Margaret Macdonald was at the institutional heart of analytic philosophy in Britain in the mid-twentieth century. Yet, her views on the nature of philosophical theories diverge quite considerably from those of many of her contemporaries. In this paper, I focus on her 1953 article ‘Linguistic Philosophy and Perception’, a provocative paper in which Macdonald argues that the value of philosophical theories is more akin to that of poetry or art than science or mathematics. I do so for two reasons. First, (...) because it reveals just how far Macdonald’s meta- philosophical views diverged from those of many of her contemporaries. Second, because the discussion in LPP pre-empts recent literature on the nature of philosophical inquiry and the efficacy of philosophical arguments. Indeed, Macdonald’s paper is just as likely to provoke discussion today as it was in the 1950s. (shrink)

I chart the philosophical development of neglected figure Margaret Macdonald and situate that development in the context of mid-century analytic philosophy more broadly. I examine Macdonald’s changing attitude towards verificationism, and show that these changing views led her, in 1950 and beyond, to a very thorough appreciation of language use as capable of being employed in the execution of distinctive kinds of performative act. I compare Macdonald’s views with the far better known work of J. L. Austin, and I emphasise (...) the extent to which she has, despite her insightful contributions, been omitted from the history of philosophy. (shrink)

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)

I argue that Helen Knight and Margaret Macdonald expressed views on the nature of ‘good’ in aesthetic contexts which anticipate to a striking extent the dispute between Peter Geach and R. M. Hare over ethical uses of ‘good’ several years later. I show that Knight introduced a distinction between uses of adjectives later drawn also by Geach, and that she employed that distinction, as Geach did, in order to defend a descriptivist approach to ‘good’ according to which ‘good’ is not (...) ambiguous. I also show that Macdonald conceived of evaluative statements as commendatory, and that her conception of evaluative language therefore closely resembles the position which Hare would later advance. (shrink)