Kritike 4 (1):79-93 (2010)

An initial study of Robin George Collingwood's The Principles of Art and Benedetto Croce's Aesthetic: A Science ofExpression and General Linguistic gives an immediate impression that Collingwood appropriated and incorporated many elements in Croce's work to his own position. This is probably the main reason why Collingwood, in his correspondence with Croce, sincerely expressed his gratitude to the Italian Philosopher for laying the foundation of his art-theory. Collingwood's acknowledgement of Croce's influence and the apparentsimilarity in their theories on art disposes us to wonder if Collingwood mayhave only extended, hence, reiterated the principles of Croce's position. Given this impression, the present article hopes to provide a study between Collingwood's and Croce's theories of art in the hope that we can tease out a crucial difference between their standpoints. If we can demonstrate a significant difference, then we may have provided ourselves with the cudgels to assert that Collingwood's theory of art is also unique.
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DOI 10.3860/krit.v4i1.1836
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References found in this work BETA

Collingwood on Corrupt Consciousness.David W. Black - 1982 - Journal of Aesthetics and Art Criticism 40 (4):395-400.
New Currents in Italian Aesthetics.Gillo Dorfles - 1953 - Journal of Aesthetics and Art Criticism 12 (2):184-196.
The Philosophy of Aesthetic Expression.Milton C. Nahm - 1954 - Journal of Aesthetics and Art Criticism 13 (4):458-468.
Santayana and Croce: An Aesthetic Reconciliation.James F. Steinman - 1971 - Journal of Aesthetics and Art Criticism 30 (2):251-253.
The Drama of the Aesthetics of Benedetto Croce.Angelo A. de Gennaro - 1956 - Journal of Aesthetics and Art Criticism 15 (1):117-121.

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