collingwood has good insights into the nature of the imagination and its role in human understanding, besides instructive thoughts on Hume on human nature and history, even though his discussion of the latter is flawed. This essay serves both historical and philosophical purposes. It is to sample Hume's place in early twentieth century British idealism at a time when he began to emerge as an important philosophical figure worthy of careful study. (By "idealism," I mean the philosophical movement which takes ideas to be an irreducible part of the world and whose program is opposed to both materialism and realism.) So Collingwood's portrait is historically interesting. But over and above this, it carries significant philosophical amendments, S. K. Wertz is at the Department of Philosophy, Texas Christian University, Box 30781, Fort Worth, TX 76129 USA. e-mail: [email protected] 262 S. K. Wertz criticisms, and suggestions about Hume's thought and the eighteenth century intellectual climate. Collingwood has mostly been studied as a philosopher of history or as an aesthetician, but not in toto from the perspective of one of the historical figures to whom he is deeply indebted. Such a view affords a portrait of Hume that is instructive and rewarding. The comparison of Hume and Collingwood lead us to finer appreciation of both philosophers. Let us first look at Collingwood's positive contribution. Imagination Collingwood begins his analysis by declaring his intentions: I shall...try to show that there are such things, to be with what Hume (whose account of them I shall take as my starting-point) called 'ideas' as distinct from 'impressions'. I shall try to show that there is a special activity of mind correlative to them, and that this is what we generally call imagination, as distinct from sensation on the one hand and intellect on the other. (PA 170-71, emphasis added) Why would Collingwood start with Hume's distinction between impressions and ideas? Undoubtedly, this means that Collingwood is willing to accept the validity of the distinction and to build on it. Isn't this a strange place for an idealist to begin? Not really. When we look at British philosophy at the turn of this century, we find idealists preoccupied with the distinction,2 so it is not extraordinary to find Collingwood utilizing it to some extent. Like most Oxford students of the time, Collingwood read Locke, Berkeley, and Hume in his undergraduate program. Consequently we find them in the problems he addresses. "It was Hume who first perceived the [Lockean] problem [of confusing sensation with imagination]," Collingwood attributes, "and tried to solve it by distinguishing ideas from impressions" (PA 200). In detail: He [Hume] was right when he laid it down that the immediate concern of thought is not with impressions but with ideas; that it is ideas, not impressions, that are associated with one another and thus built up into the fabric of knowledge; and that ideas, though 'derived' from impressions, are not mere relics of them like an after-taste of onions or an after-image of the sun (as Lockeans like Condillac supposed), but something different in kind: different, if not in what he... (shrink)

The dominant feature of eighteenth-century aesthetic is the inquiry and discussion concerning the theory of “taste.” There is material or bibliographical evidence of this in the rapid sequence of treatises, essays, inquiries, observations, and controversies on this subject, extending from the close of the seventeenth to the last years of the eighteenth century, and bearing the names, in France, of Dacier, Bellegarde, Bouhours, Rollin, Seran de la Tour, Trublet, Formey, Bitaubé, Marmontel, and, still more eminent, of Montesquieu, Voltaire, d’Alembert; (...) in England, of Addison, Hume, Gerard, Home, Burke, Priestley, Blair, Beattie, Percival, Reid, Alison; in Italy, of Muratori, Calepio, Pagano, Corniani; in Germany, of Thomasius, J. U. König, Bodmer, A. von Schlegel, Wegelin, Heyne, Herz, Eberhard, J. C. König, and, by German influence in Hungary, Szardahely; and, greatest of all, Immanuel Kant, whoseCritique of Judgmentconsists in the main of a critique of the aesthetic judgment of taste. (shrink)

R. G. Collingwood’s 'The Principles of Art' argues that art is the expression of emotion. This dissertation offers a new interpretation of that philosophy, and argues that this interpretation is both hermeneutically and philosophically plausible. The offered interpretation differs from the received interpretation most significantly in treating the concept of ‘art’ as primarily scalarly rather than binarily realisable (this is introduced in ch. 1), and in understanding Collingwood’s use of the term ‘emotion’ more broadly (introduced in ch. 2). -/- After (...) the exposition of ch. 1, the remainder of that chapter and the subsequent three chapters are each centred around one sort of objection. In ch. 1, I consider the objection that Collingwood’s scalar understanding of ‘art’ is deviant and unhelpful. I respond by first observing that the understanding is not deviant, and second that it is more philosophically and artistically illuminating. In ch. 2, I consider the objection that Collingwood’s understanding of ‘emotion’ is so narrow that it fails to do justice to the fact that art can be philosophically potent. I respond that his understanding of ‘emotion’ is broad enough that this objection fails. In ch. 3, I consider the objection that Collingwood has no theoretical room for the prima facie plausible thought that some emotions are not worth expressing in art. In response, I reinterpret the points that appear to support this contention in a way that makes them both more plausible and more Collingwoodian. Finally, in ch. 4, I consider the objection that Collingwood does not have the theoretical room to do justice to the value of the delight we take in art. I respond by arguing that although he does not have this room to say that this delight is itself an artistic value, it does yet have an important place in his philosophy. (shrink)