"This book addresses the apparent contradiction in moral condemnation of good artworks. Since there is no direct contradiction, it must involve a third thing that connects aesthetic value and moral value. A significant view about this third thing results from combining R. G. Collingwood's aesthetic and moral theories, and articulating a theory of judgment on his behalf. The view is that an artwork is aesthetically good if the artist fulfilled the moral duty to express emotion successfully. Why this matters and how it fits into the larger conversation about morality and art round out this book's study."--BOOK JACKET.
I do not think of aesthetic theory as an attempt to investigate and expound eternal verities concerning the nature of an eternal object called Art, but as an attempt to reach, by thinking, the solution of certain problems arising out of the situation in which artists find themselves here and now. Everything written in this book has been written in the belief that it has a practical bearing, direct or indirect, upon the condition of art in England in 1937, and in the hope that artists primarily, and secondarily persons whose interest in art is lively and sympathetic, will find it of some use to them. Hardly any space is devoted to criticizing other people’s aesthetic doctrines; not because I have not studied them, nor because I have dismissed them as not worth considering, but because I have something of my own to say, and think the best service I can do to a reader is to say it as clearly as I can. Of the three parts into which it is divided, Book I is chiefly concerned to say things which any one tolerably acquainted with artistic work knows already; the purpose of this being to clear up our minds as to the distinction between art proper, which is what aesthetic is about, and certain other things which are different from it but are often called by the same name. Many false aesthetic theories are fairly accurate accounts of these other things, and much bad artistic practice comes from confusing them with art proper. These errors in theory and practice should disappear when the distinctions in question are properly apprehended. In this way a preliminary account of art is reached; but a second difficulty is now encountered. This preliminary account, according to the schools of philosophy now most fashionable in our own country, cannot be true; for it traverses certain doctrines taught in those schools and therefore, according to them, is not so much false as nonsensical. Book II is therefore devoted to a philosophical exposition of the terms used in this preliminary account of art, and an attempt to show that the conceptions they express are justified in spite of the current prejudice against them; are indeed logically implied even in the philosophies that repudiate them. The preliminary account of art has by now been converted into a philosophy of art. But a third question remains. Is this so-called philosophy of art a mere intellectual exercise, or has it practical consequences bearing on the way in which we ought to approach the practice of art (whether as artists or as audience) and hence, because a philosophy of art is a theory as to the place of art in life as a whole, the practice of life? As I have already indicated, the alternative I accept is the second one. In Book III, therefore, I have tried to point out some of these practical consequences by suggesting what kinds of obligation the acceptance of this aesthetic theory would impose upon artists and audiences, and in what kinds of way they could be met. This book is organized as follows: I. Introduction Book I. Art and Not Art II. Art and Craft III. Art and Representation IV. Art as Magic V. Art as Amusement VI. Art Proper: (1) As Expression VII. Art Proper: (2) As Imagination Book II. The Theory of Imagination VIII. Thinking and Feeling IX. Sensation and Imagination X. Imagination and Consciousness XI. Language Book III. The Theory of Art XII. Art as Language XIII. Art and Truth XIV. The Artist and the Community XV. Conclusion
R. G. Collingwood is an important 20th-century historian, archaeologist and philosopher whose works are the subject of continued interest, analysis and study. There is an unquestionable need to support this research activity with the provision of a reference guide which is fully up-to-date, informed and authoritative. The Companion therefore lists all primary and secondary material relevant to the study of Collingwood in all his fields of expertise - historical theory, philosophy and archaeology. It also provides a guide to archive material relevant to his life, together with sources and locations. The resulting volume is an essential companion to the understanding of the life and thought of R. G. Collingwood.
Two of the key theoretical shifts over the past two decades of critical work have been the 'visual turn' and the 'material turn'. This book argues that these hitherto distinct fields should be understood as in continual dialogue and co-constitution and focuses on reconceptualising the visual as an embodied, material, and often politically-charged realm. This edited volume elaborates this conceptual argument through a series of contemporary case studies, drawn from the disciplines of Architecture, Sociology, Media Studies, Geography and Cultural Studies. The case studies included are paired around four themes: consumption, translation, practice and ethics. As well as exploring the bringing together of visuality and materiality studies, the contributors raise questions of social identity and social critique, and also focus on the ethics of material visualities.
This is the first comprehensive study of the political philosophy of the British philosopher R. G. Collingwood, best known for his contributions to aesthetics and the philosophy of history. However his political thought, and in particular his book The New Leviathan, have been neglected, even dismissed in some quarters. Professor Boucher argues for the importance of this political theory and provides a perspicuous account of its development and originality. He contends that The New Leviathan is an attempt to reconcile philosophy and history, theory and practice. Collingwood's distinctive contribution to modern political and social thought is seen as his sustained project of distinguishing utility from right, and right from duty; the passion for history coincides with the ethical thought because Collingwood wishes to identify dutiful, or moral, action with a historical civilization. Drawing on a wealth of manuscript material, this book will prove invaluable to political philosophers and intellectual historians.
Collingwood and Hegel R. G. Collingwood was a lonely thinker. Begrudgingly admired by some and bludgeoned by others, he failed to train a single disciple, just as he failed to communicate to the reading public his vision of the unity of experience. This failure stands in stark contrast to the success of Georg Wilhelm Friedrich Hegel, who won many disciples to a very similar point-of-view and whose influence on subsequent thought, having been rediscovered since 1920, has not yet been adequately explored. Collingwood and Hegel share three fundamental similarities: both men held overwhelming admiration of the Greeks, both possessed uniquely broad knowledge of academic controversies of their day, and both were inalterably convinced that human experience consti tutes a single whole. If experts find Collingwood's vision of wholeness less satisfactory than Hegel's, much of the fault lies in the atmosphere in which Col lingwood labored. Oxford in the 1920'S and 1930's, sceptical and specialized, was not the enthusiastic Heidelberg and Berlin of 1816 to 183I. What is important in Collingwood is not that he fell short of Hegel but that working under adverse conditions he came so elose. Indeed those unfamiliar with Hegel will find in Collingwood's early works, especially in Speculum M entis, a useful introduction to the great German.
Now in its fourth edition, Philosophy: The Classics is a brisk and invigorating tour through the great books of western philosophy. In his exemplary clear style, Nigel Warburton introduces and assesses thirty-two philosophical classics from Plato’s Republic to Rawls’ A Theory of Justice. The fourth edition includes new material on: Montaigne Essays Thomas Paine Rights of Man R.G. Collingwood The Principles of Art Karl Popper The Open Society and Its Enemies Thomas Kuhn The Structure of Scientific Revolutions With a glossary and suggestions for further reading at the end of each chapter, this is an ideal starting point for anyone interested in philosophy.
Much of the work that has been done on virtue has been devoted to getting virtue ethics a seat at the theoretical table. It has been concerned with showing that virtue ethics can provide a satisfactory account of right action to rival accounts offered by consequentialism and deontology. This volume of essays explores the nitty-gritty details of particular virtues. It includes original contributions from a number of leading scholars in virtue ethics. Most of the virtues discussed – such as ambition, cheerfulness, creativity, magnificence, pride, wit, and wonder – have been almost wholly neglected by contemporary ethicists. The volume also includes coverage of other virtues that have received a fair amount of attention in recent years, such as charity, hope, justice, practical wisdom, and temperance. Here the essays address largely ignored dimensions of these virtues and show how these discussions can enrich our understanding of neglected virtues. Neglected Virtues is a welcome addition to the scholarly literature on virtue ethics. Its focus on individual virtues, while not meant to be exhaustive, will open new avenues for future research in this rapidly growing area of ethics and moral philosophy.
Rethinking R.G. Collingwood reviews Collingwood's thought via his own rethinking of Hegel. It establishes the revisionary character of Collingwood's defence of liberal civilization in theory and practice. Collingwood is seen as avoiding the pitfalls of Hegel's teleological historicism by developing an open and contestable reading of the rationality of liberal civilization, which neither reduces practice to theory nor philosophy to history. The contemporary relevance of Collingwood's standpoint is demonstrated by comparing it with those of recent defenders and critics of liberalism Rawls, Lyotard and MacIntyre.
Giuseppina D'Oro explores Collingwood's work in epistemology and metaphysics, uncovering his importance beyond his better known work in philosophy of history and aesthetics. This major contribution to our understanding of one of the most important figures in history of philosophy will be essential reading for scholars of Collingwood and all students of metaphysics and the history of philosophy.
