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Abstract It is surprising that the connections between Collingwood’s aesthetics and his political philosophy have been little explored, considering the distinctly social focus of the final chapter of The Principles of Art (1938) and the political motivation behind Collingwood’s worries about the “corruption of consciousness,” to which he sees art as a potential remedy. This essay explores this connection, arguing for a strong parallel between this idea of the corruption of consciousness and what Collingwood, in The New Leviathan (1942), calls “barbarism.” I argue that bringing out this parallel helps shed light on the central importance that Collingwood saw art having for civilization itself.
David Collins (Thu,) studied this question.