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Introduction: Cosmopolitanism as a Practicable Orientation

This issue of Women’s Writing was conceived and prepared during chilling debates about the proper order: what comes first, national concerns or a set of priorities with worldwide consequences? The most pointed articulation was the question bouncing across the Atlantic: should one strive to improve one’s own country or the planet that we share? It was and is a moment that speaks to proponents and opponents of cosmopolitanism, for the very notion of order is at the root of cosmopolitanism. Cosmos, in classical Greek, before signifying the world, signifies order, and because order implies beauty, cosmos also stands for adornment. It means both a moral and aesthetic evaluation. Aesthetically, it can be translated as “fitting order”, whereas the moral aspect implies good order, decent behavior, for example, employed by Aeschulys in Agamemnon (458 BC). Homer used its opposite kata cosmos to convey the idea of bad, shameful order. The Greek word comprehended the physical world as “an orderly arrangement, a display of palpable things (and so it may be conceived as a whole universe only because of its aesthetic and moral fittingness)”. From the word go, cosmopolitanism combined two ordered spaces: the ordered cosmos and the ordered city in both senses, the aesthetically fitting order and the morally good order. As we learn from Diogenes Laertius, Diogenes of Sinope appears to be the first to subordinate the order of the polis to that of the cosmos, when he shed his allegiance to Athens and proclaimed to be a cosmopolitan, a citizen of the cosmos. Retrospectively, the attitude that negates obligations toward a human-made city in the name of a cosmos governed by natural laws is called Cynic cosmopolitanism. Greek Stoics and later Roman Stoics infused the Cynic tradition with more civic-mindedness, allotting to the polis rejected by the Cynics the status of an “imperfect analogue to