This book contains the story based upon true events in the earlier years of my life. I was a man who believed that the ultimate goal of life, is the pursuit of, and devotion to pleasure. I believed all men associated the ideas of power and sex, and is in constant competition with each other concerning the acquisition of women. Yet when these beliefs created struggles within myself, and my marriage, I sought to explore the darker side of human nature. It would cause me to cross paths with true corruption within the American Legal System, and set off a chain of events that would crush the hope and self worth of most human beings. Taken into a world where freedom doesnt exist, and violence has free reign, I sought to survive, and renew myself, and escape the terrible destiny I had placed upon myself.
Using the works of Nathaniel Hawthorne as a case study, John E. Alvis shows that a novelist can be a political philosopher. He demonstrates that much of Hawthorne's works are rooted in the American political tradition. Once we view his writings in connection with the principles expressed in the Declaration of Independence, we grasp that what Thomas Jefferson and John Adams had stated explicitly, Hawthorne's fiction conveys dramatically. With examples drawn from Hawthorne's shorter works, as well as acknowledged classics, such as The Scarlet Letter, John E. Alvis shows that Hawthorne's characters bear something sacred in their generic humanity, yet are subject to moral judgment. He conveys reciprocity between obligations regulating individual relations and the responsibilities of individuals to their community.From America's founding proclamations in the Declaration of Independence we take a sense of national aspirations for a political order that conforms to laws of nature and nature's God. From this higher law emerge the principles enumerated in that revolutionary document. Are these principles confined to the political, or do they reach into the experience of citizens to inform conduct? Do they include family, local community, and individual face-to-face relations with neighbors and strangers? Can one make a distinct way of life by fidelity to such standards as higher law, equality, liberty, natural rights, and consent?This study is distinguished from other writings on Hawthorne in its largely positive focus on America. Alvis characterizes Hawthorne as a rational patriot who endorses America's new terms for human association. This fascinating study provides new insights into the mind of one of the greatest American writers.
John Hawthorne is widely regarded as one of the finest philosophers working today. He is perhaps best known for his contributions to metaphysics, and this volume collects his most notable papers in this field. Hawthorne offers original treatments of fundamental topics in philosophy, including identity, ontology, vagueness, and causation. Six of the essays appear here for the first time, and there is a valuable introduction to guide the reader through the selection.
A group of Utopians, unhappy with dissolute, mid-19th-century America, takes to the pastoral life; but the members find little satisfaction in the communal life. Instead of changing the world, they pursue self-centered paths that ultimately lead to tragedy. Absorbing 1852 novel about love, idealism, and politics bristles with Hawthorne's perceptive wit and intelligence.
This book considers the portrayal of the American national character in the writings of Nathaniel Hawthorne and Herman Melville. It examines Hawthorne's abiding concern with the development of New England from colony to province to republic, and analyses Melville's changing evocation of 'the new American', and the difficulties he faced in sustaining his heady nationalistic faith.
This book offers a sustained re-evaluation of the most central and perplexing themes of Leibniz's metaphysics. In contrast to traditional assessments that view the metaphysics in terms of its place among post-Cartesian theories of the world, Jan Cover and John O'Leary-Hawthorne examine the question of how the scholastic themes which were Leibniz's inheritance figure - and are refigured - in his mature account of substance and individuation. From this emerges a sometimes surprising assessment of Leibniz's views on modality, the Identity of Indiscernibles, form as an internal law, and the complete-concept doctrine. As a rigorous philosophical treatment of a still-influential mediary between scholastic and modern metaphysics, this study will be of interest to historians of philosophy and contemporary metaphysicians alike.
How do language and thought connect to things in the world? John Hawthorne and David Manley offer an original and ambitious treatment of the semantic phenomenon of reference and the cognitive phenomenon of singular thought, leading to a new unified account of definite and indefinite descriptions, names, and demonstratives.
How do Christian students approach their years at a Christian college or university? What are the connections between all those hours of study and the Christian life? A First Step into a Much Larger World invites students, parents, and educators into a broad conversation about faith and learning in a postmodern age. Students will explore how to respond to diversity while maintaining community, how to make learning sensible as an expression of faith, and how to move from passive recipients of education to active and engaged co-learners with others. In so doing, they can transform their undergraduate years into a springboard for engaging the culture beyond the university.
Renowned 19th-century author Nathaniel Hawthorne writes fully in his own time, not haunting his characters with the American past as in his more famous works THE HOUSE OF SEVEN GABLES and THE SCARLET LETTER. Published in 1852, THE BLITHEDALE ROMANCE remains a captivating work about politics, love, the supernatural, and idealism, written with Hawthorne's sharp wit and deep intelligence.
This work is organized around an epistemological puzzle: in many cases, we seem consistently inclined to deny that we know a certain class of propositions while crediting ourselves with knowledge of propositions that imply them. The text explores questions on the nature and importance of knowledge.
In general, a given object could have been different in certain respects. For example, the Great Pyramid could have been somewhat shorter or taller; the Mona Lisa could have had a somewhat different pattern of colours; an ordinary table could have been made of a somewhat different quantity of wood. But there seem to be limits. It would be odd to suppose that the Great Pyramid could have been thimble-sized; that the Mona Lisa could have had the pattern of colours that actually characterizes The Scream; or that the table could have been made of the very quantity of wood that in fact made some other table. However, there are puzzling arguments that purport to show that so long as an object is capable of being somewhat different in some respect, it is capable of being radically different in that respect. These arguments rely on two tempting thoughts: first, that an object's capacity for moderate variation is a non-contingent matter, and second, that what is possibly possible is simply possible. The Bounds of Possibility systematically investigates competing strategies for resolving these puzzles, and defends one of them. Along the way it engages with foundational questions about the metaphysics of modality.
Intervisionary Network explores a range of literary connections to reveal that Herman Melville was dependent on Honoré de Balzac's universal vision in more of his prose writing than previously recognized.
An exploration of Nathaniel Hawthorne’s narrative technique and unique vision of the world The Style of Hawthorne’s Gaze is an unusual and insightful work that employs a combination of critical strategies drawn from art history, philosophy, psychoanalysis, and contemporary aesthetic and literary theory to explore Nathaniel Hawthorne’s narrative technique and his unique vision of the world. Dolis studies Hawthorne’s anti-technological and essentially Romantic view of the external world and examines the recurring phenomena of lighting, motion, aspectivity, fragmentation, and imagination as they relate to his descriptive techniques. Dolis sets the world of Hawthorne’s work over and against the aesthetic and philosophical development of the world understood as a “view”, from its inception in the camera obscura and perspective in general, to its 19th-century articulation in photography. In light of this general technology of the image, and drawing upon a wide range of contemporary critical theories, Dolis begins his study of Hawthorne at the level of description, where the world of the work first arises in the reader’s consciousness. Dolis shows how the work of Heidegger, Merleau-Ponty, Freud, Lacan, and Derrida can provide fresh insights into the sophisticated style of Hawthorne’s perception of and system for representing reality.
Relativism has dominated many intellectual circles, past and present, but the twentieth century saw it banished to the fringes of mainstream analytic philosophy. Of late, however, it is making something of a comeback within that loosely configured tradition, a comeback that attempts to capitalize on some important ideas in foundational semantics. Relativism and Monadic Truth aims not merely to combat analytic relativism but also to combat the foundational ideas in semantics that led to its revival. Doing so requires a proper understanding of the significance of possible worlds semantics, an examination of the relation between truth and the flow of time, an account of putatively relevant data from attitude and speech act reporting, and a careful treatment of various operators. Throughout, Herman Cappelen and John Hawthorne contrast relativism with a view according to which the contents of thought and talk are propositions that instantiate the fundamental monadic properties of truth simpliciter and falsity simpliciter. Such propositions, they argue, are the semantic values of sentences (relative to context), the objects of illocutionary acts, and, unsurprisingly, the objects of propositional attitudes.
For as long as the United States owed its prosperity to a New World plantation complex, from colonial settlement until well into the twentieth century, the toxic practices associated with its permutations stimulated imaginary solutions to the contradiction with the nation’s enlightenment ideals and republican ideology. Ideals of liberty, democracy, and individualism could not be separated from a history of forcible coercion, oligarchic power, and state-protected economic opportunism. While recent historical scholarship about the relation of capitalism to slavery explores the depths at which U.S. ascension was indebted to global plantation slave economies, John T. Matthews probes how exemplary works of literature represented the determination to deny the open secret of a national atrocity. Difficult truths were hidden in plain sight, allowing beholders at once to recognize and disavow knowledge they would not act on. What were the habits of mind that enabled free Americans to acknowledge what was intolerable yet act as if they did not? In what ways did non-slave-owning Americans imagine a relation to slavery that both admitted its iniquity and accepted its benefits? How did the reconfiguration of the plantation system after the Civil War elicit new literary forms for dealing with its perpetuation of racial injustice, expropriation of labor, and exploitation for profit of the land? Hidden in Plain Sight examines signal nineteenth-century works by Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, and Joel Chandler Harris to show how writers portrayed a nation founded on the unseen seen of slavery’s capitalism.
Using the works of Nathaniel Hawthorne as a case study, John E. Alvis shows that a novelist can be a political philosopher. He demonstrates that much of Hawthorne's works are rooted in the American political tradition. Once we view his writings in connection with the principles expressed in the Declaration of Independence, we grasp that what Thomas Jefferson and John Adams had stated explicitly, Hawthorne's fiction conveys dramatically. With examples drawn from Hawthorne's shorter works, as well as acknowledged classics, such as The Scarlet Letter, John E. Alvis shows that Hawthorne's characters bear something sacred in their generic humanity, yet are subject to moral judgment. He conveys reciprocity between obligations regulating individual relations and the responsibilities of individuals to their community.From America's founding proclamations in the Declaration of Independence we take a sense of national aspirations for a political order that conforms to laws of nature and nature's God. From this higher law emerge the principles enumerated in that revolutionary document. Are these principles confined to the political, or do they reach into the experience of citizens to inform conduct? Do they include family, local community, and individual face-to-face relations with neighbors and strangers? Can one make a distinct way of life by fidelity to such standards as higher law, equality, liberty, natural rights, and consent?This study is distinguished from other writings on Hawthorne in its largely positive focus on America. Alvis characterizes Hawthorne as a rational patriot who endorses America's new terms for human association. This fascinating study provides new insights into the mind of one of the greatest American writers.
An exploration of Nathaniel Hawthorne’s narrative technique and unique vision of the world The Style of Hawthorne’s Gaze is an unusual and insightful work that employs a combination of critical strategies drawn from art history, philosophy, psychoanalysis, and contemporary aesthetic and literary theory to explore Nathaniel Hawthorne’s narrative technique and his unique vision of the world. Dolis studies Hawthorne’s anti-technological and essentially Romantic view of the external world and examines the recurring phenomena of lighting, motion, aspectivity, fragmentation, and imagination as they relate to his descriptive techniques. Dolis sets the world of Hawthorne’s work over and against the aesthetic and philosophical development of the world understood as a “view”, from its inception in the camera obscura and perspective in general, to its 19th-century articulation in photography. In light of this general technology of the image, and drawing upon a wide range of contemporary critical theories, Dolis begins his study of Hawthorne at the level of description, where the world of the work first arises in the reader’s consciousness. Dolis shows how the work of Heidegger, Merleau-Ponty, Freud, Lacan, and Derrida can provide fresh insights into the sophisticated style of Hawthorne’s perception of and system for representing reality.
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