In this paper, I offer a new interpretation of Margaret Cavendish’s remarks on beauty. According to it, Cavendish takes beauty to be a real, response-independent quality of objects. In this sense, Cavendish is an aesthetic realist. This position, which remains constant throughout her philosophical writings, contrasts with the non-realist views that were soon after to dominate philosophical reflections on matters of taste in the early modern period. It also, I argue, contrasts with the realism of Cavendish’s contemporary, Henry More. While (...) there are passages in Cavendish’s work that might seem to count against my reading—specifically, passages on disagreement in aesthetic judgement, on the power of beauty to elicit the passions, and on our inability to specify the nature of beauty—I show that, when situated against the background of Cavendish’s broader metaphysical and epistemological views, those passages in fact support the realist interpretation. (shrink)

In this re-appraisal of Philosophy and the Physicists, I want to challenge C. D. Broad’s account of what Stebbing accomplishes and show that, alongside a t...

In The Metaphysics of Margaret Cavendish and Anne Conway, Marcy P. Lascano holds up the metaphysical views of two early modern women philosophers alongside one another in order to demonstrate that...

Margaret Cavendish’s views about the nature of bodies and perception leave her with a potentially problematic implication: that light has no role in visual perception. For her, perception occurs through the self-motion of animate matter, not through a mechanical system that appeals to local motions and collisions of contiguous bodies. This means that motion is not transferred from external objects with light playing a mediating role; the matter of our eyes simply moves itself to copy the sensible qualities of external (...) bodies. However, Cavendish cannot ignore the simple empirical fact that we appear to have visual perceptions in the presence of light but not in the presence of darkness. Light must play some role. I argue that light for Cavendish plays an intermediary role but does not transfer motions as the mechanical model suggests. Rather, light behaves like our eyes by moving itself to form copies of external objects. Our eyes then see these copies. For Cavendish, we are directly acquainted with a “veil of light” rather than the objects themselves. (shrink)

In Matter and Memory, Bergson identifies a problem with perception and resolves it by arguing that matter is an aggregate of images. However, it is unclear whether and how Bergson justifies this thesis, and interpreters differ considerably on this question. This paper formulates and analyzes Bergson’s arguments for this thesis in Chapter 1 of Matter and Memory. Bergson presents five arguments, some of which echo arguments in early modern philosophy. They jointly compose a substantive, well-structured defense of his thesis. This (...) paper also illuminates an aspect of Bergson’s method that departs from his famous reliance on intuition and is grounded in his conception of the clarity required in philosophy. (shrink)