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Speculum Mentis or the Map of Knowledge

Mind 34 (134):235-241 (1925)

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  1. The fashionable scientific fraud: Collingwood’s critique of psychometrics.Joel Michell - 2020 - History of the Human Sciences 33 (2):3-21.
    In his review of Charles Spearman’s The Nature of ‘Intelligence’ (1923), R. G. Collingwood launched an attack upon psychometrics that was expanded in his Essay on Metaphysics (1940). Although underrated by friend and foe alike, Collingwood’s critique identified a number of defects in the thinking of psychometricians that subsequently became entrenched. However, his main complaint was that psychology generally (and, by implication, psychometrics) was a ‘fashionable scientific fraud’. This charge was inspired by his more general views on logic and metaphysics, (...)
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  • Finding a Basic Interpretive Unit through the Human Visual Perception and Cognition-A Comparison between Filmmakers and Audiences.Lingfei Luan - 2016 - Dissertation,
    The analysis method and paradigm of film have become a controversial topic in the data-driven era. Film, is not only an attractive industry that can achieve filmmakers’ imagination but has become a perfect stimulus to understand human being’s mental activity. The core research in this study is to examine the impact of filmmaking experience and the role of narrative denoters from filmmakers’ construction to audiences’ interpretation. Based on previous studies and integrating cognitive approaches, the thesis re-explores the nature and essence (...)
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  • Re-enactment, reconstruction and the freedom of the imagination: Collingwood on history and art.Paul Guyer - 2018 - British Journal for the History of Philosophy 26 (4):738-758.
    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 (...)
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  • Two Conceptions of Fundamentality.Mariam Thalos - 2011 - Philosophy of the Social Sciences 41 (2):151-177.
    This article aims to show that fundamentality is construed differently in the two most prominent strategies of analysis we find in physical science and engineering today: (1) atomistic, reductive analysis and (2) Systems analysis. Correspondingly, atomism is the conception according to which the simplest (smallest) indivisible entity of a certain kind is most fundamental; while systemism, as will be articulated here, is the conception according to which the bonds that structure wholes are most fundamental, and scale and/or constituting entities are (...)
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  • “Not Theory, Thought”: Collingwood's Early Work on Art.Nancy S. Struever - 2020 - Philosophy and Rhetoric 53 (1):21-33.
    Collingwood’s “Libellus de Generatione: An Essay in Absolute Empiricism” was a tract of strenuous philosophical revisionism; never published, perhaps unpublishable, supposedly destroyed, it survived. He begins by stressing his obligations to David Hume; he offers his thematic: “absolute denial of any such concept as substance and the resolution of all reality into the reality of experience.” “The reality of mind is the process of its experience, its life, and nothing else”. Or, “the mind is a mirror... whose being is solely (...)
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  • The Artist and the Community: The Subversion of the Nude.Peter Skagestad - forthcoming - Human Affairs.
    Collingwood’s concept of corruption of consciousness is introduced, followed by an extended example from art history. While the typical Renaissance nude enabled, or even encouraged, corruption of consciousness on the part of the male spectator, the nudes by Goya and Manet led the viewer to confront his disowned feelings, thus serving as a medicine for the corruption of consciousness. Finally, I examine the role of corruption of consciousness in the treatment of antisemitism in Elia Kazan’s 1947 film Gentleman’s Agreement.
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  • Collingwood and Russell on Philosophical Method.Timothy C. Lord - 2019 - History of Philosophy & Logical Analysis 22 (1):41-52.
    Collingwood’s An Essay on Philosophical Method provides an insightful critique of Russell’s analysis and metaphysics of logical atomism, proposing an unduly neglected neo-idealist alternative to Russell’s philosophical method. I summarize Collingwood’s critique of analysis and sympathetically outline the philosophical methodology of Collingwood’s post-Hegelian dialectical method: his scale of forms methodology, grounded on the overlap of philosophical classes. I then delineate Collingwood’s critique of the metaphysics of logical atomism, demonstrating how the scale of forms methodology is opposed to Russell’s logical atomism. (...)
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  • (1 other version)On the Philosophical Definition of Human Play Using the Tools of Qualitative Content Analysis.Felix Lebed - 2019 - Sport, Ethics and Philosophy 15 (1):1-19.
    Formulating a metaphysical definition of human play faces three main difficulties. First, for many years the very possibility, or need, for such a definition has been questioned. Second, very often...
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  • (1 other version)On the Philosophical Definition of Human Play Using the Tools of Qualitative Content Analysis.Felix Lebed - 2021 - Sport, Ethics and Philosophy 15 (1):103-121.
    Formulating a metaphysical definition of human play faces three main difficulties. First, for many years the very possibility, or need, for such a definition has been questioned. Second, very often...
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  • (1 other version)Gadamer and Collingwood on temporal distance and understanding.Chinatsu Kobayashi & Mathieu Marion - 2011 - History and Theory 50 (4):81-103.
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  • British Idealist Aesthetics, Collingwood, Wollheim, And The Origins Of Analytic Aesthetics.Chinatsu Kobayashi - 2008 - The Baltic International Yearbook of Cognition, Logic and Communication 4:12.
    In particular, as we shall see, Collingwood is often dismissed as having held an indefensible, outmoded ‘ideal’ theory, according to which the work of art is primarily ‘mental’, while his potential role in current debates is simply ignored. I will argue that this view is largely mistaken.
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  • Liberty versus libertarianism.Gene Callahan - 2013 - Politics, Philosophy and Economics 12 (1):48-67.
    This paper aims to persuade its reader that libertarianism, at least in several of its varieties, is a species of the genus Michael Oakeshott referred to as ‘rationalism in politics’. I hope to demonstrate, employing the work of Oakeshott, as well as Aristotle and Onora O’Neill, how many libertarian theorists, who generally have a sincere and admirable commitment to personal liberty, have been led astray by the rationalist promise that we might be able to approach deductive certainty concerning the 'correctness' (...)
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  • The Four Points of the Compass.James Alexander - 2012 - Philosophy 87 (1):79-107.
    Philosophy has four forms: wonder, faith, doubt and scepticism. These are not separate categories, but separate ideal possibilities. Modern academic philosophy has fallen, for several centuries, into an error: which is the error of supposing that philosophy is only what I call doubt. Philosophy may be doubt: indeed, it is part of my argument that this is undeniably one element of, or one possibility in, philosophy; but doubt is only one of four points of the compass. In this essay I (...)
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  • Art as the Expression of Emotion in the Language of Imagination: Dickie's Misunderstandings of Collingwood's Aesthetics.José Juan González - 2011 - Art, Emotion and Value. Proceedings of the 5th Mediterranean Congress of Aesthetics. Cartagena (Spain), 4th-8th July 2011:175-184.
    It is a common statement in the most traditional views of the history of the philosophy of art to consider the nineteenth century as the moment of birth of the expressionist theory of art, a theory that ended pushing aside the already declining imitation theory of art. It is also usually understood that the expressionist theory defended that the essence of art was to express emotion, that the artist aim was to translate somehow emotions into artworks, and that these emotions (...)
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  • The structure of a metaphysical interpretation of science of history.Yunlong Guo - 2018 - Dissertation, Cardiff University
    The aim of this research is to reconstruct a metaphysical interpretation of the philosophy of history with regard to the spirit of historical thinking. The spirit of historical thinking is to emphasize the relation between what happened in the past and historical thinking about the past in the present. However, current philosophies of history, which are largely epistemologically oriented, have not adequately explored this relation. In order to investigate the relation between past and present, I refer to an Aristotelian philosophy (...)
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