 Twenty-first century studies have displayed new interest in the philosophical and theological underpinnings of Wollstonecraft’s work. Isabelle Bour (2019) has charted her engagement with competing epistemological models in the 1790s, while Sylvana Tomaselli (2016; 2019) asserts that Wollstonecraft engaged closely with the aesthetic theories of Immanuel Kant and Edmund Burke, as well as Plato’s theory of knowledge, Emily Dumler-Winckler (2019) argues that Wollstonecraft appropriated and sometimes subverted a set of conceptual tools from theology in order to make her arguments for women’s equality. Wollstonecraft’s complex relationship with the works of Jean-Jacques Rousseau has been investigated by Christopher Brooke (2019).