When down from the moon stepped the goddess of the night, she bid Minerva/Athene come to her. "Minerva/Athene," she said, "you sprang fully formed from the head of your father. Now all the daughters of mankind think they, too, are as rootless as you. Tonight I bid you dance, join the circle round 1 that tree glistening with the clarity of wisdom. Mother Natura and Lady Philosophia, hands together, already have begun the promenade of myth and allegory. " Still in the garb of gold and white stone, Minerva/ Athene did as she was bid and danced till dawn. Then in new light, she found herself suddenly a budding flower on a tall branch, and even more swiftly a crystalline fruit, rivaling the morning sun, refracting the light. Behold, she had grown roots, difficult to discover down in the dark of history, deep in the solid knowledge of earth. And the daughters of humankind saw and reveled in their roots. This is the story of this book, a history, long and diverse, of women thinkers and their thought. It will become a legacy for all who study it, a legacy that Heloi"se, Marie de Gournay, Sor Juana Ines de Ia Cruz, and Judith Sargent Murray among many women philosophers assured by composing lists of the names of women little acknowledged century after century. While the Hannah Arendt's, Susanne K.

What makes for a philosophical classic? Why do some philosophical works persist over time, while others do not? The philosophical canon and diversity are topics of major debate today. This stimulating volume contains ten new essays by accomplished philosophers writing passionately about works in the history of philosophy that they feel were unjustly neglected or ignored-and why they deserve greater attention. The essays cover lesser known works by famous thinkers as well as works that were once famous but now only faintly remembered. Works examined include Gorgias' Encomium of Helen, Jane Adams' Women and Public Housekeeping, W.E.B. DuBois' Whither Now and Why, Edith Stein's On the Problem of Empathy, Jonathan Bennett's Rationality, and more. While each chapter is an expression of engagement with an individual work, the volume as a whole, and Eric Schliesser's introduction specifically, address timely questions about the nature of philosophy, disciplinary contours, and the vagaries of canon formation.

"Examines the work of three nineteenth-century utilitarian feminist philosophers: Catharine Beecher, Frances Wright, and Anna Doyle Wheeler. Focuses on methodological questions in order to recover their philosophy and categorize it as feminist"--Provided by publisher.

In this major book, Griselda Pollock engages boldly in the culture wars over `what is the canon?` and `what difference can feminism make?` Do we simply reject the all-male line-up and satisfy our need for ideal egos with an all women litany of artistic heroines? Or is the question a chance to resist the phallocentric binary and allow the ambiguities and complexities of desire - subjectivity and sexuality - to shape the readings of art that constantly displace the present gender demarcations?

The swooning Victorian ladies and the 1950s housewives genuinely needed to be liberated. That much is indisputable. So, First-Wave feminists held rallies for women's suffrage. Second-Wave feminists marched for Prohibition, jobs, and abortion. Today, Third-Wave feminists stand firmly for nobody's quite sure what. But modern women--who use psychotherapeutic antidepressants at a rate never before seen in history--need liberating now more than ever. The truth is, feminists don't know what liberation is. They have led us into a very boring dead end. Eve in Exile sets aside all stereotypes of mid-century housewives, of China-doll femininity, of Victorians fainting, of women not allowed to think for themselves or talk to the men about anything interesting or important. It dismisses the pencil-skirted and stiletto-heeled executives of TV, the outspoken feminists freed from all that hinders them, the brave career women in charge of their own destinies. Once those fictionalized stereotypes are out of the way--whether they're things that make you gag or things you think look pretty fun--Christians can focus on real women. What did God make real women for?

Case studies that counter the idea of a transcendent art canon by demonstrating that the content of any and every canon is historically and culturally specific.