Michael O'Neill

The aesthetic techniques used in The Expanse are indicative of the infinite space that is an essential and ever‐present character in the show. The cinematography and set design of The Expanse make extensive use of chiaroscuro—a famous artistic technique in the history of painting. For some reason, the infinity of The Expanse attracts us. The look and design of the show indulges us in an experience of the sublime. The dynamically sublime is an experience of infinite power, but not where our survival is threatened by it. The experience of the sublime is one proof of freedom. The absence of the ability to know the significance of what one does in the context of the infinite does not diminish the significance of what they do. The characters of The Expanse know this. They act because they know they must, and they have faith that what they do matters.

In Collingwood and the Metaphysics of Experience, Guiseppina D'Oro gives a compelling case for the position that Collingwood's philosophical project is a form of descriptive metaphysics in the Kantian critical mode. For D'Oro, the unity of Collingwood's thought as a whole is not due to a particular problem Collingwood is treating, or even to the theme of history. Rather, she believes that "there is a fundamental continuity between Collingwood's early and later work, that, in its essentials, and despite substantial terminological changes, Collingwood's account of the nature of philosophical reflection remains constant". It is Collingwood's practice of philosophy in the neo-Kantian critical mode that unifies his early and later work. Under the umbrella of this theme, D'Oro discusses Collingwood's understanding of metaphysics, his attempt to find a via media between realism and idealism, his rehabilitation of the ontological argument, his supposed historicism, and his philosophy of history. The central texts that occupy the majority of D'Oro's reflection are Collingwood's Essay on Philosophical Method and Essay on Metaphysics. This focus is refreshing in that both texts are more subtle and meatier philosophical achievements than the popular Idea of History, and the contents of both are largely unknown to the wider philosophical community.

The primary aim of this dissertation is an exegesis of Collingwood's historical science of mind. I take seriously Collingwood's claim that history is for "self-understanding" and treat his philosophy of history as a form of reflective philosophy. In particular, I examine the epistemological basis for Collingwood's claim that mind is an object that changes as it understands itself. ;In Chapter One, I consider the distinction between natural process and historical process as central to an understanding of Collingwood's historical science of mind. I defend Collingwood's attempt to preserve the distinction between historical process and natural process in order to reserve for history its appropriate subject matter---mind. ;In Chapter Two, I consider the epistemological basis for Collingwood's claim that mind changes fundamentally in the historical process. I argue that Collingwood's reading of Anselm's proof of the existence of God is the key to understanding his theory of the priority of "faith" to reason and so to the historical nature of first principles. ;Chapter Three has two parts. In part one, I examine Collingwood's logic of philosophical concepts: the scale of forms. In part two, I argue Collingwood's moral philosophy, found in The New Leviathan and in his lectures on "Goodness, Rightness, Utility" , exemplifies this logic. I conclude that Collingwood's historical study of mind is an attempt to overcome the disjunction between theory and practice caused by the abstract thinking of modern scientific consciousness. ;Chapter Four provides a survey of the scholarship surrounding Collingwood's corpus as a whole. I argue that there have been three waves of Collingwood scholarship. The first is influenced by T. M. Knox's editing of Collingwood's manuscripts and his "radical conversion hypothesis." The second wave of Collingwood scholarship argues for the systematic or thematic unity of Collingwood's philosophy. The third and most recent wave builds on the second. As an example, I discuss Guiseppina D'Oro's suggestion that Collingwood's thought is unified by its overarching concern with critical philosophy. I conclude with the suggestion that Collingwood's thought is unified by an attempt to provide a viable reflective philosophy based on historical consciousness

In this paper, I discuss the role of Anselm’s ontological argument in the philosophy of R.G. Collingwood. Anselm’s argument appears prominently in Collingwood’s Essay on Philosophical Method (1933) and Essay on Metaphysics (1940), as well as in his early work Speculum Mentis (1924). In the proof, Collingwood finds the central expression of the priority of “faith” in the first principles of thought to reason’s activities. For Collingwood, it is Anselm’s proof that clearly expresses this relationship between faith and reason. The two elements of this analysis that must be understood if one is to understand Collingwood’s use of the proof are what he means by “the idea of an object that shall completely satisfy the demands of reason” and the “special case of metaphysical thinking.” I analyze both of these elements and conclude by showing how Anselm’s proof is essential to Collingwood’s historical science of mind