Re-enactment, reconstruction and the freedom of the imagination: Collingwood on history and art

Paul Guyer
Brown University
ABSTRACTAn implication of Kant’s aesthetics is that the audience for art must be able to meet the free play of the imagination of the artist with free play of their own imagination in order to enjoy the work of art. Does Collingwood’s conception of the aesthetic audience’s ‘reconstruction’ of the imaginative work of the artist leave room for this thought? No, but his conception of the historian’s ‘re-enactment’ of the thought of the historical subjects suggests a model for this relation that might be added to his aesthetic theory.
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Reprint years 2017, 2018
DOI 10.1080/09608788.2017.1337559
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References found in this work BETA

Collingwood's ‘Performance’ Theory of Art.David Davies - 2008 - British Journal of Aesthetics 48 (2):162-174.
Kant and the Claims of Taste.Paul Guyer - 1979 - Journal of Aesthetics and Art Criticism 38 (2):198-200.
The Harmony of the Faculties.Fred L. Rush - 2001 - Kant-Studien 92 (1):38-61.
Not Ideal: Collingwood's Expression Theory.Aaron Ridley - 1997 - Journal of Aesthetics and Art Criticism 55 (3):263-272.
Kant's Conception of Fine Art.Paul Guyer - 1994 - Journal of Aesthetics and Art Criticism 52 (3):275-285.

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