Efforts to include women in the canon have long been beset by reactionary gatekeeping, typified by the charge “That's not philosophy.” That charge doesn't apply to early and mid‐analytic female philosophers—Welby, Ladd‐Franklin, Bryant, Jones, de Laguna, Stebbing, Ambrose, MacDonald—with job titles like lecturer in logic and professor of philosophy and publications in Mind, the Journal of Philosophy, and Proceedings of the Aristotelian Society. It's hopeless to dismiss their work as “not philosophy.” But comparable reactionary gatekeeping affects them, this paper argues, (...) typified by the labels “bad philosophy” and “derivative philosophy.” Virtue and vice epistemology help explain why these women have been neglected and why their own approaches are epistemically virtuous. Their contemporaries and historians are deficient in scholarly virtues in labelling these women's work “bad” or derived from male mentors with no or specious justification. Their disparaged qualities—intellectual humility, modesty, critical self‐reflection, disclosing biases—are often epistemic virtues. (shrink)

There was once a princess called Sophia,whose philosophy museum was superior.But most of the storesbecame locked behind doors,which led to collective amnesia.Then along came a band of ajar‐minders,who decided to issue remindersof the treasures insidethat hadn't yet died,and opened the doors to all finders.

In this paper, I show that, in a number of publications in the early 1950s, Margaret Macdonald argues that art does not admit of definition, that art is—in the sense associated with Wittgenstein—a family resemblance concept, and that definitions of art are best understood as confused or poorly expressed contributions to art criticism. This package of views is most typically associated with a famous paper by Morris Weitz from 1956. I demonstrate that Macdonald advanced that package prior to Weitz, indeed, (...) prior to any other philosopher of art of the period. Despite this, Macdonald’s contribution is nowhere to be found in the subsequent literature on the definition of art. In closing, I raise the prospect that Macdonald was in fact the primary influence on the development of Weitz’s critique of the definitional project. (shrink)

The main ambition of the eight articles in this collection is to bring together two currently distinct bodies of literature—on scholarly virtues and vices in the sciences and the humanities, and on epistemic virtues and vices—and to jointly connect them to recent work in (revisionary) historiography of philosophy. This introduction briefly reflects on this ambition, providing background and context, and offers a short overview of the eight articles.

In this article, I offer a detailed examination of Margaret Macdonald's response to the Cartesian sceptical argument from dreaming. I show that Macdonald's views were not well understood by her contemporaries, and I suggest that this misunderstanding has led to her omission from subsequent discussions of this subject. I end with a brief demonstration of the fact that Macdonald's central claims have re-emerged in contemporary epistemology.