This final volume of The Works of William James provides a full record of James's teaching career at Harvard from 1872-1907. It includes working notes for lectures in more than 20 courses. Because his teaching was closely involved with the development of his thought, this material adds a new dimension to our understanding of his philosophy.
The story of the “conflict thesis” between science and religion—the notion of perennial conflict or warfare between the two—is part of our modern self-understanding. As the story goes, John William Draper (1811–1882) and Andrew Dickson White (1832–1918) constructed dramatic narratives in the nineteenth century that cast religion as the relentless enemy of scientific progress. And yet, despite its resilience in popular culture, historians today have largely debunked the conflict thesis. Unravelling its origins, James Ungureanu argues that Draper and White actually hoped their narratives would preserve religious belief. For them, science was ultimately a scapegoat for a much larger and more important argument dating back to the Protestant Reformation, where one theological tradition was pitted against another—a more progressive, liberal, and diffusive Christianity against a more traditional, conservative, and orthodox Christianity. By the mid-nineteenth century, narratives of conflict between “science and religion” were largely deployed between contending theological schools of thought. However, these narratives were later appropriated by secularists, freethinkers, and atheists as weapons against all religion. By revisiting its origins, development, and popularization, Ungureanu ultimately reveals that the “conflict thesis” was just one of the many unintended consequences of the Protestant Reformation.
James Anthony Froude (1818-1894) was an English historian. He grew dissatisfied with the views of the High Church party, and came under the influence of Thomas Carlyle. Carlyle's influence on him is seen in his admiration for strong rulers and strong government, which led him to write as though tyranny and brutality were excusable, and also in his independent treatment of character. He mainly supported himself by writing, contributing to Fraser's Magazine and the Westminster Review. The most notable characteristic of his style is its graceful simplicity; it is never affected or laboured; his sentences are short and easy, and follow one another naturally. He condemned a scientific treatment of history, believing that its purpose was simply to record human actions and that it should be written as a drama. Froude's History is, if long, a well-balanced and orderly narrative. He also wrote Short Studies on Great Subjects (1867), Caesar: A Sketch (1879), English Seamen in the Sixteenth Century (1895), The Reign of Henry the Eighth (1908), Froudacity: West Indian Fables, Essays on Literature and History and The Reign of Mary Tudor.
James Anthony Froude (1818-1894) was an English historian. He grew dissatisfied with the views of the High Church party, and came under the influence of Thomas Carlyle. Carlyle's influence on him is seen in his admiration for strong rulers and strong government, which led him to write as though tyranny and brutality were excusable, and also in his independent treatment of character. He mainly supported himself by writing, contributing to Fraser's Magazine and the Westminster Review. The most notable characteristic of his style is its graceful simplicity; it is never affected or laboured; his sentences are short and easy, and follow one another naturally. He condemned a scientific treatment of history, believing that its purpose was simply to record human actions and that it should be written as a drama. Froude's History is, if long, a well-balanced and orderly narrative. He also wrote Short Studies on Great Subjects (1867), Caesar: A Sketch (1879), English Seamen in the Sixteenth Century (1895), The Reign of Henry the Eighth (1908), Froudacity: West Indian Fables, Essays on Literature and History and The Reign of Mary Tudor.
In the curious realm known as the Wasteland, positioned precariously between heaven and hell, the pendulum of good and evil oftentimes swings in unforeseen and unanticipated directions. It is in this oddity of mankinds own making that choices, with respect to choosing good over evil or vice versa, hold center stage. For there is surely unremitting evil in the world, but the real question remaining is whether or not there is the requisite quantity of good to overwhelm it. Contained herein are accounts from the Wasteland that address this simple conundrum.
James Anthony Froude (1818-1894) was an English historian. He grew dissatisfied with the views of the High Church party, and came under the influence of Thomas Carlyle. Carlyle's influence on him is seen in his admiration for strong rulers and strong government, which led him to write as though tyranny and brutality were excusable, and also in his independent treatment of character. He mainly supported himself by writing, contributing to Fraser's Magazine and the Westminster Review. The most notable characteristic of his style is its graceful simplicity; it is never affected or laboured; his sentences are short and easy, and follow one another naturally. He condemned a scientific treatment of history, believing that its purpose was simply to record human actions and that it should be written as a drama. Froude's History is, if long, a well-balanced and orderly narrative. He also wrote Short Studies on Great Subjects (1867), Caesar: A Sketch (1879), English Seamen in the Sixteenth Century (1895), The Reign of Henry the Eighth (1908), Froudacity: West Indian Fables, Essays on Literature and History and The Reign of Mary Tudor.
James Anthony Froude (1818-1894) was an English historian. He grew dissatisfied with the views of the High Church party, and came under the influence of Thomas Carlyle. Carlyle's influence on him is seen in his admiration for strong rulers and strong government, which led him to write as though tyranny and brutality were excusable, and also in his independent treatment of character. He mainly supported himself by writing, contributing to Fraser's Magazine and the Westminster Review. The most notable characteristic of his style is its graceful simplicity; it is never affected or laboured; his sentences are short and easy, and follow one another naturally. He condemned a scientific treatment of history, believing that its purpose was simply to record human actions and that it should be written as a drama. Froude's History is, if long, a well-balanced and orderly narrative. He also wrote Short Studies on Great Subjects (1867), Caesar: A Sketch (1879), English Seamen in the Sixteenth Century (1895), The Reign of Henry the Eighth (1908), Froudacity: West Indian Fables, Essays on Literature and History and The Reign of Mary Tudor.
The origin of the Templars, their rise and growth, decline and fall and the fate of the last Grand Master.James Anthony Froude (1818-1894) was Late Regius Professor of Modern History in The University of Oxford. He was a renowned writer and historian, and a close friend and disciple of Thomas Carlyle. He was a controversial figure during his lifetime, and brought down upon himself the wrath of the high church; this did not stop the crowds from attending his lectures, as he was a compelling speaker. As a writer of English prose he has few equals in the nineteenth century.
The third volume of Leon Edel's superb edition of Henry James's letters finds the novelist settled in Europe and his expatriation complete. The letters of this time reflect the growth of James's literary and personal friendships and introduce the reader to the frescoed palazzos, Palladian villas, and great estates of the Roseberys, the Rothschilds, the Bostonian-Venetian Curtises, and the Florentine-American Boott circle. In all his travels, James closely observes the social scene and the dilemmas of the human beings within it. During this fruitful period he writes The Bostonians, The Princess Casamassima, The Tragic Muse, and some thirty-five of his finest international tales. Undermining his success, however, are a devastating series of disappointments. Financial insecurity, an almost paraniod defensiveness following the utter failure of his dramatic efforts, and the deaths of his sister, his friend Robert Louis Stevenson, and his ardent admirer Constance Fenimore Woolson all combine to take him to what he recognizes is the edge of an abyss of personal tragedy. And yet James endures, and throughtout these trials his letters reveal the flourish, the tongue-in-cheek humor, and the social insight that marked his genius. As Edel writes in his Introduction: "The grand style is there, the amusement at the vanities of this world, the insistence that the great ones of the earth lack the imagination he is called upon to supply, and then his boundless affection and empathy for those who have shown him warmth and feeling." In an appendix Mr. Edel presents four remarkable unpublished letters from Miss Woolson to James. These throw light on their ambiguous relationship and on James's feelings of guilt and shock after her suicide in Venice.
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