One of the most perceptive and ambidextrous social commentators of our day, Augustinian scholar Jean Bethke Elshtain furnishes in ever fresh ways through her writings a bridge between the ancient and the modern, between politics and ethics, between timeless moral wisdom and cultural sensitivity. To read Elshtain seriously is to take the study of culture as well as the "permanent things" seriously. But Elshtain is no mere moralist. Neither is she content solely to dwell in the domain of the theoretical. (...) For it is Elshtain the citizen - the creatively engaged and contributing citizen - whom the reader encounters on virtually every page of her writings. But reader beware: Elshtain does not shy away from controversy. At the same time, she is anything but a controversialist. In the essay that follows, several prominent themes that emerge from Elstain's writings - civic responsibility, justice, gender, and war - are considered afresh. Whether one agrees with her positions or not, one is forced to confess in the end that she cares deeply about the common good. And this alone makes her required reading for any engaged citizen of the republic. (shrink)

In early modern science, the struggle between feminine and masculine allegories of science was played out within fixed parameters. Whether science itself was to be considered masculine or feminine, there never was serious debate about the gender of nature, one the one hand, or of the scientist, on the other. From ancient to modern times, nature—the object of scientific study—has been conceived as unquestionably female.5 At the same time, it is abundantly clear that the practitioners of science, scientists, themselves, overwhelmingly (...) have been men.But what about science? What gender was it—as an activity and set of ideals—to have? In one tradition the answer was clear: science was a woman. This tradition, stretching back at least to Boethius’ sixth-century portrayal of Philosophy as a woman, was codified and explained in Cesare Ripa’s Iconologia, the Renaissance bible of iconography.6 In this work, Ripa portrayed each of the sciences as a woman. “Scientia”—knowledge or skill—was portrayed as a woman of serious demeanor, wearing stately robes . “Physica”—physical science—was a goddess with a terrestrial globe at her feet. Geometry was a woman holding a plumb line and compass. Astrology, too, was a woman, dressed in blue, with a crown of stars and wings signifying the elevation of her thoughts to the distant stars. With a compass in her right hand and the celestial sphere in her left, she studied the movement and symmetry of the skies. 5. See Carolyn Merchant, The Death of Nature: Women, Ecology, and the Scientific Revolution .6. Boethius describes female Philosophy as she appeared to him in a dream in his De consolatione philosophiae. See also Cesare Ripa, Iconologia , first illustrated in 1603. Londa Schiebinger is an assistant professor of history at Pennsylvania State University. Her book, “The Mind has no Sex”: Women in the Origins of Modern Science, will be published next spring. (shrink)