An important thinker who contributed to eighteenth-century debates in epistemology, metaphysics, and ethics, Catharine Trotter Cockburn pursued the life of a dramatist and essayist, despite the prevailing social, cultural, and moral prescriptions of her day. Cockburn’s philosophical writings were polemical pieces in defence of such philosophers as John Locke and Samuel Clarke, in which she grappled with the moral and theological questions that concerned them and produced her own unique answers to those questions. Her works are interesting (...) both for their approach to philosophical issues that continue to be debated today and for the way that they inform our understanding of the early-modern period. (shrink)

The early modern Catharine Cockburn wrote on a wide range of philosophical issues and recent years have seen an increasing interest in her work. This paper explores her thesis that immaterial substance need not think. Drawing on existing scholarship, I explore the origin of this thesis in Cockburn and show how she applies it in a novel way to space. This thesis provides a particularly useful entry point into Cockburn's philosophy, as it emphasises the importance of (...) her metaphysics and connects with many of her further philosophical views. This paper shows that it is rewarding to consider Cockburn's philosophical views as a holistic system. (shrink)

John Locke's account of personal identity is one of his most discussed theories. Opposing the Cartesian ontology of mind, Locke argued that the soul does not always think - for thinking is simply one of its operations, but not its essence -, and that personal identity consists in consciousness alone. Against Locke, an anonymous commentator published the Remarks upon an Essay concerning Humane Understanding charging Locke's view with possible immorality. Catharine Cockburn rebuffed the Remarker's objections, in her Defence (...) of Mr. Locke's Essay, depicting his view as more dangerous for morality than Locke's. This paper shifts the focus from Cockburn's defence of Locke's moral thought, to her apology for his theory of personal identity, including his probabilistic arguments in favour of the immortality of the soul. This shift of focus yields an alternative account of Cockburn's originality: first, because she offered a non-substance interpretation of Locke's theory of personal identity, that, for its time, was unusual, and remains relevant for contemporary philosophical debates over Locke; and second, because, following Kristeller, in the very act of defending and articulating anew Locke's theory, Cockburn in some sense appropriated it. (shrink)

This essay examines Catharine Cockburn's moral philosophy as it is developed in her Defence of Mr. Locke's Essay on Human Understanding. In this work, Cockburn argues that Locke's epistemological principles provide a foundation for the knowledge of natural law. Sheridan suggests that Cockburn's objective in defending Locke's moral epistemology was conditioned by her own prior commitment to a significantly un-Lockean theory of morality. In exploring Cockbum's views on morality in terms of their divergence from Locke's, the (...) author hopes to underscore the extent of Cockburn's intellectual independence and her philosophical creativity. (shrink)

: This essay examines Catharine Cockburn's moral philosophy as it is developed in her Defence of Mr. Locke's Essay on Human Understanding. In this work, Cockburn argues that Locke's epistemological principles provide a foundation for the knowledge of natural law. Sheridan suggests that Cockburn's objective in defending Locke's moral epistemology was conditioned by her own prior commitment to a significantly un-Lockean theory of morality. In exploring Cockburn's views on morality in terms of their divergence from (...) Locke's, the author hopes to underscore the extent of Cockburn's intellectual independence and her philosophical creativity. (shrink)

This Element offers the first detailed study of Catharine Trotter Cockburn's philosophy and covers her contributions to philosophical debates in epistemology, metaphysics, moral philosophy, and philosophy of religion. It examines not only Cockburn's view that sensation and reflection are the sources of knowledge, but also how she draws attention to the limitations of human understanding and how she approaches metaphysical debates through this lens. In the area of moral philosophy, this Element argues that it is helpful to (...) take seriously Cockburn's distinction between questions concerning the metaphysical foundation of morality and questions concerning the practice of morality. Moreover, this Element examines Cockburn's religious views and considers her understanding of the relation between morality and religion and her religious views concerning the resurrection and the afterlife. (shrink)

In the wake of Locke’s Essay, empiricists faced the challenge of giving an empiricist account of the origins of moral knowledge. Locke did not rise to this challenge and relied on revelation as the source of moral knowledge. Other empiricists, including Hume and Hutcheson, opted for either emotivism or subjectivism. Clarke and others opted for rationalism and non-naturalism. In contrast, Catharine Cockburn’s meta-ethics combined Locke’s empiricism with naturalism. She held that moral good is natural good and that natural (...) good is known just as any other matters of natural fact are known: empirically. Cockburn’s position was unusual for its time, and the full originality and appeal of her meta-ethical position have not been fully appreciated. (shrink)

In her Remarks Upon Some Writers (1743), Catharine Trotter Cockburn takes a seemingly radical stance by asserting that it is possible for atheists to be virtuous. In this paper, I examine whether or not Cockburn’s views concerning atheism commit her to a naturalistic ethics and a so-called radical enlightenment position on the independence of morality and religion. First, I examine her response to William Warburton’s critique of Pierre Bayle’s arguments concerning the possibility of a society of virtuous (...) atheists. I argue that this response shows Cockburn vacillating between a moral naturalism, on the one hand, and a theistic morality, on the other. Second, I draw on Cockburn’s letters to her niece Ann Arbuthnot, and her opinions concerning mystical ideas about “the will of God” in north-east Scotland in the mid-eighteenth century. I maintain that these letters give us a fuller appreciation of Cockburn’s naturalistic position. My conclusion is that Cockburn’s ideas concerning atheism prompt us to consider the close interplay between secular and religious principles in so-called radical ideas of the period. (shrink)

Catharine Trotter Cockburn challenges voluntarist views held by British moral philosophers during the first half of the eighteenth century. After introducing her metaphysics of morality, namely, her account of human nature, and her account of moral motivation, which for her is a matter concerning the practice of morality, I analyze her arguments against theological voluntarism. I examine, first, how Cockburn rejects the view that God can by an arbitrary act of will change what is good or evil; (...) second, how she challenges views that understand the initial creation of the world solely in terms of divine will and draws attention to the role that the divine understanding plays in God’s creation; and third, how she argues that moral obligation does not require a superior lawmaker. I conclude by highlighting how Cockburn’s arguments not only challenge voluntarist views, but also offer support for her moral fitness theory. (shrink)

This paper examines Catharine Trotter Cockburn’s moral philosophy, focusing on her accounts of virtuous conduct, conscience, obligation, and moral character. I argue that Cockburn’s account of virtue has two interlocking parts: a view of what virtue requires of us, and a view of how we come to see this requirement as authoritative. I then argue that while the two parts are ultimately in tension with one another, the tension is instructive. I use Cockburn’s encounter with Shaftesbury’s (...) writings to help bring out this tension in her thought. I conclude that Cockburn’s work marks a bridge in modern moral philosophy from seventeenth-century natural law theory to the naturalism of the eighteenth century— that of Gay, Hume, and Bentham. (shrink)

Catharine Trotter Cockburn is best known for her Defence of Mr. Locke’s Essay of Human Understanding (1702). However very little has been said about Trotter’s treatment of Locke’s metaphysical commitments therein. In this paper I give a brief description of the history of Trotter’s Defence. Thereafter I focus on two (of the many) objections to which Trotter responds on Locke’s behalf: 1) the objection that Locke has not proved the soul immortal, and 2) the objection that Locke’s view (...) leads to the absurd consequence that our souls are in constant flux. I argue that Trotter offers a compelling response to both of these charges. This is not only because of what Trotter explicitly claims in the Defence, but also because the Defence invites and encourages the reader to return to Locke’s text. I then argue that in Trotter we find additional insights and clarifications once we move past the two objections I just mentioned, and on to the related topic of personal identity. In this short paper I am not be able to offer a full explication or evaluation of Trotter’s treatment of Locke’s metaphysical commitments. I am, however, able to show that this aspect of Trotter’s Defence warrants careful consideration and further study. (shrink)

Catharine Trotter Cockburn (1679- 1749) fu poetessa, drammaturga e filosofa. La vivacità intellettuale e la forte determinazione le permisero di aggirare il pregiudizio di genere e di sottrarsi alle dinamiche di marginalizzazione femminile tipiche dell’età moderna. Pur celandosi dietro l’anonimato, Cockburn prese parte attiva al dibattito filosofico del tempo, intervenendo soprattutto in materia di morale. Le sue opere filosofiche, scritte in difesa di Locke o di Clarke, custodiscono, nonostante il dichiarato intento apologetico, tratti di originalità e indipendenza, (...) particolarmente evidenti nella teoria dell’obbligo morale, nell’interpretazione modale della dottrina lockeana d’identità personale, nell’ipotesi di una natura ontologica dello spazio. (shrink)

Catharine Trotter Cockburn Catharine Trotter Cockburn was an active contributor to early modern philosophical discourse in England, especially regarding morality. Her philosophical production was primarily in defense of John Locke and Samuel Clarke. Nevertheless, her thinking was original and independent in many respects. Cockburn’s moral philosophy combines elements of Locke's epistemology with Clarke’s fitness … Continue reading Cockburn, Catharine Trotter →.

An important thinker who contributed to eighteenth-century debates in epistemology, metaphysics, and ethics, Catharine Trotter Cockburn pursued the life of a dramatist and essayist, despite the prevailing social, cultural, and moral prescriptions of her day. Cockburn’s philosophical writings were polemical pieces in defence of such philosophers as John Locke and Samuel Clarke, in which she grappled with the moral and theological questions that concerned them and produced her own unique answers to those questions. Her works are interesting (...) both for their approach to philosophical issues that continue to be debated today and for the way that they inform our understanding of the early-modern period. (shrink)

ABSTRACTTwo footnotes added to the version of Catharine Cockburn’s Defence of the Essay Of Human Understanding reprinted in her Works have led to various accusations, including that s...

This essay contrasts Damaris Masham and Catharine Trotter Cockburn’s respective moral philosophies. It argues that their views are both remarkably innovative, yet strikingly similar. By focusing on Masham and Cockburn’s accounts of agency and virtue, it is demonstrated that both thinkers take human nature as a sort of guide to moral behavior – i.e., it shows that the moral agent operates under the perception of moral principles as arising from human nature. While both thinkers are known to (...) have been directly influenced by John Locke, it is also argued that both of their moral philosophies bear significant dissimilarities to Lockean morality. (shrink)

Catharine Trotter Cockburn’s metaphysics dissolves the necessary relationship between immateriality, immortality and thought. While in her youth this leads her to admit the possibility of thinking matter, in her mature work, it allows her to conceive space as non-thinking immaterial substance that links non-thinking material substance and thinking immaterial substance. To ground this conception of space, she draws on the thesis of the great chain of being. However, the possibility of thinking matter is not consistent with the hierarchy (...) of beings, because within this frame matter occupies the lowest place. My aim is to evaluate whether there is any alternative within Trotter's philosophy to solve this contradiction. -/- La metafísica de Catharine Trotter Cockburn disuelve la relación necesaria entre inmaterialidad, inmortalidad y pensamiento. Mientras que en su juventud esto la lleva a admitir la posibilidad de la materia pensante, en su madurez le permite concebir al espacio como sustancia inmaterial no pensante que oficia como eslabón entre la sustancia material no pensante y la sustancia inmaterial pensante. Para ello, apela también a la tesis de la gran cadena del ser. Sin embargo, la posibilidad de la materia pensante no es consistente con la tesis de la jerarquía de seres, porque en ella la materia ocupa el lugar más bajo. Me propongo estudiar si existe alguna alternativa dentro de la filosofía de Trotter que permita resolver esta contradicción. (shrink)

This paper explores the intellectual relationship between three eighteenth century women thinkers: Catharine Trotter Cockburn, and the Bluestockings Elizabeth Carter and Catherine Talbot. All three share a virtue-ethical approach according to which human happiness depends on the harmonization of our essentially rational and sociable natures. The affinity between the Bluestockings and Cockburn, I show, illuminates important new avenues for thinking about the Bluestockings as philosophers in their own right and for thinking about the feminist dimensions of (...) class='Hi'>Cockburn's morality. Further, their shared moral outlook sheds interesting light on the burgeoning feminism of the eighteenth century and the contributions of Cockburn and the Bluestockings to a new and growing discourse about women and their social and political role. (shrink)

Catharine Trotter Cockburn (1679–1749) was a versatile, learned lady, whose intellectual activity, both as a dramatist and as a philosopher, has been increasingly analysed by scholars in the last d...

This article examines the work of the seventeenth-century thinker Catharine Trotter Cockburn with an eye toward explication of her trenchant empiricism, and the foundations upon which it rested. It is argued that part of the originality of Cockburn's work has to do with her consistent line of thought with regard to evidence from the senses and the process of abstract conceptualization; in this she differed strongly from some of her contemporaries. The work of Martha Brandt Bolton and (...) Fidelis Morgan is cited, and there is an auxiliary argument to the effect that Cockburn is probably better known as a playwright than she is as a philosophical thinker. (shrink)

My chapter examines Isaac Watts’s and Catharine Trotter Cockburn’s views concerning the metaphysics of the mind and their underlying accounts of powers and substances. In Philosophical Essays on Various Subjects Watts criticizes Locke’s account of substances and argues for his own preferred account of substance. Watts argues that there is no need to postulate an unknown substratum, as Locke does. Instead, Watts searches for a better explanation of what substances are. His proposal is that bodily substance just is (...) solid extension and that mental substance is identical with the power of thinking. This means that Watts believes that some powers can be substances. I will show how Watts defends his account of substances against various objections. Cockburn was not satisfied by Watts’s account of substance and disagrees with Watts’s understanding of powers. She believes that Watts is too quick to draw metaphysical conclusions. Cockburn takes seriously the limitations of human understanding and emphasizes that humans are ignorant about many metaphysical truths. I end by assessing the strengths and weaknesses of Watts’s and Cockburn’s accounts of powers and substances. (shrink)

Although excluded from the standard account of the history of philosophy, Catharine Trotter Cockburn avoided the 17th-century bias against female intellectual skills and was an active contributor to the early modern philosophical discourse. In her Defence of Mr. Locke’s Essay, she defended Locke from several criticisms by Thomas Burnet. By analysing three of Burnet’s main arguments, such as the theory of natural conscience, his anti-voluntarism, and his belief in the immateriality of the soul, Trotter showed that he often (...) misinterpreted John Locke’s principles, especially those concerning his moral epistemology. Moreover, beyond her apologetic aim, she also presented her own moral philosophy, arguing that the true ground of morality is the rational and social nature of human beings. Although Trotter was clearly inspired by John Locke, her Defence was not simply a vindication, and she was not his mere handmaiden, for her thought was original and independent in many respects. (shrink)

The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...) to serve. (shrink)

The aim of this book is to provide a unified solution to a wide range of philosophical problems raised by fiction. While some of these problems have been the focus of extensive philosophical debate, others have received insufficient attention. In particular, the epistemology of fiction has not yet attracted the philosophical scrutiny it warrants. There has been considerable discussion of what determines the contents of works of fiction, but there have been few attempts to explain how audiences identify their contents, (...) or to identify the norms governing the correct understanding and interpretation of works of fiction. -/- This book answers a wide range of both metaphysical and epistemological questions concerning fiction in a way that clarifies the relations between them. The metaphysical questions include: What distinguishes works of fiction from works of non-fiction?; What is the nature of fictive utterances?; What determines the contents of works of fiction?; What kinds of fictive content are there?; How broad in scope is fictive content?; and What kinds of things are fictional entities? The epistemological questions include: How do audiences identify the contents of authors’ fictive utterances?; How does understanding a work of fiction differ from interpreting it?; and What role does thinking and talking about fiction from an external perspective play in enabling communication through fiction? It develops the first single theory that provides answers to all these questions. (shrink)

It is generally recognised that an adequate resemblance-based account of depiction must specify some standard of correctness which explains how a picture’s content differs from the content we would attribute to it purely on the basis of resemblance. For example, an adequate standard should explain why stick figure drawings do not depict emaciated beings with gargantuan heads. Most attempts to specify a standard of correctness appeal to the intentions of the picture’s maker. However, I argue that the most detailed such (...) attempt to date is incomplete. I argue that an adequate standard can be given only if one construes a picture’s content as being pictorially implicated, in a way analogous to that in which Grice explains an utterance’s meaning as being conversationally implicated. I propose a theory of pictorial implicature and use it as the basis for an intention-based standard of correctness. I show how this standard is able to explain both the ways in which the content of pictures differs from the content we would attribute to them solely on the basis of resemblance, and how we are able to apply an intention-based standard of correctness even though we lack any independent knowledge of the intentions of pictures’ makers. (shrink)

Depiction is the form of representation distinctive of figurative paintings, drawings, and photographs. Accounts of depiction attempt to specify the relation something must bear to an object in order to depict it. Resemblance accounts hold that the notion of resemblance is necessary to the specification of this relation. Several difficulties with such analyses have led many philosophers to reject the possibility of an adequate resemblance account of depiction. This essay outlines these difficulties and argues that current resemblance accounts succumb to (...) them. It then develops an alternative resemblance account, drawing on Grice's account of nonnatural meaning and its role in determining sentence meaning to argue that something depicts an object if it bears intention-based resemblances to the object that jointly capture its overall appearance. In addition to solving the metaphysical problem of what it is for something to depict an object, this account also sheds significant light on the epistemological issue of how we are able to work out that something depicts an object. This essay argues that our ability to work out that something depicts an object results from both our more general ability to identify intentions from the products of communicative behavior and our knowledge of stylistic conventions. This account avoids the difficulties that face rival attempts to analyze depiction in terms of resemblance. It also clarifies and explains the features that distinguish depictive from nondepictive representation. (shrink)

‘Only of a living human being and what resembles a living human being can one say: it has sensations; it sees; is blind; hears, is deaf; is conscious or unconscious’. 1 ‘The human body is the best picture of the human soul’. Anyone who believes that Wittgenstein's remarks here embody important truths has quite a bit of explaining to do. What needs to be explained is why it is that enormous numbers of people, people who have never had the chance (...) to be corrupted by reading Descartes or Dennett, are willing, with only the slightest prompting, to speak in ways which appear to conflict dramatically with Wittgenstein's thought. Many people appear to find no difficulty at all in the idea that we could ascribe thoughts, sensations, emotions and so on to things which in no way resemble or behave like a living human being—for example to disembodied ‘minds’ or ‘souls’ or disembodied brains floating in tanks. And with a little more pressing many will agree that it is never to the living human being that these states are, strictly speaking, correctly ascribed; but, rather, to one part of the living human being—the brain, for example. Now if this incredibly widespread tendency is the expression of confusion then we need an explanation of its existence. We need this partly because without it it will be difficult to undermine the tendency; and partly because we might expect that such a widespread tendency is a distortion of some truth. (shrink)

In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

There is a variety of epistemic roles to which photographs are better suited than non-photographic pictures. Photographs provide more compelling evidence of the existence of the scenes they depict than non-photographic pictures. They are also better sources of information about features of those scenes that are easily overlooked. This chapter examines several different attempts to explain the distinctive epistemic value of photographs, and argues that none is adequate. It then proposes an alternative explanation of their epistemic value. The chapter argues (...) that photographs play the epistemic roles they do because they are typically rich sources of depictively encoded information about the scenes they depict, and reliable depictive representations of those scenes. It then explains why photographs differ from non-photographic pictures in both respects. (shrink)

In this paper, I discuss the account of depiction proposed by Robert Hopkins in his book Picture, Image and Experience. I first briefly summarise Hopkins’s account, according to which we experience depictions as resembling their objects in respect of outline shape. I then ask whether Hopkins’s account can perform the explanatory tasks required of an adequate account of depiction. I argue that there are at least two reasons for which Hopkins’s account of depiction is inadequate. Firstly, the notion of outline (...) shape, as Hopkins presents it, is inconsistent. Moreover, I argue that, while a consistent construal of outline shape is possible, Hopkins’s account becomes indistinguishable from previous accounts of depiction under any such construal. Second, I argue that, however it is construed, the notion of outline shape is unable to explain one of the central features which Hopkins himself insists any successful account of depiction must explain. (shrink)

Many forms of printmaking involve drawing or painting onto a plate to produce a matrix and then producing prints from that matrix by mechanical processes. One might be skeptical about the artistic significance of such prints, on the basis that only the process of drawing or painting the matrix enables printmakers to exercise intentional control over the features of the resultant prints. This might lead one to think that such forms of printmaking lack artistic significance independent of drawing and painting. (...) I examine whether or not such skepticism is warranted and argue that it is not. Nevertheless, I identify limitations on the independent artistic significance of another form of printmaking, namely that which involves producing prints from multiple matrices. (shrink)

An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of addressing (...) particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)

In its treatment of capital punishment Amnesty International gives a central place to the suffering of the prisoner. Two quite distinct forms of suffering are relevant here. There is the psychological anguish of the person awaiting execution; and there is the physical suffering which may be involved in the execution itself. It is suggested that if we reflect clearly on this suffering we will conclude that the death penalty involves cruelty of a kind which makes it quite unacceptable. It is (...) to be condemned on the same ground as torture is to be condemned: on the ground, that is, that it involves the infliction of an unacceptable degree of suffering. (shrink)

Untangling the Surrogacy WebSurrogacy agreements represent unique legal questions that must be answered with great care. In Australia we had the recent “Baby Gammy” scandal that involved an international surrogacy agreement and claims of abandonment of a child with Down’s syndrome. This story served to reinforce concerns that surrogacy turns children into a commodity that can be put to one side if expectations are not met. Of course, surrogacy agreements do not always end in this manner and often the outcome (...) is positive. There are, however, underlying legal questions regarding the status of the child, with some children, born as the result of international surrogacy agreements, being practically stateless when the nation of the commissioning parents refuses to issue passports to allow the children to return “home” with their “parents.” Where the relationship is local, however, and there is clear legislation, the issues can be less problematic but can become complex where a party wishes .. (shrink)

This volume of specially written essays by leading philosophers offers to set the agenda for the philosophy of depiction.