Margaret Cavendish was a philosopher and writer active in mid-seventeenth century England. She is important not just as one of the first women active in philosophy in early modern age but as the expounder of an original scientific theory based on vitalism and materialism, by which she rejected the mechanical philosophy of Descartes and Hobbes and the experimental philosophy of Boyle and Hooke. Also, while not developing a theory of gender equality, she envisaged a form of emancipation of women based (...) on intellectual activity as a way to social recognition and to the exercise of influence on society and politics. (shrink)

This paper provides an overview of women's engagement with Stoic ethics in early modern England (c. 1600–1700). It builds on recent literature in the field by demonstrating that there is a positive gender‐inclusive narrative to be told about Stoic philosophy in this time—one that incorporates women's specific concerns and responds to women's lived experiences. To support this claim, we take an interdisciplinary approach and examine several different genres of women's writing in the period, including letters, poems, plays, educational texts, and (...) moral essays. In these writings, we argue, a distinctive conception of Stoic therapy emerges. Women embrace well‐known aspects of the Stoic philosophy—such as living in agreement with nature, the importance of self‐government, and the ideal of freedom from the passions—but they also allow room for the cultivation of eupatheiai or life‐affirmative feelings, such as feelings of respect, affection, and good will toward other people. (shrink)

This paper explores Cavendish’s argument for what she calls “animate matter.” Her commitment to the ubiquity of animate matter, styled “Cavendish’s animism,” is presented as the conclusion of an inference to the best explanation of nature’s order. The reconstruction of Cavendish’s argument begins with an examination of the relationship between God’s creation of our world and the order produced through nature’s wise governance of her parts. Cavendish’s materialism and anti-atomism are presented as ingredients in her final account of God’s ordering (...) of the world by making it a self-moving whole. On the present account of Cavendish’s metaphysics, this self-moving whole then freely produces the regular motions that constitute its ordering of itself, as a distinct ordering beyond God’s initial act of creating our world. The depth of Cavendish’s commitment to the animistic elements of her materialism—or in other words, the extent to which her system is genuinely animistic—is then considered. (shrink)

This paper argues that, although Margaret Cavendish’s main philosophical contributions are not in philosophy of religion, she makes a case for a defense of God, in spite of the worst sorts of harms being present in the world. Her arguments about those harms actually presage those of contemporary feminist ethicists, which positions Cavendish’s scholarship in a unique position: it makes a positive theodical contribution, by relying on evils that contemporary atheists think are the best evidence against the existence of God. (...) To demonstrate that Cavendish’s work should be considered as early modern feminist theodicy, this paper will briefly introduce the contemporary feminist worry about theodicy as a project, show that Cavendish shares the contemporary feminist view about situated evil, and argue that her theodicy aims for agreement about how to eradicate great moral evils while preserving free will—and so, carves out a space for future female philosophers of religion who aim to be agents of healing in the face of such evil. (shrink)

Seventeenth-century philosopher Margaret Cavendish wrote not only several philosophical treatises, but also many fictional works. I argue for taking the latter as serious objects of study for historians of philosophy, and sketch a method for doing so. Cavendish's fiction is full of conflicting viewpoints, and many authors have argued that this demonstrates that she did not intend her literary works to serve serious philosophical purpose. But if we consider philosophers more central to the canon, such as Plato or Kierkegaard, who (...) sometimes used literary forms to do serious philosophy, we see that these arguments are unfounded. Like those philosophers, Cavendish had several philosophical motivations for pursuing value-theoretic issues through the flexible formats of literary genres. This suggests that Cavendish's literary corpus may be fruitful and largely unexplored ground for the history of philosophy. (shrink)

Wissenschaft mit Unterschieden: Parodie und Paradies in Margaret Cavendishs The Blazing World (1666). Mit ihrer utopischen Erzählung The Blazing World (1666) ist Margaret Cavendish, Duchess of Newcastle, eine der wenigen Autorinnen der Frühen Neuzeit, die sich sowohl im Feld der Literatur als auch der Naturphilosophie betätigten. Auf den ersten Blick scheint die Welt jenseits des Nordpols, in die die Protagonistin nach gewaltsamer Entführung und Schiffbruch gerät, ein weibliches Wissenschaftsparadies: Nach eilig erfolgter Vermählung mit dem Kaiser regiert sie eigenverantwortlich über die (...) wissenschaftlichen Institutionen ihres Reichs und debattiert mit Bären‐, Vogel‐, Wurmmännern und ähnlichen Hybridwesen über die neuesten wissenschaftlichen Errungenschaften. Bald schon stellt sich jedoch heraus, dass ihre „Wissenschaftler“ denjenigen der englischen Realität sowohl in ihrer blinden Begeisterung für neue Forschungsinstrumente wie in ihrem ermüdenden Austausch von Meinungen und Glaubenssätzen durchaus ähnlich sind. Unterstützung für ihre Kritik und für eigene Forschungs‐ und Schreibprojekte findet die Protagonistin in der Autorin selbst, der Duchess of Newcastle, in deren Welten sich die beiden gemeinsam begeben. Parodie und Satire, die auf zeitgenössische Modetorheiten im Umfeld der Royal Society abzielen, stehen im Fokus des vorliegenden Aufsatzes ebenso wie utopische Perspektiven, die durch die Eröffnung neuer Denkräume entstehen. Auf dem von ironisch kommentierten Fetischen und Hybriderscheinungen gepflasterten Weg dorthin bewegt sich die Erzählung zwischen Realität und Virtualität, Fakten und Fiktionen, kritisiert epistemologische und institutionelle Vorgaben und testet die Grenzen der Geschlechter im neu entstehenden Feld von Wissenschaft und Literatur. Summary: Science With a Difference: Parody and Paradise in Margaret Cavendish's The Blazing World (1666). Margaret Cavendish's The Blazing World (1666) is one of the very few utopian accounts by women in the early modern period. At first sight, the world beyond the North Pole that Cavendish's beautiful heroine enters after surviving abduction and shipwreck seems to offer the utmost in terms of early modern feminine scientific utopias: after the shortest love story in history, the heroine becomes Empress and is given a whole Empire to govern at her pleasure. But soon it turns out that the hybrid creatures of her newly founded scientific communities, bear‐men, bird‐men, worm‐men, and the like are far from utopian truth‐seeking, but, like their earthly counterparts, all too often revel in tedious meaning and believing. The paper will focus on such parodic moments as well as on alternative modes of dealing with science more adequate to the term Paradise. Only with the support of her this‐worldly friend, the Duchess of Newcastle, who also happens to be the author of the story, the Empress can not only improve her utopian state, but also the state of affairs in the real world. On the way, the boundaries between fact and fiction, real and virtual, masculine and feminine, sense and nonsense are continuously tested – reflecting and commenting on early modern fear and fascination of the unknown and the promises of science and technology. (shrink)

Wissenschaft mit Unterschieden: Parodie und Paradies in Margaret Cavendishs The Blazing World (1666). Mit ihrer utopischen Erzählung The Blazing World (1666) ist Margaret Cavendish, Duchess of Newcastle, eine der wenigen Autorinnen der Frühen Neuzeit, die sich sowohl im Feld der Literatur als auch der Naturphilosophie betätigten. Auf den ersten Blick scheint die Welt jenseits des Nordpols, in die die Protagonistin nach gewaltsamer Entführung und Schiffbruch gerät, ein weibliches Wissenschaftsparadies: Nach eilig erfolgter Vermählung mit dem Kaiser regiert sie eigenverantwortlich über die (...) wissenschaftlichen Institutionen ihres Reichs und debattiert mit Bären‐, Vogel‐, Wurmmännern und ähnlichen Hybridwesen über die neuesten wissenschaftlichen Errungenschaften. Bald schon stellt sich jedoch heraus, dass ihre „Wissenschaftler“ denjenigen der englischen Realität sowohl in ihrer blinden Begeisterung für neue Forschungsinstrumente wie in ihrem ermüdenden Austausch von Meinungen und Glaubenssätzen durchaus ähnlich sind. Unterstützung für ihre Kritik und für eigene Forschungs‐ und Schreibprojekte findet die Protagonistin in der Autorin selbst, der Duchess of Newcastle, in deren Welten sich die beiden gemeinsam begeben. Parodie und Satire, die auf zeitgenössische Modetorheiten im Umfeld der Royal Society abzielen, stehen im Fokus des vorliegenden Aufsatzes ebenso wie utopische Perspektiven, die durch die Eröffnung neuer Denkräume entstehen. Auf dem von ironisch kommentierten Fetischen und Hybriderscheinungen gepflasterten Weg dorthin bewegt sich die Erzählung zwischen Realität und Virtualität, Fakten und Fiktionen, kritisiert epistemologische und institutionelle Vorgaben und testet die Grenzen der Geschlechter im neu entstehenden Feld von Wissenschaft und Literatur. Summary: Science With a Difference: Parody and Paradise in Margaret Cavendish's The Blazing World (1666). Margaret Cavendish's The Blazing World (1666) is one of the very few utopian accounts by women in the early modern period. At first sight, the world beyond the North Pole that Cavendish's beautiful heroine enters after surviving abduction and shipwreck seems to offer the utmost in terms of early modern feminine scientific utopias: after the shortest love story in history, the heroine becomes Empress and is given a whole Empire to govern at her pleasure. But soon it turns out that the hybrid creatures of her newly founded scientific communities, bear‐men, bird‐men, worm‐men, and the like are far from utopian truth‐seeking, but, like their earthly counterparts, all too often revel in tedious meaning and believing. The paper will focus on such parodic moments as well as on alternative modes of dealing with science more adequate to the term Paradise. Only with the support of her this‐worldly friend, the Duchess of Newcastle, who also happens to be the author of the story, the Empress can not only improve her utopian state, but also the state of affairs in the real world. On the way, the boundaries between fact and fiction, real and virtual, masculine and feminine, sense and nonsense are continuously tested – reflecting and commenting on early modern fear and fascination of the unknown and the promises of science and technology. (shrink)