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 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)

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 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.

This paper discusses methodological similarities between Collingwood's approach to causation and contemporary manipulability-based views. Firstly, I argue that on both approaches there is a preoccupation with the origin of causal concepts which further connects to the aim of establishing the priority of a certain concept/sense of causation as more fundamental. The significant difference lies in Collingwood's focus on the logical and historical priority (Collingwood's sense I) while in more recent theories the focus has been on psychology (i.e., (...) on different philosophical concepts of causation tested in psychological setting-- Woodward, Waskan, Gijsbers & de Bruin). Secondly, I argue that on both Collingwood's views and contemporary approaches (especially Menzies & Price, Price, but also Woodward) there is an important connection between causation and the agent's perspective. This can be subsumed under what Collingwood identifies as the main presupposition underlying causal thought: the relation between the agent's perceived situation and the agent's desired situation/ goal. More broadly, the recent views on causation under discussion share Collingwood's aim of elucidating the problem of causation through investigating causal knowledge and thus can be integrated with his wider project of addressing metaphysical issues through the means of epistemology. (shrink)

Even if we reject the Wollheimian reading of Collingwood as an Idealist in the ontology of art, it remains puzzling how his non-Idealist ontology fits with his idea of art as expression. In trying to clarifying these matters, I argue that (i) the work of art, for Collingwood, is an activity, not the product of an activity; (ii) puzzling features of the Principles arise from attempts to reconcile this claim with the idea of art as expression while preserving (...) the art/craft distinction; and (iii) Collingwood's principal concern in the Principles is with the role of imagination in experience. CiteULike Connotea Del.icio.us What's this? (shrink)

The central feature of the narrative structure of Collingwood’s The Idea of History is the pivotal role accorded to Bradley, evident in the table of contents and in the two discussions of him. Few readers have noticed that, confusingly, the book’s first discussion of Bradley is a revision of the Inaugural Lecture “The Historical Imagination,” which constitutes the book’s second discussion of Bradley . The differences between these two presentations of Bradley are significant. The 1935 account seeks to portray (...) the Bradley of the Presuppositions of Critical History as a Copernican revolutionary in historical thought, even though the neo-Kantian transcendentalism promoted in the Lecture had been the core of Collingwood’s approach to philosophy of history from the mid-1920s, many years before he encountered Bradley’s essay. By 1935 this transcendentalism was in the process of self-destructing because of inner contradictions. By 1936, once Collingwood’s narrative and his criticisms of Bradley left the 1935 claims unsustainable, Collingwood shifted attention to Bradley’s later works, in an unsuccessful attempt to sustain the notion of his originality . Hitherto neglected Collingwood manuscripts held in the Bodleian prove that by 1940 Collingwood recognized this, so that the prominence Knox gave to Bradley in his editing of the IH is demonstrably not in accord with Collingwood’s views and plans for The Idea of History. Knox’s much-disputed claim that there was a radical shift to historicism in the later Collingwood is, however, confirmed, clear proof being adduced that in the later 1930s the attempt transcendentally to deduce universal and necessary presuppositions of historical knowledge is abandoned for a radically historicist account, paralleled by a demotion of “critical history” as the final form of “history proper” in favor of “scientific history.”. (shrink)

Collingwood has often been depicted as a neglected and isolated thinker whose original ideas on the contextual nature of truth anticipated important trends in postwar thought. The spiritual aspects of his thought, however, have often been problematic, precisely because they seem to conflict with his more influential ideas. Although Collingwood's overtly theological and metaphysical writing can be safely confined to an early, perhaps even juvenile phase of his career, the spiritual dimension of some of his later work, including, (...) for example, the famous doctrine of reenactment, has often been marginalized, repressed, or domesticated in order to preserve Collingwood's historical place in twentieth-century philosophy of history. This radical conflict continues to disrupt both the reception of Collingwood's ideas and attempts to contextualize them historically. However, if the spiritual and theological nature of Collingwood's thought is taken seriously, and not marginalized, it is hard to see his career as discrete stages of development. The problem of transcendent identity was a central concern for Collingwood throughout his career, and it unifies much of his thinking on divergent topics. The problematic idea of reenactment actually opens up a complex connection in Collingwood's thought between ethical action, historical time, and our relationship with divine reality. It is this rediscovery of Collingwood's spiritual ideas on history that leads to a reevaluation of his own historical context, for it becomes clear that these ideas were neither eccentric nor old-fashioned. The problems Collingwood was addressing link him with a much broader movement of European thought in the interwar period, one that was trying to mediate transcendent reality and concrete historicity in a situation of crisis and fragmentation. (shrink)

This paper argues that there are notable similarities between Collingwood’s method of investigating absolute presuppositions and contemporary strands of pragmatism, focusing on two areas - the critique of realism and causation. It is first argued that there are methodological similarities between Collingwood’s argument against realism and his Kantian-inspired critique of metaphysics, and Putnam’s critique of externalism. Regarding causation, it is argued that Collingwood’s view and Price’s pragmatist approach have a common method – investigating causation in the context (...) of specific human practices. Both authors place causation in the framework of scientific inquiry as opposed to making it the subject of the inquiry itself. Thus, Collingwood’s work proves to be in line with current metaphilosophical debates, particularly in the philosophy of science. (shrink)

The purpose of the work is to show that two recent philosophers whose views are in many respects divergent, R g collingwood and ludwig wittgenstein, Are in basic agreement with respect to the primary task of philosophy, Which is to search for liberating vision through accurate description of the multiple forms of life and experience and their relations. Detailed comparison is made of their views of experience, Language, Metaphysics, And religion. The underlying understanding of the task of philosophy which (...) they share is commended as relevant to current discussion. (shrink)

ABSTRACTThe central feature of the narrative structure of Collingwood's The Idea of History is the pivotal role accorded to Bradley, evident in the table of contents and in the two discussions of him. Few readers have noticed that, confusingly, the book's first discussion of Bradley is a revision of the Inaugural Lecture “The Historical Imagination,” which constitutes the book's second discussion of Bradley. The differences between these two presentations of Bradley are significant. The 1935 account seeks to portray the (...) Bradley of the Presuppositions of Critical History as a Copernican revolutionary in historical thought, even though the neo‐Kantian transcendentalism promoted in the Lecture had been the core of Collingwood's approach to philosophy of history from the mid‐1920s, many years before he encountered Bradley's essay. By 1935 this transcendentalism was in the process of self‐destructing because of inner contradictions. By 1936, once Collingwood's narrative and his criticisms of Bradley left the 1935 claims unsustainable, Collingwood shifted attention to Bradley's later works, in an unsuccessful attempt to sustain the notion of his originality.Hitherto neglected Collingwood manuscripts held in the Bodleian prove that by 1940 Collingwood recognized this, so that the prominence Knox gave to Bradley in his editing of the IH is demonstrably not in accord with Collingwood's views and plans for The Idea of History. Knox's much‐disputed claim that there was a radical shift to historicism in the later Collingwood is, however, confirmed, clear proof being adduced that in the later 1930s the attempt transcendentally to deduce universal and necessary presuppositions of historical knowledge is abandoned for a radically historicist account, paralleled by a demotion of “critical history” as the final form of “history proper” in favor of “scientific history.”. (shrink)

The aim of this paper is to understand the philosophical role of Collingwood’s proposed logic of question and answer. I shall consider its historical background as a response to Bradley, to the “realists” and to the logical positivists. I shall also consider the similarities and differences between it and modern developments in logics of question and answer and also in anti-realist philosophical logic. In analysing Collingwood’s proposed logic, and its potential for development, I shall attempt a sketch of (...) how it would work out in formal terms. To be sure Collingwood dismissed the symbolism of Russell and Whitehead’s Principia Mathematica as “typographical jargon” and he thought the various artificial logical languages of his time to be “numerous and frightful offspring of propositional logic out of illiteracy”. Nevertheless he did recognise an important role for the logician in articulating his system, namely to identify what it is to be a proposition and what it is to be a question and in doing so to identify what constitutes an “absolute presupposition”. Moreover since Collingwood’s day there have been important developments in logic and semantics, which are expressed through typographical jargon, and yet which are highly relevant to Collingwood’s proposed logic and to its philosophical role. (shrink)

In some of his last publications, R. G. Collingwood takes the position that problems in philosophy are not eternal. Such a denial, in the context of the controversies concerning the overall interpretation of Collingwood's work, is significant for at least two reasons: it seems to suggest an “atomistic” view of the history of philosophy on Collingwood's part, perhaps one that resembles that of the history of science as offered inThe Structure of Scientific Revolutions. Also, the denial seems (...) to reverse Collingwood's earlier views which insisted on aphilosophia perennis, and this would support those who maintain that at some point Collingwood's thought underwent a “radical conversion”. (shrink)

Collingwood’s work has proved a rich source of ideas for aestheticians, and also fruitful in respect of metaphysical ideas; most especially, suggestive in ways in which a non-realist theory of meaning and understanding might be developed within contemporary directions in the philosophy of language. But these two areas of interest are traditionally seen as importantly different, as depending on different aspects of Collingwood’s works. This paper argues that a potentially fruitful line of development for aesthetics comes from importing (...) into our considerations of art and aesthetic experience Collingwood’s developed views on the nature of metaphysics. (shrink)

The procedure I will follow in this paper requires a brief initial note of explanation. Collingwood’s texts are opaque at two points. First, he does not make clear what precisely he meant by the claim that metaphysics is a historical discipline. The prevailing interpretation—which I dispute—has been that he had in mind a similarity or identity of certain methods of inquiry or explanation. Second, and more seriously, he does not make clear the relationship of his two main treatises on (...) metaphysics. They were written and published only seven years apart and one feels there ought to be some connection, if only that of explicit rejection, between them. Their connection is problematic; for they appear, on the surface, very different. Rather like the relationship of Plato’s Laws to his Republic. But Collingwood himself is almost completely noncommittal on how they stand, each to the other. He apparently saw in them some sort of continuity. But beyond this we have no sense of what he took their relationship to be. (shrink)

The question, R. M. Hare concedes, “has assumed great importance in the thought of some philosophers, for example Cook Wilson and Collingwood.” A concession, because after a couple of sentences Hare concludes: “we need say no more about questions.” The implication is that in contrast with his two Oxford predecessors the topic has little importance in his philosophy. This isn’t quite so, it will be seen. But it is in line with a tendency among philosophers to relegate the topic, (...) often quite literally, to a footnote. They would be wiser to take questions more seriously; not least because any theory of meaning which connects meaning in some way to the concept of truth—as most do—has to explain how interrogative sentences, which cannot sensibly be said to express what is true or false, can yet have a meaning. Questions also present a challenge to the easy assumption that all thought is either true or false. Even to think of something, it can be argued, is to think that certain descriptions are true of it: to think of a cat is to think of something as having four legs, fur, and so forth. Collingwood’s way of meeting the challenge isn’t immediately apparent. In An Autobiography he does seem to reject the assumption. (shrink)

ABSTRACTR. G. Collingwood's New Leviathan presents an account of two ‘dialectical’ political processes that are ongoing in any body politic. Existing scholarship has already covered the first: a dialectic between a ‘social’ and a ‘non-social’ element, which Collingwood identifies in Hobbes. This essay elucidates a second: a dialectic between Liberals and Conservatives, which regulates the ‘percolation’ of liberty and the rate of recruitment into what Collingwood calls ‘the ruling class’. The details of this second dialectic are to (...) be found not in Hobbes, but in the work of Vilfredo Pareto and Gaetano Mosca, yet Collingwood's connections to these fathers of ‘classical elite theory’ have not previously been discussed. (shrink)

Among Collingwood’s major books his Essay on Philosophical Method is, perhaps, the least well-known. There were a few reviews, some unfavorable, at the time of publication and, after that, an essay or two. But the book has largely been ignored.

We are not dealing with an event in the history of logic. We are dealing with the ravages of a disease that is attacking the European intellect. If the thoughts of a diseased intellect prove to be paradoxes, there is nothing paradoxical in that. [R. G. Collingwood, An Essay on Metaphysics,p.281].

Collingwood wrote at a time when positivism was the dominant philosophical influence in British philosophy. Central to Collingwood's philosophical project was the task of rehabilitation of metaphysics against the backdrop of the positivistic deconstruction of metaphysics. Collingwood's defence of metaphysics is much nuanced in the sense that while Collingwood does not sympathize with the grandiose conception of metaphysics associated with traditional metaphysics he is nonetheless keen to argue for the possibility of metaphysics in some form by (...) reconceptualising metaphysics as a science of absolute presuppositions. Thus his reform of metaphysics is an answer to positivism at the same time an attempt to tone down the claims of metaphysics such as to bring it in accord with scientific rationality. Yet it remains to be seen whether Collingwood's rehabilitation of metaphysics is successful, so far as the so-called absolute presuppositions do not have any ontological bearing with the domain of reality as it is in-itself but are exclusively grounded as structural features of human rationality, writ large. In this sense, Collingwood's initiative appears to suffer from similar difficulties that bedevil its Kantian predecessor in reforming metaphysics in terms of the claims of his Copernican revolution in epistemology. (shrink)

Leach asks, what would Collingwood have thought of archaeological theory, a sub-discipline of archaeology that has developed since the 1960s? He argues that Collingwood would have welcomed it for it has developed out of respect for the principle that in any investigation, in examining the evidence, one must always have some question in mind. Nonetheless, although Collingwood would have welcomed recent developments in archaeological theory, and would have urged metaphysicians to take notice of such developments, he is (...) not himself an archaeological theorist: he is, primarily, a metaphysician. (shrink)

'Roman England': R.G. Collingwood's Correspondence with Harold Bruff, compiled and introduced by Stephen Leach.

The launch of this important book appropriately takes place near Collingwood's childhood home in the Lake District-- a book decorated by illustrations from the work of his own father who taught him so much. It is a pleasure that his daughter Teresa is here, whose own memoir 'Early Influ-ences' helped in our thinking about her father. I join the edi-tors whose skill deserves the highest praise, in expressing gratitude both for Teresa's encouragement throughout the preparation of this book and (...) for her permission to publish her father's previously unpublished papers. (shrink)

En este trabajo trataré de mostrar que existe en la obra de Collingwood una unidad si se considera su concepción de la historia y, si bien no creo que algunos cambios en su desarrollo puedan obviarse, me inclino por una lectura que tienda a verlos como modificaciones en sus tesis que, vistas diacrónicamente, permiten reconocer cierta continuidad. Lo que me propongo, entonces, es criticar la interpretación realista de los primeros escritos de Collingwood oponiendo una lectura constructivista que muestre (...) la continuidad teórica entre esos textos y los posteriores, y a la vez intento una defensa del constructivismo histórico de Collingwood frente a las críticas relativistas o escépticas. (shrink)

R. G. Collingwood’s philosophical analysis of religious atonement as a dialectical process of mortal repentance and divine forgiveness is explained and criticized. Collingwood’s Christian concept of atonement, in which Christ \ the Atonement the Incarnation), is subject in turn to another kind of dialectic, in which some of Collingwood’s leading ideas are first surveyed, and then tested against objections in a philosophical evaluation of their virtues and defects, strengths and weaknesses. Collingwood’s efforts to synthesize objective and (...) subjective aspects of atonement, and his proposal to solve the soteriological problem as to why God becomes flesh, as a dogma of some Christian belief systems, is finally exposed in adversarial exposition as inadequately supported by one of his main arguments, designated here as Collingwood’s Dilemma. The dilemma is that sin is either forgiven or unforgiven by God. If God forgives sin, then God’s justice is lax, whereas if God does not forgive sin, then, also contrary to divine nature, God lacks perfect loving compassion. The dilemma is supposed to drive philosophy toward a concept of atonement in which the sacrifice of Christ is required in order to absolve God of the lax judgment objection. God forgives sin only when the price of sin is paid, in this case, by the suffering and crucifixion of God’s avatar. The dilemma can be resolved in another way than Collingwood considers, undermining his motivation for synthesizing objective and subjective facets of the concept of atonement for the sake of avoiding inconsistency. Collingwood is philosophically important because he asks all the right questions about religious atonement, and points toward reasonable answers, even if he does not always deliver original philosophically satisfactory solutions. (shrink)

In this chapter, Jonas Ahlskog examines R. G. Collingwood’s conception of the philosophy of history and its metaphilosophical import. Ahlskog shows that Collingwood’s philosophy of history is simultaneously both a descriptive metaphysics of history and an elucidation of the relation between historical and philosophical thought. As a descriptive metaphysics, Ahlskog argues that Collingwood’s account has an irreducible and underexplored role for contemporary issues in the philosophy of history. The metaphilosophical import of Collingwood’s philosophy of history is (...) unpacked through an elaboration of Collingwood’s ideas about the historicity of human experience and understanding. In conclusion, Ahlskog argues that the metaphilosophical dimension of Collingwood’s philosophy of history is integrally connected with the concept of history as self-knowledge. (shrink)

This paper explores Collingwood's and Wittgen-stein's views on magic. It argues that their insights converge at some interesting points. But this is just a tip of the iceberg. For beneath their overlapping views on magic and religion lie their notions of absolute presuppositions and hinge-propositions which also exhibit striking similarities. At bottom, this paper contends that, although Collingwood and Wittgenstein come fromdifferent intellectual backgrounds, they are essentially philosophers of kindred thought.

R. G. Collingwood's philosophy of history is explained and critically evaluated. Collingwood advances an objective idealist historiography, according to which it is necessary for the historian to enter vicariously into the thoughts of historically interesting decision makers, literally re-thinking them in order to understand their reasoning in historical context. A detailed exposition of Collingwood's theory is presented, identifying its central features as they developed from the early to later periods of his philosophy. Collingwood's remarkable inversion of (...) the positivist unity of sciences model is particularly emphasized, with its reduction of all the natural sciences and traditional subdivisions of philosophy to history, along with the aesthetics of historical narrative in selecting, explaining, and retelling the thoughts of historically interesting decision makers. Collingwood's philosophy of history is defended against a charge of vicious circularity, but, in light of other theoretical difficulties, a modified revisionary quasi-Collingwoodian or Collingwood-inspired historiography is finally proposed. (shrink)

Abstract Biography is usually distinguished from history and, in comparison, looked down upon. R. G. Collingwood's view of biography seems to fit this statement considering that he says it has only gossip-value and that “history it can never be“. His main concern is that biography exploits and arouses emotions which he excludes from the domain of history. In the paper I will try to show that one can salvage a more positive view of biography from within Collingwood's work (...) and claim that his explicit attacks against biography target specifically the sensationalist kind. First, I will show that Collingwood, in his later writings, allowed that, not only thought, but also relevant emotions can be the subject matter of history, which means that even if one takes biography to deal with emotions, it can still qualify as history. Second, I will argue, based mainly on Collingwood's Principles of Art , that biography can be compared to portrait painting, in which case, it can be redeemed as a work of art and not just craft and, thus, have more than entertainment value. It can also be part of history, and more specifically part of the history of art which Collingwood endorses, if one takes the life of an individual, recounted by a biographer, to be an artistic creation, as Collingwood seems to suggest. (shrink)

Paul Hirst's 'forms of knowledge' thesis has been the subject of much discussion and debate in educational circles. Hirst's claim that such forms exist is not original but, as R. S. Peters claimed, his account is distinctive in its application to the school curriculum. This paper calls for a revision of Peters's claim on the grounds that R. G. Collingwood's writings on the forms of experience not only refer to the school curriculum, but also point up an explicitly educational (...) agenda. (shrink)

Collingwood's well-known dicta about history and its practice are not expressions of a perverse idealism but are rooted in reflection on his own work as historian. The problem which informs his writings on history was to make sense of the discipline of history without opening the way to historical skepticism. The early view of his Speculum Mentis, rooted in an external philosophical stance and not in the actual practice of history, was actually skeptical. In his middle years he regarded (...) history as the science of historical evidence, but this view left obscure the interest of history in the historical past. In his most mature view, as expressed in The Idea of History, Collingwood comes to see how the discipline of history, judged in terms of its own procedures and not by external norms imposed upon it from other sources, is able to make responsible knowledge claims and avoid the threat of skepticism. His well-known views about the historian's re-thinking past thought, the autonomy of history and the historical imagination all play roles to that end, and are entirely reasonable when it is understood what Collingwood intends by them. They are part of his theory of historical knowing, not of historical explanation. (shrink)

The art and the artist according to Collingwood.