Few today can escape exposure to mass art. Nevertheless, despite the fact that mass art provides the primary source of aesthetic experience for the majority of people, mass art is a topic that has been neglected by analytic philosophers of art. The Philosophy of Mass Art addresses that lacuna. It shows why philosophers have previously resisted and/or misunderstood mass art and it develops new frameworks for understanding mass art in relation to the emotions, morality, and ideology.

R. G. Collingwood's re-enactment doctrine has been widely discussed in recent years by his commentators. However, most philosophers who discuss the re-enactment doctrine touch only briefly on his view of the identity of thoughts. This is surprising because Collingwood claims that the historian's successful re-enactment of the thought behind the historical agent's action involves re-thinking the same thought as the agent and not merely a copy of his thought.

. . . Unlike Dewey, he has provided detailed incisive argumentation, and has shown just where the dogmas and dualisms break down." -- Richard Rorty, The Yale Review.

This is the first comprehensive study of the political philosophy of the British philosopher R. G. Collingwood, best known for his contributions to aesthetics and the philosophy of history. However his political thought, and in particular his book The New Leviathan, have been neglected, even dismissed in some quarters. Professor Boucher argues for the importance of this political theory and provides a perspicuous account of its development and originality. He contends that The New Leviathan is an attempt to reconcile philosophy (...) and history, theory and practice. Collingwood's distinctive contribution to modern political and social thought is seen as his sustained project of distinguishing utility from right, and right from duty; the passion for history coincides with the ethical thought because Collingwood wishes to identify dutiful, or moral, action with a historical civilization. Drawing on a wealth of manuscript material, this book will prove invaluable to political philosophers and intellectual historians. (shrink)

It is not my intention in this brief essay to give an exhaustive critical analysis of the theory of art championed by Croce and his follower Collingwood; I intend only to point out certain confusions in and misunderstandings of their theory, and to make a few critical comments in the light of them. Nor do I wish to imply that the theories of Croce and Collingwood are identical; but although they diverge on some points, and although each develops views that (...) the other discusses only briefly, they are so substantially alike on all important points that, as reviewers were quick to point out on the appearance of Collingwood's The Principles of Art , the two can for all practical purposes be considered as one theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 38.1 (2000) 87-101 [Access article in PDF] Collingwood on Re-Enactment and The Identity of Thought Giuseppina D'oro University of Keele Collingwood's The Idea of History is often discussed in the context of the issue of the reducibility/non-reducibility of explanations in the social sciences to explanations in the natural sciences. In the 1950s and 60s, following the publication of Hempel's influential article, "The Function (...) of General Laws in History,"1 many looked at Collingwood's defence of the autonomy of history as providing the appropriate conceptual resources to counter Hempel's claim that explanations in history and in the natural sciences share the same logical structure. Collingwood was recruited as an ally in a number of debates in analytical philosophy of history with a view to clarifying the nature of appropriately historical explanations and the proper subject matter of historical science. In this paper, I wish to consider Collingwood's account of historical understanding from a related but distinct perspective, that is, I wish to consider re-enactment from the perspective of Collingwood's (controversial) claim that thought stands outside time, and that it is because thought stands outside time that it is possible to understand the thoughts of other agents, including those of agents who lived in a distant past. Although Collingwood's account of re-enactment is developed in the context of his philosophy of history, it addresses some very general issues within the philosophy of mind. It is with Collingwood's approach to these general issues that the present paper is concerned: First, I explicate Collingwood's account of re-enactment against the background of his philosophy of mind and, second, attempt to show that one important goal of Collingwood's account of re-enactment is to undermine a certain type of scepticism about the possibility of sharing the thoughts of others, rather than provide a straightforward refutation of this sceptical position. While I believe Collingwood's claim that thought stands outside time to have important repercussions on how to understand [End Page 87] issues more closely related to the philosophy of history, I will not attempt, for reasons of space, to cash out these implications here.In The Idea of History2 the concept of re-enactment is expounded largely via an engagement with an imaginary objector. The position that Collingwood attributes to the imaginary objector can be preliminarily summarized as saying that the objector identifies thoughts with token acts of thinking which can be spatio-temporally located, rather than with the propositional content expressed by those token acts. It is because the objector holds thoughts to be token acts which can be spatio-temporally located that s/he denies that two agents can have or share one and the same thought. Collingwood's reply to the imaginary objector relies on a philosophy of mind that is developed elsewhere3 but whose key elements are presupposed by his discussion of re-enactment in The Idea of History, and essential to an understanding of Collingwood's position.4An important aspect of Collingwood's philosophy of mind concerns his understanding of what is meant by an 'object of thought': When I call a thing subjective I mean that it is or pertains to a subject or conscious mind. When I call it objective I mean that it is or pertains to the object of which such a mind is conscious. I do not call a real rose objective and an imaginary one subjective, or the molecules in it objective and the beauty of it subjective. A real rose I call real and an imaginary rose I call imaginary; and I call them both objective because they are the objects of a perceiving and imagining mind respectively. (SM, 11)5For the sake of clarity I shall refer to the subjective/objective distinction as used by Collingwood as subjective2 and objective2 and to the subjective/objective distinction against which it is contrasted as subjective1 and objective1. Objective1 means existing in... (shrink)

This is the long-awaited third volume of philosophical writings by Davidson, whose influence on philosophy since the 1960s has been deep and broad. His first two collections, published by Oxford in the early 1980s, are recognized as contemporary classics. His ideas have continued to flow; now, in this new work, he presents a selection of his best work on knowledge, mind, and language from the last two decades. It is a rich and rewarding feast for anyone interested in philosophy, and (...) essential reading for anyone working on these topics. (shrink)

In this richly argued and provocative book, David Davies elaborates and defends a broad conceptual framework for thinking about the arts that reveals important continuities and discontinuities between traditional and modern art, and between different artistic disciplines. Elaborates and defends a broad conceptual framework for thinking about the arts. Offers a provocative view about the kinds of things that artworks are and how they are to be understood. Reveals important continuities and discontinuities between traditional and modern art. Highlights core topics (...) in aesthetics and art theory, including traditional theories about the nature of art, aesthetic appreciation, artistic intentions, performance, and artistic meaning. (shrink)

The A.W. Mellon lectures in the fine arts 1956, National Gallery of Art, Washington.

What Is Aesthetic Pleasure? When is pleasure in an object properly denominated aesthetic? The characterization of aesthetic pleasure is something that ...

A review of David Davies, _Art as Performance_ (Blackwell, 2004).

British idealist aesthetics is not well known, and to the extent that it is known, it is generally through the writings of R.G. Collingwood, who is sometimes described as an idealist of the ‘third generation.’.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

A great virtue of this book is its fusion of Croce's unique brand of idealism and aesthetic philosophy with Vico's epistemological, ethical, and historical ...