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It is only when a man's historical consciousness has reached a certain point of maturity that he realizes how very different have been the ways in wh… - R. G. Collingwood
" "It is only when a man's historical consciousness has reached a certain point of maturity that he realizes how very different have been the ways in which different sets of people have thought. When a man first begins looking into absolute presuppositions it is likely that he will begin by looking into those which are made in his own time by his own countrymen, or at any rate by persons belonging to some group of which he is a member. This, of course, is already an historical inquiry. But various prejudices current at various times which I will not here enumerate have tended to deceive such inquirers into thinking that the conclusions they have reached will hold good far beyond the limits of that group and that time. They may even imagine that an absolute presupposition discovered within these limits can be more or less safely ascribed to all human beings everywhere and always.
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About R. G. Collingwood
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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Additional quotes by R. G. Collingwood
I have already said that a thing which 'exists in a person's head' and nowhere else is alternatively called an imaginary thing. The actual making of the tune is therefore alternatively called the making of an imaginary tune. This is a case of creation, just as much as the making of a plan or a disturbance, and for the same reasons, which it would be tedious to repeat. Hence the making of a tune is an instance of imaginative creation. The same applies to the making of a poem, or a picture, or any other work of art.
For I do not think of aesthetic theory as an attempt to investigate and expound eternal verities concerning the nature of an eternal object called Art, but as an attempt to reach, by thinking, the solution of certain problems arising out of the situation in which artists find themselves here and now. Everything written in this book has been written in the belief that is has a practical bearing, direct or indirect, upon the condition of art in England in 1937, and in the hope that artists primarily, and secondarily persons whose interest in art is lively and sympathetic, will find something of use to them.
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We can now return to the distinction between language and symbolism. A symbol is language and yet not language. A mathematical or logical or any other kind of symbol is invented to serve a purpose purely scientific; it is supposed to have no emotional expressiveness whatever. But when once a particular symbolism has been taken into use and mastered, it reacquires the emotional expressiveness of language proper. Every mathematician knows this. At the same time, the emotions which mathematicians find expressed in their symbols are not emotions in general, they are the peculiar emotions belonging to mathematical thinking.
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