This study attempts to demonstrate that there is a new turn in Collingwood's philosophy of history in and after 1935 and that this new turn is the result of Collingwood working out his theory of absolute presuppositions in the early 1930's. Collingwood's unpublished manuscripts are examined in order to assist us in justifying this claim. A clarification of the theory of absolute presuppositions follows our attempt to situate this theory in Collingwood's intellectual development. After arguing that absolute presuppositions are logico-regulative entities, we suggest that Collingwood is a foundationalist in a unique sense and that he can solve the problem of conceptual change in consistently rational terms. Although we argue against the view that there are radical discontinuities in his thought, we contend that Collingwood's principles of metaphysics, uncovered in the early 1930's, throw new light on his analysis of history in The Idea Of History. We argue that absolute presuppositions underlie all attempts at a theory of historical explanation. We attempt to show that absolute presuppositions logically regulate the historical imagination and that the historical imagination has changed over time as the result of absolute presuppositions changing. We argue that there is a logico-regulative relationship of absolute presuppositions to historical evidence over time. We also argue that it is necessary to account for Collingwood's acceptance of the incommensurate thesis in 1925 and his rejection of this thesis in 1936 for question-and-answer complexes. We claim that it was Collingwood's newly uncovered principles of metaphysics in the early 1930's that account for his about-face on the subject of rethinking question-and-answer complexes. Collingwood still accepted the incommensurate thesis for contexts of irrmediacy, and so his new position was not a radical change, but his principles of metaphysics did provide a ground or basis for the possibility of re-thinking an identical questionand- answer complex. / Thesis / Doctor of Philosophy (PhD)

Essa dissertação analisa a construção da história e da memória da Fábrica de Ferro de São João de Ipanema, na região de Sorocaba, a partir do referencial teórico de R.G. Collingwood, o qual formulou a conhecida história de cola e tesoura, com o intuito de questionar escritas da história ou práticas historiográficas em que seus autores apenas trabalham de maneira acrítica com relatos já produzidos, recortados de fontes disponíveis ao pesquisador e selecionados a partir de operações de lógica formal: informações recorrentes no mesmo sentido são colados no texto e as informações discordantes são selecionadas, descartando-se a supostamente errada ou inexata. Além disso, também se usou a distinção entre memória, memória coletiva, história e esquecimento, presentes, sobretudo, nos trabalhos de Maurice Halbwachs Paul Ricoeur, bem como as noções de progresso e da historia magistra vitae, que aparecem sobretudo nos relatos produzidos no século XX. Esta Fábrica, que foi uma dos primeiros empreendimentos industriais do Brasil, cuja origem remonta ao século XVI, despertou o interesse de várias personalidades, como Pedro Taques, Martim Francisco, José Bonifácio, Vergueiro, Varnhagen e Calógeras, entre outros que escreveram sobre esse estabelecimento por diversas razões, em especial, para sustentar-se o pioneirismo de Ipanema em face de outras fábricas existentes em Minas Gerais, destacando, ademais, a intriga entre o primeiro diretor, o sueco Carl Gustav Hedberg e seu sucessor, Frederico Luis Guilherme Varnhagen. No século XX, esses relatos buscavam analisar os malogros da siderurgia nacional até a década de 1970, na intenção de obterem-se lições do passado. / This dissertation examines the construction of history and memory of the Fabrica de Ferro de São João de Ipanema, in Sorocaba, from the RG Collingwoods approach, who created the wellknown concept of scissors-and-paste\" history, in order to criticize historical writings or historiographical practices in which their authors work uncritically with produced reports, getting them from available sources to the researcher and selected from formal logic operations: similar information remain in the text and conflicting information are selected, discarding the supposedly wrong or inaccurate ones. A distintion among memory, collective memory, history and forgetting was made, present mainly in the work of Maurice Halbwachs Paul Ricoeur, and the concepts of progress and history magistra vitae, which appear mainly in the reports produced in the 20th Century. This plant, which was one of the first industrial activities in Brazil, whose origin was in the 16th Century, was object of interest of several people, like Peter Taques, Martim Francisco, Jose Bonifacio, Vergueiro, Varnhagen and Calógeras, among others who wrote about Ipanema for various reasons, in particular, to stress the pioneering of Ipanema in the face of other plants in Minas Gerais, noting, moreover, the conspiracy between the first Ipanemas Director, the Swedish Carl Gustav Hedberg and his successor, the German Frederico Luis Guilherme Varnhagen. In the 20th Century, these reports sought to examine the failures of the national steel industry until the 1970s, in order to get to lessons of the past.

Essa dissertação analisa a construção da história e da memória da Fábrica de Ferro de São João de Ipanema, na região de Sorocaba, a partir do referencial teórico de R.G. Collingwood, o qual formulou a conhecida história de cola e tesoura, com o intuito de questionar escritas da história ou práticas historiográficas em que seus autores apenas trabalham de maneira acrítica com relatos já produzidos, recortados de fontes disponíveis ao pesquisador e selecionados a partir de operações de lógica formal: informações recorrentes no mesmo sentido são colados no texto e as informações discordantes são selecionadas, descartando-se a supostamente errada ou inexata. Além disso, também se usou a distinção entre memória, memória coletiva, história e esquecimento, presentes, sobretudo, nos trabalhos de Maurice Halbwachs Paul Ricoeur, bem como as noções de progresso e da historia magistra vitae, que aparecem sobretudo nos relatos produzidos no século XX. Esta Fábrica, que foi uma dos primeiros empreendimentos industriais do Brasil, cuja origem remonta ao século XVI, despertou o interesse de várias personalidades, como Pedro Taques, Martim Francisco, José Bonifácio, Vergueiro, Varnhagen e Calógeras, entre outros que escreveram sobre esse estabelecimento por diversas razões, em especial, para sustentar-se o pioneirismo de Ipanema em face de outras fábricas existentes em Minas Gerais, destacando, ademais, a intriga entre o primeiro diretor, o sueco Carl Gustav Hedberg e seu sucessor, Frederico Luis Guilherme Varnhagen. No século XX, esses relatos buscavam analisar os malogros da siderurgia nacional até a década de 1970, na intenção de obterem-se lições do passado. / This dissertation examines the construction of history and memory of the Fabrica de Ferro de São João de Ipanema, in Sorocaba, from the RG Collingwoods approach, who created the wellknown concept of scissors-and-paste\" history, in order to criticize historical writings or historiographical practices in which their authors work uncritically with produced reports, getting them from available sources to the researcher and selected from formal logic operations: similar information remain in the text and conflicting information are selected, discarding the supposedly wrong or inaccurate ones. A distintion among memory, collective memory, history and forgetting was made, present mainly in the work of Maurice Halbwachs Paul Ricoeur, and the concepts of progress and history magistra vitae, which appear mainly in the reports produced in the 20th Century. This plant, which was one of the first industrial activities in Brazil, whose origin was in the 16th Century, was object of interest of several people, like Peter Taques, Martim Francisco, Jose Bonifacio, Vergueiro, Varnhagen and Calógeras, among others who wrote about Ipanema for various reasons, in particular, to stress the pioneering of Ipanema in the face of other plants in Minas Gerais, noting, moreover, the conspiracy between the first Ipanemas Director, the Swedish Carl Gustav Hedberg and his successor, the German Frederico Luis Guilherme Varnhagen. In the 20th Century, these reports sought to examine the failures of the national steel industry until the 1970s, in order to get to lessons of the past.

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Thesis advisor: Elisa Magri / This thesis will argue that art expresses feeling, affirming the expressivist theory of aesthetics of R.G. Collingwood, and will expand this thesis to say that aesthetic experience of nature is also expressive. By aesthetic experience of nature, I refer to an experience in which the subject is not merely observing, but appreciating the natural world for its aesthetic qualities. I will present the argument that such experiences of nature are governed by the same principles of expression and imagination that intentionally made art objects are. I will begin with an analysis of the expressivist theory of Collingwood, which asserts that all proper art is the result of expression followed by an act of imaginative creation. Following this, I will investigate the expression of feelings in the non-art aesthetic experience of nature. To do this I will present the work of Arnold Berleant, whose framework for aesthetic engagement will allow the expressivist theory of expression and imagination to apply in natural aesthetics. With this framework in place I will explore several examples of aesthetic experience of nature to illustrate this process at work. / Thesis (BA) — Boston College, 2024. / Submitted to: Boston College. Morrissey School of Arts and Sciences. / Discipline: Philosophy. / Discipline: Departmental Honors.