"Examines the work of three nineteenth-century utilitarian feminist philosophers: Catharine Beecher, Frances Wright, and Anna Doyle Wheeler.

Having only emerged in the past few decades, Feminist Philosophy is rapidly developing its own thrust in areas of particular importance to feminism-and women more generally-while also reevaluating and reshaping most other fields of philosophy, from ethics to logic and Marxism to environmentalism.

“Archangel” explores the consequences of Marie's over‐parenting of her daughter, Sara, through the use of a neural implant (the Archangel) that allows Marie to track (and block) Sara's experiences. In attempting to fulfill her duty to protect Sara, Marie ultimately fails morally as a parent. What is fascinating is that different schools of philosophical thought – contemporary liberal philosophy, ancient Greek Aristotelian ethics, contemporary feminist ethics of care, and contemporary Wittgensteinian ethics – all reach the same conclusion about Marie's moral (...) failure, while teasing out different strands of this failure. (shrink)

Commentators on the work of Catharine Macaulay acknowledge her influence on the pioneering feminist writing of Mary Wollstonecraft. Yet despite Macaulay's interest in equal education for women, these commentators have not considered that Macaulay offered a self-contained, sustained argument for the equality of women. This paper endeavors to show that Macaulay did produce such an argument, and that she holds a place in the development of early feminism independent of her connections with Wollstonecraft.

This is a unique, groundbreaking study in the history of philosophy, combining leading men and women philosophers across 2600 years of Western philosophy, covering key foundational topics, including epistemology, metaphysics, and ethics. Introductory essays, primary source readings, and commentaries comprise each chapter to offer a rich and accessible introduction to and evaluation of these vital philosophical contributions. A helpful appendix canvasses an extraordinary number of women philosophers throughout history for further discovery and study.

Catharine Beecher held that women possessed a moral power that could allow them to play a vital role in the moral and social progress of nineteenth century America. Problematically, this power could only be obtained through their subordination to the greatest social happiness. I wish to argue that this notion of subordination, properly framed within her ethico-religious system, can in fact lead to economic independence for women and a surprisingly robust conception of moral power.

In May of 2020, reports of so-called "long-COVID" began to surface. Long COVID is a collection of post-COVID-19 physical, cognitive and psychological symptoms, such as depression, brain fog, fatigue, and dizziness. As long-COVID is considered a "new" disease, it is not always covered by health insurance or government programs, moreover it is a set of constantly evolving symptoms.While severe cases of COVID-19 itself tend to be mostly in males over fifty-years-old, those individuals affected by long-COVID tend to be mainly female (...) and younger in age. Data supporting the existence of the long-COVID syndrome... (shrink)

Challenging the formalist critical legacy of Clement Greenberg and Michael Fried, this essay advocates an alternative philosophical lineage for Modernist painting through a specific focus on Barnett Newman's vertical stripe or ‘zip’. This genealogy is rooted in Newman's own self-confessed interest in painting as a disclosure of the sensation of time and Deleuze's overt break with Kant. In light of the latter, the zip takes on the function of Deleuze's Figure: the material support that generates, sustains and also disperses a (...) precise sensation. (shrink)

Film, Samuel Beckett's 1964 short starring Buster Keaton, dubbed by Deleuze as ‘The Greatest Irish Film’, is a seminal text in the latter's cinematic canon as it helps us to extrapolate the transition from the Bergson-based movement-image of Cinema 1 to the Nietzschean time-image of Cinema 2. Film is unique insofar as its narrative traverses and progressively destroys the action-, perception- and affection-images that constitute the movement-image as a whole, using Keaton's body, and more importantly his face, as a means (...) of attaining a pure intensity or Entity abstracted from all spatio-temporal coordinates, a condition of exhaustion/saturation that Deleuze and Guattari call, ‘non-human becoming’. Beckett's film is predicated on Bishop Berkeley's fundamental philosophical principle, esse est percipi (to be is to be perceived) and, using Keaton as its protagonist, raises the question of whether it is possible to escape perception, not only by a third party, but also by oneself. The latter is ‘played’ by the camera itself, which ‘stalks’ Keaton from behind, taking great pains not to exceed a 45-degree ‘angle of immunity’ (lest Buster experience percipi or the anguish of perceivedness) until the film's final close-up when he comes face to face with his own self-perception and affective annihilation. Film's denouement thus deconstructs the very nature of conventional cinematic language, whereby filmic suture – the enfolding of character, camera and spectatorial ‘viewing-views’ into a unified field of vision – gives way to a perspective where, at the very moment that the perceptive/affective body dies, the work of filmic art gives birth to itself as a being of pure sensation, exceeding lived experience. (shrink)

Commentaries on the Treatise have not always been clear as to why Hume includes a discussion of the virtue of female chastity among the apparently different artificial virtues of justice, promises, and allegiance. Placing Hume's discussion of chastity within its specific historical location can illuminate its presence and role in Book 3 of the Treatise and demonstrate how chastity is a virtue of social utility. An examination of the "practice of the world" can show how female chastity was a necessary (...) virtue for the emerging "middling" classes of the eighteenth century in their pursuit of economic stability and social status. (shrink)

Undoing anthropocentrism : becoming-animal and the nonhuman -- Vectors of becoming-imperceptible : the multiplicity of the pack -- Animal politics, animal deaths : transversal connectivities and the creation of an ethico-aesthetic paradigm -- Animal re-territorialisations in art and cinema -- Transverse animalities : ecosophical becomings.

Having only emerged in the past few decades, Feminist Philosophy is rapidly developing its own thrust in areas of particular importance to feminism-and women more generally-while also reevaluating and reshaping most other fields of philosophy, from ethics to logic and Marxism to environmentalism. It draws not only on feminist philosophers but criticizes, approves, or appropriates the work of the leading philosophers of all times.

Inspired by the ecosophical writings of Felix Guattari, this book explores the many ways that aesthetics - in the forms of visual art, film, sculpture, painting, literature, and the screenplay - can act as catalysts, allowing us to see the world differently, beyond traditional modes of representation. This is in direct parallel to Guattari's own attempt to break down the 19th century Kantian dialectic between man, art, and world, in favour of a non-hierarchical, transversal approach, to produce a more ethical (...) and ecologically sensitive world view."-- Back cover. (shrink)

Four poems by three poets with commentary and introduction explore metaphor, connection, and relationship in the broad realm of medical care, including the application to medical school.