Alison Stone

This chapter examines Schelling’s ideas about nature and freedom from a feminist perspective, looking at his _First Outline of a System of the Philosophy of Nature_ and his later _Philosophical Investigations on the Essence of Human Freedom_. In both works, Schelling argues that two opposed but interdependent metaphysical powers are necessary to the constitution of the world, and he interprets these powers in terms of a gendered polarity. The chapter draws out the ambiguous implications of Schelling’s views as regards the relative value of each gender, and considers how this bears on contemporary possibilities for reappropriating Schelling’s thought, with critical reference to Žižek.

Joanna Baillie (1762–1851) was renowned in the earlier nineteenth century as a playwright. This paper argues that the kind of drama she produced was distinctly philosophical, both in its content, examining the danger of the passions in human life, and its educational aims, showing how the characters’ failures to regulate their passions brought about their downfall, which served as a warning to the audience. After exploring why Baillie used drama as her philosophical medium, the paper considers the major criticisms from Francis Jeffrey, the first editor of the Edinburgh Review. The paper defends Baillie against his criticisms.

In this book, Alison Stone develops a feminist approach to maternal subjectivity. Stone argues that in the West the self has often been understood in opposition to the maternal body, so that one must separate oneself from the mother and maternal care-givers on whom one depended in childhood to become a self or, in modernity, an autonomous subject. These assumptions make it difficult to be a mother and a subject, an autonomous creator of meaning. Insofar as mothers nonetheless strive to regain their subjectivity when their motherhood seems to have compromised it, theirs cannot be the usual kind of subjectivity premised on separation from the maternal body. Mothers are subjects of a new kind, who generate meanings and acquire agency from their position of re-immersion in the realm of maternal body relations, of bodily intimacy and dependency. Thus Stone interprets maternal subjectivity as a specific form of subjectivity that is continuous with the maternal body. Stone analyzes this form of subjectivity in terms of how the mother typically reproduces with her child her history of bodily relations with her own mother, leading to a distinctive maternal and cyclical form of lived time.

The handbook challenges the misconception that there were no female philosophers during this era. It explores the diverse philosophical contributions of women, including those who wrote academic texts, novels, pamphlets, journalism, and activist writings and examines women's contributions to both philosophical movements and topics in social philosophy. It reveals that the nineteenth century was more conducive to women authors than commonly believed and discusses how factors like race and class influenced women's philosophical perspectives. The Handbook corrects the historical narrative and broadens our understanding of philosophy by showcasing the significant contributions of women philosophers"-- Provided by publisher.

Introduces seven women philosophers of art from long nineteenth-century Britain including Anna Barbauld, Joanna Baillie, Harriet Martineau, Anna Jameson, Frances Power Cobbe, Emilia Dilke, and Vernon Lee Traces a logical progression amongst these women's views as they grappled with art's relations to morality and religion Shows that these women were well-known in their time and played important roles in establishing British philosophy of art Expands the rediscovery of women philosophers to a neglected area, philosophy of art

Argues that affirming the irreducible differences between men and women can lead to more transformative politics than the struggle for abstract equality between the sexes. In The Symbolic Order of the Mother Luisa Muraro identifies the bond between mother and child as ontologically fundamental to the development of culture and politics, and therefore as key to achieving truly emancipatory political change. Both corporeal development and language acquisition, which are the sources of all thinking, begin in this relationship. However, Western civilization has been defined by men, and Muraro recalls the admiration and envy she felt for the great philosophers as she strove to become one herself, as well as the desire for independence that opposed her to her mother. This conflict between philosophy and culture on the one hand and the relationship with the mother on the other constitutes the root of patriarchy’s symbolic disorder, which blocks women’s (and men’s) access to genuine freedom. Muraro appeals to the feminist practice of gratitude to the mother and the recognition of her authority as a model of unconditional nurture and support that must be restored. This, she argues, is the symbolic order of the mother that must overcome the disorder of patriarchy. The mediating power of the mother tongue constitutes a symbolic order that comes before all others, for both women and men. Luisa Muraro is Professor Emeritus of Philosophy at the University of Verona, Italy. Francesca Novello is an instructor at the University of Oklahoma. Timothy S. Murphy is Houston-Truax-Wentz Professor and Regents Professor of English at Oklahoma State University.

Joanna Baillie (1762–1851) came to fame in 1798 with the first volume of her Plays on the Passions, which included her theoretical account of drama, including tragedy. This article reconstructs Baillie's theory of tragedy and shows how the theory informs the design of the Plays on the Passions. For Baillie, all human beings have powerful and dangerous passions that we need to learn to regulate. Tragedy can help with this and can serve an educative purpose by presenting us with narratives in which the protagonists repeatedly fail to check the growth of a particular passion, such as jealousy or hatred. We witness this passion gain more and more hold over the character's mind until they are destroyed. This offers a warning and motivates us to watch out for the growth of our own passions and keep them in check. Baillie's theory of tragedy is original and combines a moral orientation, a voluntarist belief in free will, and optimism about the human condition. For her, the sufferings undergone by tragic characters could have been avoided had the characters made better choices. Thus the message of tragedy is not that suffering is inescapable but that suffering can be minimized if we cultivate self-knowledge and emotional self-control.

This article provides the first detailed modern examination of Julia Wedgwood’s interventions in the Victorian debate about the origin of language. Wedgwood wanted to understand language, consistently with Darwin’s theory of evolution, as having evolved gradually out of other forms of animal behaviour. She focused specifically on imitative behaviours, siding with the imitative or “bow-wow” theory of language which her father Hensleigh Wedgwood also championed. She opposed the conceptualist or “ding-dong” theory of Max Müller, on which language is the “Rubicon” that radically separates humans from animals. I argue that Julia Wedgwood was right to emphasise that the human capacity for language is continuous with animal behaviours, though she was wrong to reduce this continuity to a single behaviour, imitation. Nevertheless, her language essays remain significant as an early attempt to forge a Darwinian account of language, and they illuminate the fact that women were able to take part in Victorian philosophical debates, including on an abstract topic such as philosophy of language. The essays also provide entry into Wedgwood’s thought and work more broadly, which are unjustly neglected and deserve to be recovered.

This chapter introduces Beauvoir's conception of motherhood in The Second Sex. Beauvoir sets out to demystify motherhood by presenting women's experiences of pregnancy and mothering in all their difficulty, complexity, and ambivalence. However, Beauvoir works with a contrast between transcendence and immanence which inclines her to interpret pregnancy and maternity in terms of immanence (i.e. unfreedom). This chapter identifies alternative lines of thought in Beauvoir's work which portray maternity more positively: as disclosing our fundamental ambiguity, the bodily roots of free human agency, and the constitutive role of relationships with others in human existence.

Frances Power Cobbe led the Victorian movement against vivisection. Cobbe is often remembered for her animal welfare campaigning, but it is rarely recognized that she approached animal welfare as a moral philosopher. In this article, I examine the philosophical basis of Cobbe's antivivisectionism. I concentrate on her 1875 article “The Moral Aspects of Vivisection,” in which Cobbe first locates vivisection within the historical movement of Western civilization and the tendency for science to supersede religion and then endeavors to refute the defenses of vivisection one by one. I emphasize the philosophical considerations that led Cobbe to oppose animal experimentation on a reasoned basis.

This article contributes to recovering the history of women’s contributions to aesthetics by examining Emilia Dilke’s writings on aesthetics from the mid-1860s to the early 1870s. Initially, Dilke took the historicist view that artworks are inescapably the products and expressions of their social and historical circumstances and that art is better, as art, the more it distils its time. Dilke also thought that in the modern world art had separated inexorably from morality and religion. On that basis she came to endorse aestheticism, arguing that art should be made for beauty’s sake and not subordinated to moral purposes. However, this ultimately led to some tensions between her aestheticism and historicism. In the end she resolved these tensions by distinguishing between various kinds of value, or uses, that artworks can have. The best artworks have properly aesthetic value and transcend history, whereas the majority of artworks have only historical value as expressions of their eras. Overall, Dilke put forward a forceful defence of aestheticism and negotiated between aestheticism and historicism in a unique way. She deserves recognition as a significant female figure in the history of aesthetics.

In this paper I contribute to the recovery of women in the history of philosophy by giving the first modern-day philosophical account of the ideas on aesthetics and ethics of Anna Jameson (1794–1860). Although Jameson was massive in her time, she wrote in a place and period, nineteenth-century Britain, and on an area, aesthetics, that the recovery effort has hardly reached yet. Throughout her work Jameson argued that aesthetics and ethics were very closely connected. Here I focus on how she made that connection in her 1832 work _Characteristics of Women: Moral, Poetical, and Historical_. Looking at Shakespeare’s female characters, Jameson argued that they provide moral examples of various sorts: role models, warnings, or a mixture of the two. The characters only provide these examples because they are rounded, psychologically complete individuals who are therefore in a certain sense real. In addition, because they are complete, the characters are aesthetic wholes, and art-works in turn are aesthetic wholes just when they depict characters as aesthetic wholes. The consequence for Jameson is that art-works can only be aesthetically good – in virtue of being wholes – if they are also morally good – in presenting characters that serve as moral examples. Published on 2023-03-21 09:06:33.

This article puts forward a philosophical interpretation of Bettina von Arnim's epistolary bookDie Günderode, in the following stages. First I situate von Arnim's work in relation to women's participation in early German Romanticism and idealism. The ideal ofSymphilosophie, which was integral to Romantic epistemology, created possibilities for women to participate in philosophical discussion, albeit not on equal terms with men. This suggested that perhapsSymphilosophiebetween women could be more equal and reciprocal. However, interpreters have considered theSym-in Günderrode and von Arnim'sSymphilosophiemore than the-philosophie, whereas here I foregroundDie Günderode's rich philosophical content. I trace the stages in the unfolding dialogue between Günderrode and von Arnim and identify von Arnim's philosophical standpoint as it emerges from this dialogue. For Günderrode, finite beings are attracted together and can only fully unite by dying and superseding their boundaries. This feeds into a gigantic cosmic process through which the earth spiritualizes itself, progressively transcending its own materiality. Von Arnim likewise thinks that all finite beings are dynamically interconnected within the earth's creative process. But, unlike Günderrode, von Arnim thinks that finite beings can realize their interconnectedness within life without needing to die, which means in turn that material nature can rise into successive levels of spirit without its materiality having to be superseded. This metaphysical difference orchestrates many other philosophical disagreements between the two women. I then conclude that on balance, and with significant qualifications,Die Günderodeembodies a successfulSymphilosophiebetween women, but that von Arnim is simultaneously pointing out the fragility ofSymphilosophie. The more independence dialogue partners have, the more liable they are to move away in new directions and abandon or outgrow the conversation, just as Günderrode turns away from von Arnim by the end of the book.

Many women wrote philosophy in nineteenth-century Britain, and they wrote across the full range of philosophical topics. Yet these important women thinkers have been left out of the philosophical canon and many of them are barely known today. The aim of this book is to put them back on the map. It introduces twelve women philosophers - Mary Shepherd, Harriet Martineau, Ada Lovelace, George Eliot, Frances Power Cobbe, Helena Blavatsky, Julia Wedgwood, Victoria Welby, Arabella Buckley, Annie Besant, Vernon Lee, and Constance Naden. Alison Stone looks at their views on naturalism, philosophy of mind, evolution, morality and religion, and progress in history. She shows how these women interacted and developed their philosophical views in conversation with one another, not only with their male contemporaries. The rich print and periodical culture of the period enabled these women to publish philosophy in forms accessible to a general readership, despite the restrictions women faced, such as having limited or no access to university education. Stone explains how these women became excluded from the history of philosophy because there was a cultural shift at the end of the nineteenth century towards specialised forms of philosophical writing, which depended on academic credentials that were still largely unavailable to women.

This article contributes to recognizing and recovering women’s voices in the history of aesthetics by examining the aesthetic theory put forward in the 1860s by the Anglo-Irish philosopher and feminist Frances Power Cobbe. Cobbe addressed aesthetics and gender, maintaining that there are female geniuses. She addressed art and morality, arguing that art should always aim to express moral truth, and that artworks that express morally good thoughts poorly are artistically better than works that express morally bad thoughts well. She then modified her stance to argue that beauty contains but does not reduce to goodness. Cobbe also developed a comprehensive account of the arts, their relative merits, and the criteria for evaluating them. Her account had problems; nonetheless, it was ambitious, original, and interesting, and Cobbe deserves to be recognized as a woman who made significant interventions in the history of aesthetics.

This volume brings together essential writings by the unjustly neglected nineteenth-century philosopher Frances Power Cobbe (1822-1904). A prominent ethicist, feminist, champion of animal welfare, and critic of Darwinism and atheism, Cobbe was well known and highly regarded in the Victorian era. This collection of her work introduces contemporary readers to Cobbe and shows how her thought developed over time, beginning in 1855 with her Essay on Intuitive Morals, in which she set out her duty-based moral theory, arguing that morality and religion are indissolubly connected. This work provided the framework within which she addressed many theoretical and practical issues in her prolific publishing career. In the 1860s and early 1870s, she gave an account of human duties to animals; articulated a duty-based form of feminism; defended a unique type of dualism in the philosophy of mind; and argued against evolutionary ethics. Cobbe put her philosophical views into practice, campaigning for women's rights and for first the regulation and later the abolition of vivisection. In turn her political experiences led her to revise her ethical theory. From the 1870s onwards she increasingly emphasized the moral role of the emotions, especially sympathy, and she theorized a gradual historical progression in sympathy. Moving into the 1880s, Cobbe combatted secularism, agnosticism, and atheism, arguing that religion is necessary not only for morality but also for meaningful life and culture. Shedding light on Cobbe's philosophical perspective and its applications, this volume demonstrates the range, systematicity and philosophical character of her work and makes her core ethical theory and its central applications and developments available for teaching and scholarship.

The Routledge Companion to Feminist Philosophy is an outstanding guide and reference source to the key topics, subjects, thinkers, and debates in feminist philosophy. Fifty-six chapters, written by an international team of contributors specifically for the Companion, are organized into five sections: Engaging the Past; Mind, Body, and World; Knowledge, Language, and Science; Intersections; Ethics, Politics, and Aesthetics. The volume provides a mutually enriching representation of the several philosophical traditions that contribute to feminist philosophy. It also foregrounds issues of global concern and scope; shows how feminist theory meshes with rich theoretical approaches that start from transgender identities, race and ethnicity, sexuality, disabilities, and other axes of identity and oppression; and highlights the interdisciplinarity of feminist philosophy and the ways that it both critiques and contributes to the whole range of subfields within philosophy.

ABSTRACT In this paper, I reconstruct the views on historical progress of two nineteenth-century English-speaking philosophical women, Harriet Martineau and Frances Power Cobbe. Martineau and Cobbe put forward theories of progress which I classify as versions of teleological progressivism. Their theories are bound up with their accounts of different world civilizations and religions, and their advancement towards either Christianity, for Cobbe, or through and beyond Christianity towards secularization, for Martineau. After explaining the overall nature of teleological progressivism in the Victorian era and locating Cobbe and Martineau within this intellectual context, I turn to the details of Martineau’s version of teleological progressivism, then Cobbe’s initial version followed by her second, revised version. I then draw out some conclusions about the shared structure of Martineau’s and Cobbe’s forms of teleological progressivism and its complicated connections with Eurocentrism and colonialism.