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  1. On the Relationship Between R. G. Collingwood’s Philosophy of Religion and Philosophy of History.Jacob Donald Chatterjee - manuscript
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  2. On Cruelty as a Part of (Artistic) Life.James Camien McGuiggan - manuscript
    The blistering review, wherein the critic cruelly twists the knife to the applause of on-lookers, has fallen out of favour. But is there something to be said for this sort of cruelty? In this paper, I argue for a space for cruelty. In art, there is a sort of cruelty—that can be employed by artists and audiences as well as by critics—that is a pointed disregard for the feelings of the audience: a telling of deep or hard truth without coddling. (...)
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  3. Thinking about Past Minds: Cognitive Science as Philosophy of Historiography.Adam Michael Bricker - 2023 - Journal of the Philosophy of History 17 (2):219-242.
    This paper outlines the case for a future research program that uses the tools of experimental cognitive science to investigate questions that traditionally fall under the remit of the philosophy of historiography. The central idea is this – the epistemic profile of historians’ representations of the past is largely an empirical matter, determined in no small part by the cognitive processes that produce these representations. However, as the philosophy of historiography is not presently equipped to investigate such cognitive questions, legitimate (...)
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  4. Why Collingwood Matters: A Defence of Humanistic Understanding.Giuseppina D'Oro - 2023 - New York: Bloomsbury.
    R.G. Collingwood (1889-1943) was an English philosopher, historian and practicing archaeologist. His work, particularly in the philosophy of action and history, has been profoundly influential in the 20th and 21st century. Although the importance of his work is indisputable, this is the first book to consider how and why it actually matters. Giussepina D'oro considers the importance of Collingwood as a thinker who thinks kaleidoscopically and, unlike lots of contemporary philosophers, refuses to focus on narrow, technical interests but instead, observes (...)
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  5. The leopard does not change its spots: naturalism and the argument against methodological pluralism in the sciences.Jonas Ahlskog & Giuseppina D'Oro - 2022 - In Adam Tamas Tuboly (ed.), The history of understanding in analytic philosophy: around logical empiricism. New York: Bloomsbury Academic. pp. 185-208.
    This paper sets out to undermine the view that a commitment to the early modern conception of the mind as immortalized in Ryle’s metaphor of the (Cartesian) ghost in the machine and in Quine’s metaphor of the (Lockean) myth of the museum is required to articulate a defence of the sui generis character of humanistic explanations. These powerful metaphors have not only contributed to undermining the claim for methodological pluralism by caricaturizing the arguments for disunity in the sciences; they have (...)
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  6. Collingwood on Philosophical Methodology. Edited by Karim Dharamsi, Giuseppina D’Oro, and Stephen Leach. Cham: Palgrave Macmillan, 2018. Pp. xiii + 270. [REVIEW]James Camien McGuiggan - 2019 - Metaphilosophy 50 (5):747-751.
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  7. Collingwood, Pragmatism, and Philosophy of Science.Elena Popa - 2018 - In Karim Dharamsi, Giuseppina D'Oro & Stephen Leach (eds.), Collingwood on Philosophical Methodology. Cham: Springer Verlag. pp. 131-149.
    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 (...)
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  8. What is the Business of Collingwood's The Principles of Art?J. C. McGuiggan - 2016 - Collingwood and British Idealism Studies 22 (1):195-223.
    Collingwood’s aim in The Principles of Art is “to answer the question: What is art?” (p. 1) The answer Collingwood offers to that question, that art is the expression of emotion, has become notorious for its implausibility. I consider one objection against this theory, namely that it is unclear what is rendered art by this definition: for it sometimes appears to define art too broadly, containing all utterances and gestures; but at other times to define art too narrowly, excluding much (...)
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  9. Collingwood and Manipulability-based Approaches to Causation: Methodological Issues.E. Popa - 2016 - Collingwood and British Idealism Studies 22 (1):139-166.
    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 (...)
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  10. A Philosophy of Art in Plato's Republic: An Analysis of Collingwood's Proposal.José Juan González - 2010 - Proceeding of the European Society for Aesthetics 2:161-177.
    The status of art in Plato's philosophy has always been a difficult problem. As a matter of fact, he even threw the poets out from his ideal state, a passage that has led some interpreters to assess that Plato did not develop a proper philosophy of art. Nevertheless, R. G. Collingwood, wrote an article titled “Plato's Philosophy of Art”. How can it be? What could lead one of the most important aesthetic scholars of the first half of the twentieth century (...)
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  11. (1 other version)Continuity of the rational: Naturalism and historical understanding in Collingwood.Serge Grigoriev - 2008 - Journal of the Philosophy of History 2 (2):119-137.
    It is sometimes suggested that Collingwood's philosophy of history is decidedly anti-naturalist and argues for a complete separation between history and the natural sciences. The purpose of this paper is to examine this suggestion and to argue that Collingwood's conception of the relationship between history and natural sciences is much more subtle and nuanced than such a view would allow for. In fact, there is little in Collingwood to offend contemporary naturalistic sensibilities reasonably construed. The impression that Collingwood's views are (...)
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  12. Total imagination and ontology in R. G. Collingwood.Dimitris Vardoulakis - 2006 - British Journal for the History of Philosophy 14 (2):303 – 322.
    In The Principles of Art, R. G. Collingwood pursues, on the one hand, a ‘definition’ of art, and, on the other, a ‘metaphysics’. The Principles is divided into three Books. Book I is devoted mostly to craft, while Book II pertains largely to metaphysics. The fact that Book II is twice the size of Book III, where the discussion of ‘art proper’ takes place, is proof enough that the metaphysical part of the Principles is not a mere excursus. Collingwood’s ontology (...)
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  13. Artistic expression as interpretation.John Dilworth - 2004 - British Journal of Aesthetics 44 (1):162-174.
    According to R. G. Collingwood in The Principles of Art, art is the expression of emotion--a much-criticized view. I attempt to provide some groundwork for a defensible modern version of such a theory via some novel further criticisms of Collingwood, including the exposure of multiple ambiguities in his main concept of expression of emotion, and a demonstration that, surprisingly enough, his view is unable to account for genuinely creative artistic activities. A key factor in the reconstruction is a replacement of (...)
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  14. Is Ridley charitable to Collingwood?John Dilworth - 1998 - Journal of Aesthetics and Art Criticism 56 (4):393-396.
    Ridley’s overall strategy, in bare outline form, seems to be this. Collingwood's points about the close connections between artistic expression and physical involvement with a medium are so good that anything else he says must be reinterpreted so as to be consistent with these Expression insights. In particular his overall theory of art, usually interpreted as an "Ideal theory" (according to which a work of art is somehow "in the head", perhaps as the content of a mental imaginative act of (...)
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  15. Dai gradi dell’essere all’esistenza binaria: il dibattito tra Collingwood e Ryle sull’argomento ontologico all’alba della filosofia analitica.Luciano Floridi - 1996 - In C. Penco & G. Sarbia (eds.), Alle radici della filosofia analitica. ERGA.
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  16. Los Principios Del Arte.Robin George Collingwood - 1993 - Fondo de Cultura Económica.
    El interes de Collingwood por las cuestiones esteticas fue uno de los mas persistentes a lo largo de toda su obra. Asi pues, todo lo expuesto en este libro tiene una aplicacion practica, directa o indirectamente, a la condicion del arte en la actualidad.
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  17. Oswald Spengler and the Theory of Historic Cycles.R. G. Collingwood - 1927 - Antiquity 1:311-325.
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