PHILOSOPHY · MISCELLANEA
Peter Cave
Peter Cave teaches philosophy The Open University and City University London, UK. He writes regularly for Philosophy Now and The Philosophers' Magazine and has made regular TV and radio appearances. In 2005 he presented a series of programmes on paradoxes on BBC Radio 4. His previous publications include Can a Robot Be Human? (One World, 2007). (Source: Continuum author presentation
I. By cause of itself I understand that whose essence involves existence, or that whose nature cannot be conceived unless existing.
— from Ethics
Most acclaimed
Ethics
The feminist movement has challenged many of the unstated assumptions on which ethics as a branch of philosophy has always rested - assumptions about human nature, moral agency, citizenship and kinship. The twenty-six readings in this book express the discontent of a succession of fiercely articulate women writers, from Mary Wollstonecraft to the present day, with the masculine bias of 'morality'. The editors have contributed an overall introduction, which discusses ethics, feminism and feminist themes in ethics, and have provided introductions to each of the readings, designed to situate in their historical and intellectual context. They have also compiled two lists for further reading: `Ethics: a Feminist Bibliography' and 'The Male Tradition'. Ethics: A Feminist Reader is an essential resource for students and teachers of philosophy, political theory and women's studies. For anyone with a stake in progressive sexual politics it is an inspirational guide. The volume contains essays by: Mary Wollstonecraft, Cicely Hamilton, Margaret Sanger, Betty Friedan, Christine Delphy, Andrea Dworkin, Rosalind Coward, Nickie Roberts, Emma Goldman, Virginia Woolf, Simone de Beauvoir, Audre Lorde June Jordan, Jacqueline Rose, Judith Williamson, Seyla Benhabib, Alexandra Kollontai, Adrienne Rich, Kate Soper, Catherine A. MacKinnon, Elizabeth Wilson, Susan F. Parrsons, Rosalind Pollack Petchesky, Sara Ruddick and Sheila Jeffreys.
House of Cards
"Renate Welsh's novel is a story about a woman's unsuccessful quest to build a home, to determine an identity. It is based on family documents of the author's great-great-grandfather, a representative in the Frankfurt consitutive Assembly and one of the leaders of the failed revolution of 1848 in Germany. He and his son eventually emigrated to the United States. The writings and correspondence of these two men appear in their original form in the novel, indicated by italics. The female protagonist, Pauline, is married to the son. There are no letters preserved from her, so the author lends Pauline a voice and attempts to correct an injustic done to this woman of the nineteenth century, the injustice of misunderstanding her, of forgetting her, or of never having taken note of her in the first place. Welsh rejects an omnipotent narrative perspective and instead engages in a conversaion with her protagonist. The two very different voices are layered one upon the other in the novel, and their juxtaposition creates a formal dialogic structure. Welsh situates the documentary materials within a fictional context. Thus fiction stands side by side with fact, subjective conjecture with objective statement. Pauline's story ends in insanity in 1855."--BOOK JACKET.