Effects of Emerson's professional guidance as mentor, marketer, editor, and promoter for 8 young writers: Margaret Fuller, Henry Thoreau, Christopher Cranch, Samuel Gray Ward, Jones Very, Ellery Channing, Charles Newcomb, and Ellen Sturgis Hooper"--
Robinson discusses each of Emerson's major later works noting their increasing orientation to a philosophy of the 'conduct of life'. These books represent Emerson's attempt to forge a philosophy based on the centrality of domestic life, vocation and social relations and they reveal Emerson as an ethical philosopher who stressed the spiritual value of human relations, work and social action.
The long ignored philosophical content of Emerson's writings has recently emerged as a central topic in Emerson studies. In Emerson's Pragmatic Vision, David Jacobson enters the discussion, placing Emerson in a line of philosophers from Kant and Hegel to Heidegger and Derrida, and adding to our understanding of his philosophical appropriations and anticipations. In the process Jacobson shows how Emerson grappled not only with basic issues of philosophy but eventually with the value of philosophical discourse itself. Conceiving Emerson's writings as reflective of a continuous inquiry into the fundamental question that motivates philosophy and guides reason--the question of Being--Jacobson traces his movement through philosophical humanism and anti-humanism to his identification of a philosophy founded on a reconceptualization of individual practice. Emerson's Pragmatic Vision depicts not two Emersons but three. Between the early humanist confidence in self-reliance and the late embrace of fate, Jacobson identifies a transitional period, enunciated in the stark lecture, "The Method of Nature" (1841), and typified by the pessimism and humanist nostalgia of "Experience." The doctrine of fate, Emerson's mature pragmatic philosophy, is presented as a response to this period in which is found Emerson's retrieval of a philosophical posture rooted in obedience to the eloquence of the practice of life.
This book is Stanley Cavells definitive expression on Emerson. Over the past thirty years, Cavell has demonstrated that he is the most emphatic and provocative philosophical critic of Emerson that America has yet known. The sustained effort of that labor is drawn together here for the first time into a single volume, which also contains two previously unpublished essays and an introduction by Cavell that reflects on this book and the history of its emergence. Students and scholars working in philosophy, literature, American studies, history, film studies, and political theory can now more easily access Cavells luminous and enduring work on Emerson. Such engagement should be further complemented by extensive indices and annotations. If we are still in doubt whether America has expressed itself philosophically, there is perhaps no better space for inquiry than reading Cavell reading Emerson.
This practical guide presents the cutting-edge work of the Trauma Center’s yoga therapy program, teaching all therapists how to incorporate it into their practices. When treating a client who has suffered from interpersonal trauma—whether chronic childhood abuse or domestic violence, for example—talk therapy isn’t always the most effective course. For these individuals, the trauma and its effects are so entrenched, so complex, that reducing their experience to a set of symptoms or suggesting a change in cognitive frame or behavioral pattern ignores a very basic but critical player: the body. In cases of complex trauma, mental health professionals largely agree that the body itself contains and manifests much of the suffering—self hatred, shame, and fear. Take, for example, a woman who experienced years of childhood sexual abuse and, though very successful in her professional life, has periods of not being able to feel her limbs, sensing an overall disconnection from her very physical being. Reorienting clients to their bodies and building their “body sense” can be the very key to unlocking their pain and building a path toward healing. Based on research studies conducted at the renowned Trauma Center in Brookline, Massachusetts, this book presents the successful intervention known as Trauma-Sensitive Yoga (TSY), an evidence-based program for traumatized clients that helps them to reconnect to their bodies in a safe, deliberate way. Synthesized here and presented in a concise, reader-friendly format, all clinicians, regardless of their background or familiarity with yoga, can understand and use these simple techniques as a way to help their clients achieve deeper, more lasting recovery. Unlike traditional, mat-based yoga, TSY can be practiced without one, in a therapist’s chair or on a couch. Emphasis is always placed on the internal experience of the client him- or herself, not on achieving the proper form or pleasing the therapist. As Emerson carefully explains, the therapist guides the client to become accustomed to feeling something in the body—feet on the ground or a muscle contracting—in the present moment, choosing what to do about it in real time, and taking effective action. In this way, everything about the practice is optional, safe, and gentle, geared to helping clients to befriend their bodies. With over 30 photographs depicting the suggested yoga forms and a final chapter that presents a portfolio of step-by-step yoga practices to use with your clients, this practical book makes yoga therapy for trauma survivors accessible to all clinicians. As an adjunct to your current treatment approach or a much-needed tool to break through to your traumatized clients, Trauma-Sensitive Yoga in Therapy will empower you and your clients on the path to healing.
Excursions Henry David Thoreau - Excursions is an 1863 anthology of several essays by American transcendentalist Henry David Thoreau. The anthology contains an introduction entitled "Biographical Sketch" in which fellow transcendentalist Ralph Waldo Emerson provides a description of Thoreau.
The Conway area has long held an important place in the history of New Hampshire. The earliest settlers found land both fertile and beautiful, and lived a basic existence amidst the hills and dales of the Mount Washington Valley. The outstanding natural beauty of the Conway area also captured the hearts and minds of the creative community, and when artists of the White Mountain School began to share their paintings of the breathtaking panoramas around them, a tourism industry was born that has played a great part in shaping the history of the Conways. The simplicity of this picture was broken in the late nineteenth century when the lumber and granite trades lured woodsmen and quarrymen from the vast pool of immigrants arriving from Europe. With these changes, life in and around the Conways became rich and diverse, with the subtle political interplay among the seven communities playing an important part in the vibrancy of the region.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This book provides an original account of Emerson's creative debts to the British and European Romantics, including Coleridge and Carlyle, firmly locating them in his New England context. Moreover this book analyses and explains the way that his thought shapes his unique prose style in which idea and word become united in an epistemology of form.
We live in an era defined by a sense of separation, even in the midst of networked connectivity. As cultural climates sour and divisive political structures spread, we are left wondering about our ties to each other. Consequently, there is no better time than now to reconsider ideas of unity. In The Ethics of Oneness, Jeremy David Engels reads the Bhagavad Gita alongside the works of American thinkers Ralph Waldo Emerson and Walt Whitman. Drawing on this rich combination of traditions, Engels presents the notion that individuals are fundamentally interconnected in their shared divinity. In other words, everything is one. If the lessons of oneness are taken to heart, particularly as they were expressed and celebrated by Whitman, and the ethical challenges of oneness considered seriously, Engels thinks it is possible to counter the pervasive and problematic American ideals of hierarchy, exclusion, violence, and domination.
The award-winning Beneath the American Renaissance is a classic work on American literature. It immeasurably broadens our knowledge of our most important literary period, as first identified by F.O. Matthiessen's American Renaissance. With its combination of sharp critical insight, engaging observation, and narrative drive, it represents the kind of masterful cultural history for which David Reynolds is known. Here the major works of Emerson, Thoreau, Whitman, Poe, Hawthorne, Melville, and Dickinson receive striking, original readings set against the rich backdrop of contemporary popular writing. Now back in print, the volume includes a new foreword by historian Sean Wilentz that reveals the book's impact and influence. A magisterial work of criticism and cultural history, Beneath the American Renaissance will fascinate anyone interested in the genesis of America's most significant literary epoch and the iconic figures who defined it.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This book is Stanley Cavells definitive expression on Emerson. Over the past thirty years, Cavell has demonstrated that he is the most emphatic and provocative philosophical critic of Emerson that America has yet known. The sustained effort of that labor is drawn together here for the first time into a single volume, which also contains two previously unpublished essays and an introduction by Cavell that reflects on this book and the history of its emergence. Students and scholars working in philosophy, literature, American studies, history, film studies, and political theory can now more easily access Cavells luminous and enduring work on Emerson. Such engagement should be further complemented by extensive indices and annotations. If we are still in doubt whether America has expressed itself philosophically, there is perhaps no better space for inquiry than reading Cavell reading Emerson.
Metaphors are ubiquitous and yet-or, for that very reason-go largely unseen. We are all variously susceptible to a blindness or blurry vision of metaphors; yet even when they are seen clearly, we are left to situate the ambiguities, conflations and contradictions they regularly present-logically, aesthetically and morally. David LaRocca's book serves as a set of 'reminders' of certain features of the natural history of our language-especially the tropes that permeate and define it. As part of his investigation, LaRocca turns to Ralph Waldo Emerson's only book on a single topic, English Traits (1856), which teems with genealogical and generative metaphors-blood, birth, plants, parents, family, names and race. In the first book-length study of English Traits in over half a century, LaRocca considers the presence of metaphors in Emerson's fertile text-a unique work in his expansive corpus, and one that is regularly overlooked. As metaphors are encountered in Emerson's book, and drawn from a long history of usage in work by others, a reader may realize (or remember) what is inherent and encoded in our language, but rarely seen: how metaphors circulate in speech and through texts to become the lifeblood of thought.
In this exciting new book, David Michael Hertz demonstrates how three major artists - Frank Lloyd Wright, Wallace Stevens, and Charles Ives - were influenced by Emerson's nineteenth-century transcendentalism. By focusing on the relative statements of the artists themselves, Hertz shows that Emerson's belief that all things are in flux, including matter and spirit, had direct bearing on the form and content of their works. Hertz writes the book as a meditation on the condition of the artist in America, including biographical and historical information as well as his own interpretations of the three artists' works. In Part 1 he examines the emerging creative mind of the architect, poet, and composer, citing Emerson as the central figure who, through his essays, influenced each of them. By tracing their development as powerful and original thinkers, Hertz examines the processes that enabled them to become unique. In Part 2 he connects Emerson, Wright, Stevens, and Ives through a shared ideology, evident both in their critical statements and in their creative work. He shows how all three artists had specific documented knowledge of Emerson's major works. Their pragmatism, their preoccupation with the primacy of the senses, their predilection for analogy and loose metaphor, their dedication to individuality and self-reliance, and their eclecticism and conception of originality were shared traits and beliefs gleaned from Emerson. Hertz is the first writer to bring these four major American figures together in a single work. He makes it clear that Emersonianism reaches far into twentieth-century American culture and into the realms of art and music as well as literature. This book willinterest not only Emerson, Wright, Stevens, and Ives scholars but other individuals involved in the arts, the humanities, and interdisciplinary studies as well.
Robinson tells the story of a mind at work, focusing on Thoreau's idea of "natural life" as both a subject of study and a model for personal growth and ethical purpose. "The best, most thoughtful, most carefully worked out account of Thoreau's major ideas."--Robert D. Richardson, Jr., author of "Emerson: The Mind on Fire
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