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  1. 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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  2. Collingwood, Pragmatism, and Philosophy of Science.Elena Popa - 2018 - In Karim Dharamsi, Giuseppina D’Oro & Stephen Leach (eds.), Collingwood on Philosophical Methodology. 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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  3. 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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  4. 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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  5. 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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  6. 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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  7. 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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  8. 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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  9. 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. Atti del 1° Convegno nazionale della Società italiana di filosofia analitica. Genova:
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  10. Los Principios Del Arte.R. G. Collingwood - 1993 - Fondo de Cultura Económica.
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  11. Oswald Spengler and the Theory of Historic Cycles.R. G. Collingwood - 1927 - Antiquity 1:311-325.
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