The article investigates the philosophical foundations and details of Mary Wollstonecraft's criticism of Jean-Jacques Rousseau's views on the education and nature of women. I argue that Wollstonecraft's criticism must not be understood as a constructionist critique of biological reductionism. The first section analyzes the differences between Wollstonecraft's and Rousseau's views on the possibility of a true civilization and shows how these differences connect to their respective conceptions of moral psychology. The section shows that Wollstonecraft's disagreement with Rousseau's views on women (...) was rooted in a broad scope of philosophical disagreement. The second section focuses on Rousseau's concept of nature, and I argue that Rousseau was neither a biological determinist nor a functionalist who denied that nature had any normative significance. The section ends with a discussion of Wollstonecraft's criticism of Rousseau's application of the distinction between the natural and the artificial. The third section focuses on Wollstonecraft's critique of Rousseau's claim that there are different standards for the perfectibility of men and women. The article concludes with a critical discussion of the claim that Aristotle would have provided Wollstonecraft with the philosophical tools she needed for her criticism of Rousseau. (shrink)

Independence is a central and recurring theme in Wollstonecraft’s work. Independence should not be understood as an individualistic ideal that is in tension with the value of community but as an essential ingredient in successful and flourishing social relationships. I examine three aspects of this rich and complex concept that Wollstonecraft draws on as she develops her own notion of independence as a powerful feminist tool. First, independence is an egalitarian ideal that requires that all individuals, regardless of sex, are (...) protected to a comparable extent in all areas of social, political and economic life, no matter whether this is in the public or private sphere. Secondly, so long as this egalitarian condition is not compromised, independence allows for individuals to perform differentiated social roles, including along gendered lines. Finally, the on-going and collective input of both women and men is required to ensure that the conditions necessary for social independence are maintained. In Wollstonecraft’s hands, then, independence is a powerful ideal that allows her to argue that women must be able to act on their own terms as social and political equals, doing so as women whose perspectives and interests may differ from men’s. (shrink)

Independence is a central and recurring theme in Mary Wollstonecraft's work. Independence should not be understood as an individualistic ideal that is in tension with the value of community but as an essential ingredient in successful and flourishing social relationships. I examine three aspects of this rich and complex concept that Wollstonecraft draws on as she develops her own notion of independence as a powerful feminist tool. First, independence is an egalitarian ideal that requires that all individuals, regardless of sex, (...) be protected to a comparable extent in all areas of social, political, and economic life, no matter whether this is in the public or private sphere. Second, so long as this egalitarian condition is not compromised, independence allows for individuals to perform differentiated social roles, including along gendered lines. Finally, the ongoing and collective input of both women and men is required to ensure that the conditions necessary for social independence are maintained. In Wollstonecraft's hands, then, independence is a powerful ideal that allows her to argue that women must be able to act on their own terms as social and political equals, doing so as women whose perspectives and interests may differ from men's. (shrink)

If liberal theory is to move forward, it must take the political nature of family relations seriously. The beginnings of such a liberalism appear in Mary Wollstonecraft's work. Wollstonecraft's depiction of the family as a fundamentally political institution extends liberal values into the private sphere by promoting the ideal of marriage as friendship. However, while her model of marriage diminishes arbitrary power in family relations, she seems unable to incorporate enduring sexual relations between married partners.

The scholarship on Mary Wollstonecraft is divided concerning her views on women's role in public life, property rights, and distribution of wealth. Her critique of inequality of wealth is undisputed, but is it a complaint only of inequality or does it strike more forcefully at the institution of property? The argument in this article is that Wollstonecraft's feminism is partly defined by a radical critique of property, intertwined with her conception of rights. Dissociating herself from the conceptualization of rights in (...) terms of self-ownership, she casts economic independence—a necessary political criterion for personal freedom—in terms of fair reward for work, not ownership. Her critique of property moves beyond issues of redistribution to a feminist appraisal of a property structure that turns people into either owners or owned, rights-holders or things acquired. The main characters in Wollstonecraft's last novel—Maria, who is rich but has nothing, and Jemima, who steals as a matter of principle—illustrate the commodification of women in a society where even rights are regarded as possessions. (shrink)

Wollstonecraft's early works express a coherent view of moral psychology, moral education and moral philosophy which guides the construction of her early fiction and educational works. It includes a valuable account of the relation between reason and feeling in moral development. Failure to recognize the complexity and coherence of the view and unhistorical readings have led to mistaken criticisms of Wollstonecraft's position. Part I answers these criticisms; Part II describes and textually supports her view.