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In the early twentieth century, Hilda Diana Oakeley set out a new kind of British idealism. Oakeley is an idealist in the sense that she holds mind to actively contribute to the features of experience, but she also accepts that there is a world independent of mind. One of her central contributions to the idealist tradition is her thesis that minds construct our experiences using memory. This paper explores the theses underlying her idealism, and shows how they are intricately connected (...) |
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SummaryR. G. Collingwood presented his major work of political philosophy, The New Leviathan, as an updated version of Thomas Hobbes's Leviathan. However, his reasons for taking Hobbes's great work as his inspiration have puzzled and eluded many Collingwood scholars, while those interested in the reception of Hobbes's ideas have largely neglected the New Leviathan. In this essay I reveal what Collingwood saw in Hobbes's political philosophy and show how his reading of Hobbes both diverges from other prominent interpretations of the (...) |
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In this article I enquire into the notion of ‘political art’, by drawing on ideas from R. G. Collingwood’s often neglected Principles of Art. I show that his characterisation of ‘expression’ reveals what I call the ‘Narrow Aretaic Structure’ (NAS), distinguishable from a ‘Wide Aretaic Structure’ (WAS). Whatever satisfies NAS satisfies WAS, but not vice-versa. Though we have reasons to call ‘art’ anything satisfying WAS, Collingwoodian ‘art proper’ must also satisfy NAS. I then suggest that the distinction between WAS and (...) |
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We argue that the proper context for understanding Collingwood’s The Principles of Art is his claim that it has bearing “upon the condition of art in England in 1937”. We thus argue that he formulated a philosophical argument that underpins avant-garde dramatic poetry and theatrical practices (Eliot, Auden and the Group Theatre), taking his interpretation of Spinoza’s Ethics 5 prop. 3 to be the book’s central thesis: it is through art that one knows, against the ‘corruption of consciousness’, what emotions (...) |
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Once upon a time, when there was no psychoanalysis or cultural anthro-pology or meta-ethics, most philosophers believed that there was objective truth in such statements as, ‘Murder is wrong’, ‘One should not steal’, and ‘Heliogabalus was an evil man’. Many philosophers still believe that there is, and though their view is not wholly respectable in most English-speaking philosophical circles, it probably has the important merit of being true. There are serious reasons for worrying about the traditional view: it is not (...) |
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The purpose of this paper is to provide a brief account of part of Collingwood’s philosophy of art, in particular that dealing with the relationship between art, craft and magic, in relation to the corruption of consciousness, and to consider some of the implications for the aesthetic evaluation of ‘works of art’ produced as moral or political propaganda. I shall try to do this by drawing on the work of Matthew Kieran in relation to art and morality. I will not (...) |
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