It is the ambition of natural science to provide complete explanations of reality. Collingwood argues that science can only explain events, not actions. The latter is the distinctive subject matter of history and can be described as actions only if they are explained historically. This paper explains Collingwood’s claim that the distinctive subject matter of history is actions and why the attempt to capture this subject matter through the method of science inevitably ends in failure because science explains events, not (...) actions. It argues that Collingwood’s defence of the methodological autonomy of history vis-à-vis natural science is not based on a commitment to human exceptionalism, i.e. the exclusion of human beings and their doings from the rest of nature, but on the view that explanations which appeal to norms are different in kind from explanations which appeal to empirical regularities. Given the close relationship between the method and the subject matter of a form of inquiry, actions elude any attempt to explain them through the scientific method because the application of this method entails that what is thus explained is not an action but an event. (shrink)

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 (...) the whole world of thought. Why Collingwood Matters revives Collingwood's conception of the role and character of philosophical analysis and shows how it informs his understanding of the mind, what it means to act, and what it means to understand the past historically. It also argues for the relevance of his metaphilosophical approach to the challenge posed by the Anthropocene and the global environmental crisis. Both an elucidation of Collingwood's thought and a lively exploration of it's contemporary relevance, Why Collingwood Matters provides a much-needed examination of a 20th-century polymath. (shrink)

RÉSUMÉ: Cet article discute l'idée que la philosophie tardive de Collingwood soit d'orientation historiciste et relativiste. Je soutiens que cette accusation de relativisme historique est basée sur deux erreurs, l'une exégétique et l'autre philosophique. L'erreur exégétique est le résultat de l'hypothèse d'une prétendue «conversion radicale». L'erreur philosophique repose sur la conception selon laquelle il n'y a pas de différences substantielles entre le projet d'une métaphysique descriptive et le projet de la sociologie de la connaissance. L'article essaie de saper à la (...) base l'accusation de relativisme en contestant ces deux préjugés. (shrink)

Après un bref survol de l’esthétique britannique au xxe siècle, les objections de Wollheim à la théorie « idéelle » de l’art, qu’il attribue à Croce et à Collingwood, sont présentées. Dans une deuxième partie, les critiques de Bosanquet à l’endroit de la théorie de Croce sont examinées, pour en conclure qu’on ne peut pas lui attribuer la théorie « idéelle ». Il en va de même pour Collingwood, dont les grandes lignes de son esthétique sont présentées dans la troisième (...) partie, dont le but accessoire est de montrer que sa théorie est par ailleurs plus satisfaisante que celle de Bosanquet ; elle est en réalité très proche de celle de Wollheim, malgré les dires de ce dernier. Dans la conclusion, on revient sur le motif des théories de l’art des idéalistes britanniques, à savoir le rôle social que doit jouer l’oeuvre d’art, pour montrer toute l’actualité de la théorie de Collingwood, pour qui l’oeuvre d’art est le produit non pas de l’artiste seul, mais de l’artiste et de son audience.After a brief survey of British aesthetics in the XXth century, Wollheim’s objections to the ‘ideal’ theory, which he imputes to Croce and Collingwood, are presented. In the second part, Bosanquet’s critique of Croce’s theory is presented in order to show that one cannot attribute to him the ‘ideal’ theory. The same goes for Collingwood, whose aesthetic theory is sketched in the third part, which argues accessorily that it is more satisfactory than Bosanquet’s ; it is in fact, his own claims to the contrary notwithstanding, rather close to Wollheim’s. The conclusion comes back to the central motivation for British Idealist theories of art, namely that the work of art has a social role to play, in order to show the actuality of Collingwood, who viewed the work of art not as the product of the artist alone, but from the artist and the audience alike. (shrink)

L’idéalisme britannique est un mouvement qui a dominé les universités britanniques pendant une cinquantaine d’années à la fin du xixe siècle et au début du xxe siècle, mais qui est passé presque totalement inaperçu dans le monde francophone. Rejetés en bloc par les philosophes analytiques, ces auteurs ont aussi été ignorés pendant longtemps dans leur pays, mais certains d’entre eux, notamment Bradley et Collingwood, jouissent d’un regain d’intérêt à la faveur d’un renouveau des études sur les origines de la philosophie (...) analytique. Ce texte est une introduction à l’idéalisme britannique, qui retrace, dans une première partie plus historique, les grandes lignes de sa genèse, son développement et son déclin. Dans une deuxième partie, nous donnons quelques arguments en faveur d’une étude plus approfondie de ce mouvement.British Idealism is a philosophical movement that dominated British universities , for fifty years around the turn from the XIXth to the XXth century, but it went largely unnoticed in the French-speaking world. Condemned by analytic philosophers, these authors were also ignored in their own country, but some of them, notably Bradley and Collingwood, are now enjoying a newly found popularity within the larger trend towards a study of the origins of analytic philosophy. This text is an introduction to British Idealism that plots, in an historical first part, the outlines of its rise, development and decline. In the second part, we provide reasons for further studies of this movement. (shrink)

This article discusses R. G. Collingwood’s account of re-enactment and Donald Davidson’s account of radical translation. Both Collingwood and Davidson are concerned with the question “how is understanding possible?” and both seek to answer the question transcendentally by asking after the heuristic principles that guide the historian and the radical translator. Further, they both agree that the possibility of understanding rests on the presumption of rationality. But whereas Davidson’s principle of charity entails that truth is a presupposition or heuristic principle (...) of understanding, for Collingwood understanding rests on a commitment to internal consistency alone. Collingwood and Davidson diverge over the scope of the principle of charity because they have radically different conceptions of meaning. Davidson endorses an extensional semantics that links meaning with truth in the attempt to extrude intensional notions from a theory of meaning. Since radical translation rests on a truth-conditional semantics, it rules out the possibility that there may be statements that are intelligible even though based on false beliefs. Collingwood’s account of re-enactment, on the other hand, disconnects meaning from truth, thereby allowing for the possibility of understanding agents who have false beliefs. The paper argues, first, that Davidson’s account of radical translation rests on inappropriately naturalistic assumptions about the nature of understanding, and that Davidson commits this error because he develops his account of radical interpretation in response to an epistemological question that is motivated by a skeptical concern: “how can we know whether we have provided the correct interpretation?” Second, that in the twentieth century far too much philosophizing has been driven by epistemological concerns that have obscured attempts to provide adequate answers to the sort of conceptual question with which Collingwood is concerned, namely: “what does it mean to understand?”. (shrink)

This article examines the ways in which E. B. Bax and R. G. Collingwood attempted to avoid relativism and irrationalism without postulating a pure and universal reason. Both philosophers were profound historicists who recognized the fundamentally particular nature of the world. Yet they also attempted to retain a universal aspect to thought - Bax through his distinction between the logical and alogical realms, and Collingwood through his doctrine of re-enactment. The article analyses both their metaphysical premises and their philosophies of (...) history. Finally an attempt is made to use their arguments as starting-points from which to arrive at a historicist resolution of the problems of relativism and irrationalism. (shrink)

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.