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)

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 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)

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)

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)

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)

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...

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 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)

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 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 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)

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)

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)

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)

This paper concerns the conditions under which realism is an artistic merit in perceptual narratives, and its consequences for the practice of non-traditional casting. Perceptual narratives are narrative representations that perceptually represent at least some of their contents, and include works of film, television, theatre and opera. On certain construals of the conditions under which realism is an artistic merit in such works, non-traditional casting, however morally merited, is often artistically flawed. I defend an alternative view of the conditions under (...) which realism is an artistic merit in perceptual narratives. I identify the two forms of realism at issue in debates about the artistic merits of non-traditional casting, and identify the artistic norms that determine the conditions under which each constitutes an artistic merit. I argue that, independently of the relation between moral merits and artistic merits, non-traditional casting violates these norms less often than is sometimes assumed. Moreover, in certain circumstances, non-traditional casting affects realism in artistically meritorious ways. I conclude by considering the implications of my view for the practice of whitewashing. (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)

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)

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)

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)

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)

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

According to ontological nihilism there are, fundamentally, no individuals. Both natural languages and standard predicate logic, however, appear to be committed to a picture of the world as containing individual objects. This leads to what I call the \emph{expressibility challenge} for ontological nihilism: what language can the ontological nihilist use to express her account of how matters fundamentally stand? One promising suggestion is for the nihilist to use a form of \emph{predicate functorese}, a language developed by Quine. This proposal faces (...) a difficult objection, according to which any theory in predicate functorese will be a notational variant of the corresponding theory stated in standard predicate logic. Jason Turner (2011) has provided the most detailed and convincing version of this objection. In the present paper, I argue that Turner's case for the notational variance thesis relies on a faulty metasemantic principle and, consequently, that an objection long thought devastating is in fact misguided. (shrink)

In this paper, I discuss the influential view that depiction, like language, depends on arbitrary conventions. I argue that this view, however it is elaborated, is false. Any adequate account of depiction must be consistent with the distinctive features of depiction. One such feature is depictive generativity. I argue that, to be consistent with depictive generativity, conventionalism must hold that depiction depends on conventions for the depiction of basic properties of a picture’s object. I then argue that two considerations jointly (...) preclude depiction from being governed by such conventions. Firstly, conventions must be salient to those who employ them. Secondly, those parts of pictures that depict basic properties of objects are not salient to the makers and interpreters of pictures. (shrink)

This is the second of two collections of correspondence written by early modern English women philosophers. In this volume, Jacqueline Broad presents letters from three influential thinkers of the eighteenth century: Mary Astell, Elizabeth Thomas, and Catharine Trotter Cockburn. Broad provides introductory essays for each figure and explanatory annotations to clarify unfamiliar language, content, and historical context for the modern reader. Her selections make available many letters that have never been published before or that live scattered in various (...) archives, obscure manuscripts, and rare books. The discussions range in subject from moral theology and ethics to epistemology and metaphysics; they involve some well-known thinkers of the period, such as John Norris, George Hickes, Mary Chudleigh, John Locke, and Edmund Law. By centering epistolary correspondence, Broad's anthology works to reframe early modern philosophy, the foundation for so much of twentieth-century philosophy, as consisting of collaborative debates that women actively participated in and shaped. Together with its companion volume, Women Philosophers of Eighteenth-Century England: Selected Correspondence is an invaluable primary resource for students, scholars, and those undertaking further research in the history of women's contributions to the formation and development of early modern thought. (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)

In this paper, I develop a unified account of cinematic representation as primary depiction. On this account, cinematic representation is a distinctive form of depiction, unique in its capacity to depict temporal properties. I then explore the consequences of this account for the much-contested question of whether cinema is an independent representational art form. I show that it is, and that Scruton’s argument to the contrary relies on an erroneous conception of cinematic representation. CiteULike Connotea Del.icio.us What's this?

According to anti-individualism, the basic building blocks of the world are not individuals. The anti-individualist argues that standard, individual-entailing claims–for instance, that Theia is a cat–are mistaken in presupposing that there are individuals, but that such claims correspond to statements in a feature-placing language devoid of these presuppositions. Instead, the world is entirely made up of non-individualistic features–structurally akin to familiar examples such as it's raining or it's snowing–that are arranged in particular ways. Since features do not carve out individual (...) differences, however, this seems to entail that there is a class of statements in an individualistic language–statements expressing mere differences in which object is which–the members of which all correspond to the same anti-individualist description. That is, anti-individualism seems to entail anti-haecceitism, according to which all differences in ways the world could be supervene on qualitative differences. In this paper, I argue that, on the contrary, the anti-individualist has the resources to accommodate non-qualitative differences among ways the world could be. Moreover, haecceitistic anti-individualism does justice to the motivations for rejecting individuals while nevertheless accommodating intuitions that certain kinds of scenarios are metaphysically distinct. (shrink)