British historian and philosopher (1889–1943)
Robin George Collingwood (22 February 1889 – 9 January 1943) was an English philosopher, historian, and archaeologist. He is best known for his philosophical works including The Principles of Art (1938) and the posthumously published The Idea of History (1946).
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Robin George Collingwood
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Robin Collingwood
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The historian (and for that matter the philosopher) is not God, looking at the world from above and outside. He is a man, and a man of his own time and place. He looks at the past from the point of view of the present: he looks at other countries and civilizations from the point of view of his own. This point of view is valid only for him and people situated like him, but for him it is valid. He must stand firm in it, because it is the only one accessible to him, and unless he has a point of view he can see nothing at all.
...philosophy does not, like exact or empirical science, bring us to know things of which we were simply ignorant, but brings us to know in a different way things which we already knew in some way; and indeed it follows from our own hypothesis; for if the species of a philosophical genus overlap, the distinction between the known and the unknown, which in a non-philosophical subject-matter involves a difference be-tween two mutually exclusive classes of truths, in a philosophical subject-matter im- plies that we may both know and not know the same thing; a paradox which disappears in the light of the notion of a scale of forms of knowledge, where coming to know means coming to know in a different and better way.
The critic must therefore work from within. His negative position is based on his positive: his primary work is to supplement his author's partial account of some matter by adding certain aspects which the author has overlooked ; but, since the parts of a philosophical theory never stand to one another in a relation of mere juxtaposition, the omission of one part will upset the balance of the whole and distort the remaining parts; so his additions will entail some correction even of those elements which he accepts as substantially true.
20. Criticism, when these two aspects of it are considered together, may be regarded as a single operation: the bringing to completeness of a theory
which its author has left incomplete. So understood, the function of the critic is to develop and continue the thought of the writer criticized. Theoretically, the relation between the philosophy criticized and the philosophy that criticizes it is the relation between two adjacent terms in a scale of forms, the forms of a single philosophy in its historical development; and in practice, it is well known that a man's best critics are his pupils, and his best pupils the most critical.
Every kind of language is... specialized form of bodily gesture, and in this sense it may be said that the dance is the mother of all languages... an original language of total bodily gesture.
This "original" language of total bodily gesture is thus the one and only real language, which everybody who is in any way expressing himself is using all the time. What we call speech and the other kinds of language are only parts of it which have undergone specialized development.
The progressive intellectualization of language, its progressive conversion by the work of grammar and logic into a scientific symbolism, ... represents not a progressive drying-up of emotion, but its progressive articulation and specialization. ... We are acquiring new emotions and new means of expressing them.