Book contents
- Interpreting R. G. Collingwood
- Interpreting R. G. Collingwood
- Copyright page
- Contents
- Figures
- Contributors
- Acknowledgements
- Abbreviations
- Introduction
- Part I Situating Collingwood: Beyond Idealism
- Part II Issues in Collingwood’s Philosophy
- Chapter 7 Collingwood’s Logic of Question and Answer
- Chapter 8 Presuppositional Analysis and the Goal of Metaphysical Inquiry
- Chapter 9 Is Collingwood a Process Philosopher?
- Chapter 10 Collingwood on Imagination
- Chapter 11 Collingwood on “Painting Imaginatively” and the Expressive Nature of the Artwork
- Chapter 12 Collingwood’s Influence on Baxandall
- Chapter 13 “Reconsidering Questions of Principle”: Collingwood and the Revival of Celtic Art
- Chapter 14 What Is Living and What Is Dead in Collingwood’s New Leviathan?
- Bibliography
- Index
Chapter 13 - “Reconsidering Questions of Principle”: Collingwood and the Revival of Celtic Art
from Part II - Issues in Collingwood’s Philosophy
Published online by Cambridge University Press: 22 November 2024
- Interpreting R. G. Collingwood
- Interpreting R. G. Collingwood
- Copyright page
- Contents
- Figures
- Contributors
- Acknowledgements
- Abbreviations
- Introduction
- Part I Situating Collingwood: Beyond Idealism
- Part II Issues in Collingwood’s Philosophy
- Chapter 7 Collingwood’s Logic of Question and Answer
- Chapter 8 Presuppositional Analysis and the Goal of Metaphysical Inquiry
- Chapter 9 Is Collingwood a Process Philosopher?
- Chapter 10 Collingwood on Imagination
- Chapter 11 Collingwood on “Painting Imaginatively” and the Expressive Nature of the Artwork
- Chapter 12 Collingwood’s Influence on Baxandall
- Chapter 13 “Reconsidering Questions of Principle”: Collingwood and the Revival of Celtic Art
- Chapter 14 What Is Living and What Is Dead in Collingwood’s New Leviathan?
- Bibliography
- Index
Summary
In his chapter on “Art” in Roman Britain and the English Settlements, Collingwood attempts to explain the revival of Celtic art that occurred in Britain after a period of Roman art of almost four hundred years. In his Autobiography he declared this was “a chapter which I would gladly leave as the sole memorial of my Romano-British studies, and the best example I can give to posterity of how to solve a much-debated problem in history, not by discovering fresh evidence, but by reconsidering questions of principle.” This chapter has received little attention from archaeologists and historians (and even less from philosophers), exception from Martin Henig in his book The Art of Roman Britain. I defend Collingwood from Henig’s criticisms and try to make his explanation more understandable by placing it in his own historical context. Here I follow Collingwood’s advice that we may better understand an explanation when we understand the context from which it originates. This is not to say Collingwood’s explanation is without shortcomings. I demonstrate how these are brought to light when his explanation for the revival of Celtic art is compared to more recent treatments of this phenomenon.
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- Interpreting R. G. CollingwoodCritical Essays, pp. 246 - 261Publisher: Cambridge University PressPrint publication year: 2024