The Souls of Black Folk is Du Bois’s outstanding contribution to modern political theory. It is his still influential answer to the question, “What kind of politics should African Americans conduct to counter white supremacy?” Here, in a major addition to American studies and the first book-length philosophical treatment of Du Bois’s thought, Robert Gooding-Williams examines the conceptual foundations of Du Bois’s interpretation of black politics. For Du Bois, writing in a segregated America, a politics capable of countering Jim Crow (...) had to uplift the black masses while heeding the ethos of the black folk: it had to be a politics of modernizing “self-realization” that expressed a collective spiritual identity. Highlighting Du Bois’s adaptations of Gustav Schmoller’s social thought, the German debate over the Geisteswissenschaften, and William Wordsworth’s poetry, Gooding-Williams reconstructs Souls’ defense of this “politics of expressive self-realization,” and then examines it critically, bringing it into dialogue with the picture of African American politics that Frederick Douglass sketches in My Bondage and My Freedom. Through a novel reading of Douglass, Gooding-Williams characterizes the limitations of Du Bois’s thought and questions the authority it still exerts in ongoing debates about black leadership, black identity, and the black underclass. Coming to Bondage and then to these debates by looking backward and then forward from Souls, Gooding-Williams lets Souls serve him as a productive hermeneutical lens for exploring Afro-Modern political thought in America. (shrink)

In this selection of essays by the poet William Empson (1906-1984), which includes some previously unpublished work, he dwells on subjects as diverse as poetry, fiction, epic, language and rhyme; there are interpretations of Rochester, Wordsworth, Auden, Dylan Thomas, Joyce, Kafka and others; and essays on death and Buddhism.

The myths of Plato.--A great mystic: Plotinus.--Dante as a spiritual teacher.--Wordsworth: seer and patriot.--Browning's portraits of women.

In his Guide to the Lakes (1810, 1835), the English Romantic poet William Wordsworth used the word 'nature' in two senses. Sometimes it denoted a holistic ideal, in the manner of metaphysicians, and sometimes a concrete landscape of discrete things, in the manner of natural scientists. The Guide to the Lakes thus marks a watershed in Western philosophy of nature. Although chronologically the ideal preceded the concrete landscape, conceptually the concrete landscape precedes the ideal, much as in Nietzsche's 'fiction (...) of causation'. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Critical Essays on Samuel Taylor ColeridgeWilliam E. CainCritical Essays on Samuel Taylor Coleridge, edited by Leonard Orr; vi & 194 pp. New York: Twayne, 1994, $42.00.“Coleridge, as you doubtless hear, is gone,” wrote Thomas Carlyle, August 12, 1834, to Ralph Waldo Emerson: “How great a Possibility, how small a realized Result.” There is now a huge Coleridge industry in the academy, engaged in producing editions of his writings (...) and examinations of his literary career. Yet Carlyle’s judgment continues to carry weight with many nonspecialist readers, who know Coleridge only as Wordsworth’s estimable friend and as the author of a handful of superb lyrics and radiant critical speculations in the Biographia Literaria (1817). These texts are indeed rich and suggestive: readers wish that there were more like them and that Coleridge’s achievement had somehow been greater, more monumental, like Wordsworth’s. Coleridge’s “misfortune,” concluded Carlyle’s friend, John Sterling, in January 1842, “was to appear at a time when there was a man’s work to do—and he did it not.”But the wish that Coleridge had been more than he was is misplaced, in large measure for the reason that it neglects the vast amount of significant work that he did accomplish—not only in poetry and criticism, but in philosophy, political journalism, social theory, and other disciplines and areas of thought. Experts in Romanticism know this work (or, at least, know of it), yet it has not [End Page 151] been excerpted in anthologies, contextualized and explained for students, or brought forward for analysis, beyond the circle of avid Coleridgeans, to extend and complicate the commonplaces about this writer that still enjoy wide circulation.In this respect, Leonard Orr, editor of Critical Essays on Samuel Taylor Coleridge, perhaps has missed an opportunity. His collection is valuable as far as it goes; it reprints eight excellent essays along with two new ones, and Orr’s own concise, informed Introduction, with footnotes packed with bibliography, provides a lucid overview of Coleridge studies. But the focus is strangely limited, the conception of the writer’s career is dated and conventional, and the selection of essays is too restricted.One is grateful for this collection’s strengths even as one regrets its gaps and omissions. John Beer gives a good account of the Coleridge/Wordsworth relationship; Stuart Peterfreund nicely shows how “Coleridge’s failed political vision of European history” is redeemed “as part of his critical vision of the imagination”; James C. McKusick, Paul Magnuson, Andrew M. Cooper, James Engell, and Anne K. Mellor explore Coleridge’s poetry—though oddly there is no essay devoted primarily to “The Rime of the Ancient Mariner”; and Kathleen M. Wheeler, Lawrence Buell, and Jerome Christensen form a helpful unit of pieces on the Biographia Literaria. But readers will not find here anything more than brief mentions of, for example, Coleridge’s writings for The Watchman and The Friend, his striking interpretations of Shakespeare, Aids to Reflection, letters, notebooks, two Lay Sermons, and On the Constitution of the Church and State.This failure to supply broader, more innovative coverage is puzzling, given that the general aim of the series in which Orr’s book appears (Critical Essays on British Literature, gen. ed. Zack Bowen) is “to develop a new overall perspective on its particular subject.” Even more, Orr himself says in his Introduction that scholarship of the past two decades has prompted us to be “less likely to ignore the prose works beyond the Biographia” and has drawn attention to Coleridge’s marginalia and notebooks. Orr displays a sharp sense of the new Coleridge, yet has designed his book in a way that reflects the old one and that will tend for many readers simply to reinforce Carlyle’s adverse judgment.William E. CainWellesley CollegeCopyright © 1995 The Johns Hopkins University Press... (shrink)

In exploring Wordsworth's professionalization as a writer, the author's interpretations are coordinated by a single, albeit highly ramified, critical hypothesis: that Romanticism's aesthetic forms afforded the middle classes an imaginary furlough from the impinging consciousness of their tenuous socioeconomic status.

In this second edition of William Wordsworth: A Life, Stephen Gill draws on knowledge of the poet's creative practices and his reputation and influence in his life-time and beyond. Refusing to treat the poet's later years as of little interest, this biography presents a narrative of the whole of Wordsworth's long life--1770 to 1850--tracing the development from the adventurous youth who alone of the great Romantic poets saw life in revolutionary France to the old man who became Queen Victoria's (...) Poet Laureate. The various phases of Wordsworth's life are explored with a not uncritical sympathy; the narrative brings out the courage he and his wife and family were called upon to show as they crafted the life they wanted to lead. While the emphasis is on Wordsworth the writer, the personal relationships that nourished his creativity are fully treated, as are the historical circumstances that affected the production of his poetry. Wordsworth, it is widely believed, valued poetic spontaneity. He did, but he also took pains over every detail of the process of publication. The foundation of this second edition of the biography remains, as it was of the first, a conviction that Wordsworth's poetry, which has given pleasure and comfort to generations of readers in the past, will continue to do so in the years to come. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:William Wordsworth and the Hermeneutics of IncarnationEdwin SteinWilliam Wordsworth and the Hermeneutics of Incarnation, by David P. Haney; xiii & 269 pp. University Park: Pennsylvania State University Press, 1993, $35.00.To the English Romantic poets, David Haney notes, the world seemed to have died at the hands of Enlightenment rationalism by being made merely a referent of transpicuous representational sign-systems. One of their fundamental projects was to reanimate (...) it, and Wordsworth committed himself to an animating poetics, incarnational in concept. Haney quotes the Wordsworthian incarnational locus classicus, the third “Essay Upon Epitaphs”: “If words be not... an incarnation of the thought but only a clothing for it, then surely will they prove an ill gift;... Language, if it do not uphold, and feed,... is a counter-spirit unremittingly and noiselessly at work to derange, to subvert, to lay waste, to vitiate, and to dissolve” (p. 1). He conjoins Wordsworth’s statement in a note to “The Thorn” that words should seize us “not as symbols of the passion, but as things, active and efficient, which are themselves part of the passion” (p. 24). “Incarnational” is not further defined directly, though we are told that it characterizes a poetic practice, “a philosophically and theologically important concept embedded [in our cultural] heritage,” and a theoretical orientation that acts “against the very idea of a ‘theory’” (p. 4). Haney draws principally from Gadamer, Lévinas, Cavell, Geoffrey Hartman, and Charles Taylor to explore through philosophical argumentation the ways in which Wordsworth incorporated, elaborated, problematized, and even betrayed these aspects of the incarnational process in his work.One of Haney’s concerns is to show how reading through the lens of incarnational poetics helps us see that Wordsworth incorporated historicity rather than suppressing it, as he is often accused of doing these days. Another is to demonstrate that deconstructive analysis, new-historical critique, and the secularized-Protestantism approach of M. H. Abrams are each inadequate to account for the hermenuetics of this poetics, because it resists and finesses the drive to create the transparent representational structures on which these critics focus. In his incarnational mode, his poetic thought aims not at realizing allegorized abstract truth but at presenting kerygmatically what is instantiated by incarnation as event; thought becomes materially existent without being changed into something else. Incarnational poetics thus acts to counter the binary oppositions (presence/absence, body/spirit, divine/human, etc.) on which both Enlightenment and Romantic discourse relied (the latter reversing the values), and defeats the binarism-dependent drive toward pure self-consciousness that always gets entangled in solipsism and semiological webs. Incarnating thought opens it to the historical process in the sense of Gadamer’s wirkungsgeschichtliches Bewusstsein: incarnation is not embodiment or an “ideal effacement of the difference between word and referent, but rather a process of spirit becoming event”; and words thereby become “things and events... which must enter the realm of mortality” (p. 19). [End Page 138]Haney links this confrontation of mortality to both Cavell’s idea of skeptical acknowledgment of the mortal other replacing knowledge and Lévinas’ conception of a preontological “saying” that dialogically makes us responsible for the other but must die into the “said” to be understood. These connections allow him to enlarge brilliantly our understanding of The Prelude, Book 5, and the “Lucy poems.” Here words achieve visionary power not by a symbolic link to transcendence but “by allowing themselves to be interrupted by that which is absolutely other, and therefore ‘infinite’ in Levinas’ sense” (p. 87). Haney extends this and related insights in a chapter on the final books of The Prelude that shows, among other things, how its figural structures for the autobiographical self begin to break down and are replaced by tropological performatives. These lead away from a systematic code of representation but allow recuperation through the “dialogue” with Coleridge, a non-totalizing process of closure that by linking the autobiographical self to the extratextual self opens the poem to a “range of projective sympathies” (Charles Altieri, quoted in Haney, p. 137).Haney also explores how the incarnational hermeneutic works to close the widening gap between epistemology and ethics fostered by the Enlightenment’s commitment... (shrink)

RESUMEN La poesía de William Wordsworth pasaba por ser, entre muchos de sus comentaristas contemporáneos, una poesía pensante. Ya sea que se hablase de un sentido edificante de su poesía, de una perspectiva refrescante acerca de las cosas cotidianas o bien de un pensamiento filosófico, la poesía de Wordsworth siempre fue considerada como un notable esfuerzo por elevar el poema a una categoría ontológica. Dentro de este contexto, la imaginación cobra una gran importancia. Se analiza en qué sentido la (...) imaginación es el centro ontológico de la poesía de Wordsworth. ABSTRACT William Wordsworth's poetry was a thinking poetry, according to many of his contemporaries. Whether it was due to the edifying nature of his poetry, his refreshing approach to everyday things, or his philosophical thought, Wordsworth's poetry was always considered as a notable effort to elevate the poem to ontological category. In this context, imagination acquires great importance. The article analyzes the sense in which imagination is the ontological center of Wordsworth's poetry. RESUMO A poesia de William Wordsworth passava por ser, entre muitos de seus comentaristas contemporâneos, uma poesia pensante. Seja porque se falava de um sentido edificante de sua poesia, de uma perspectiva refrescante sobre as coisas cotidianas, seja porque se falava de um pensamento filosófico, a poesia de Wordsworth sempre foi considerada como um notável esforço por elevar o poema a uma categoria ontológica. Dentro desse contexto, a imaginação ganha uma grande importância. Analisa-se em que sentido a imaginação é o centro ontológico da poesia de Wordsworth. (shrink)

Numinous spaces in British literature from William Wordsworth to Samuel Beckett -- Jesus figures in American literature from Ralph Waldo Emerson to Edward Albee -- Using Bakhtin's definitions to discover ethical voices in Solzhenitsyn and Tolstoy -- René Girard's categories of scapegoats in literature of the American South -- Hopkins's metaphysics of nature as sacred disclosure -- The book of job as mirrored in Hopkins's metaphysics -- Beckett's mythos of the absence of God.

Originally published in 1980, this is a study of the 'romanticism' of Coleridge and Wordsworth. Their concern with creativity, and the conditions that helped or hindered their own artistic development, produced a new concept of mental growth - a 'modern' view of the mind as organic, active, and unifying. In particular, we see how their aesthetics evolved from a personal and intuitional need to reaffirm 'value' in their own lives. Their discovery of the fundamental ambiguity of such intuition is discussed (...) in relation to some ideas of Empson, Gombrich, and Ehrenzweig. As well as an essay in criticism, this is a contribution to the history of ideas, drawing together points in the background of philosophical and psychological theory from Hartley and Wesley to John Stuart Mill. Since many of our ideas about imagination, symbolism, and creativity are ultimately derived from Coleridge and Wordsworth, this is a book for students of romantic and modern literature. (shrink)

This lecture presents the text of the speech about English poet William Wordsworth and the druids delivered by the author at the 2008 Warton Lecture on English Poetry held at the British Academy. It provides an analysis of the beginning of Book III of The Excursion and explains the concepts of the Poet, the Wanderer, and the Solitary. The lecture suggests that Wordsworth's characters inhabit a common land until modernity takes it away from them, and that this dissolves the (...) natural regenerative seasonal cycle in which humans now find it so difficult to live and work. (shrink)

Modern scholarship has tended to separate literature and theology. Yet it is impossible to understand the ideas of such Victorian theologians as Hare and Maurice, Keble and Newman without reference to contemporary literary criticism - just as it is impossible to understand criticism of the period (and the sensibility it implies) isolated from its theology. This book is an attempt to reinterpret a whole theological tradition in the light of its members' views on language and poetry, and associated ideas of (...) imagination, myth and symbol. Dr Prickett argues that Coleridge and Wordsworth began a theological revolution by reintroducing to the Anglican Church a mode of thinking that had become submerged, or died out. "Their 'organic' aesthetics, with roots both in England and Germany, carried with them a theory of symbolism and of the unconscious, which, while originally derived from theology, provided an independent and parallel tradition to contemporary 'Paleyite' apologetic. From them Maurice, Keble and Newman were able to draw the conception of an 'idea' as living and creative, and of the Church itself as 'poetic'. (shrink)

This provocative book explores the difficulties surrounding the attempt to understand the relationship between literary and political discourse. It examines the initial formulation of these difficulties in Georgian Britain, and traces them through the cultural debates of the Victorian men of letters to the critical ideologies of the twentieth-century literary academy. Richard Bourke offers an incisive critique of the way in which the idea of Culture has been used as a means of resolving the failure to establish an adequate theory (...) of politics in the wake of the French Revolution. (shrink)

This essay takes as its point of departure Charles Taylor's contention, in Sources of the Self that literature — and in particular the poetry associated with what he calls'Romantic expressivism' — enables an articulation of constitutive goods that can figureas a viable alternative for the theistic support of our moral commitments. While Taylordeserves credit for his honest attempt to take literature philosophically seriously, his cavalier treatment of the actual texts he invokes to underpin his argument tends to thwart his enterprise. (...) By way of a preliminary, broadly deconstructive reading of a set of texts also used by Taylor , I argue that literary texts simultaneously invite and resist transcendentalising interpretations such as Taylor's. To the extent that literature allows for such interpretationsit is not an alternative for but a non-critical variation of theistic groundings; to the extent that it resists such framing it offers a singular intimation of a critical ethics that is strictly insupportable but not therefore irresponsible. (shrink)

This article frames the poetry of William Wordsworth and the philosophical writings of Spinoza as mutually illuminating works exploring the ethical and ontological questions raised by bodies in states of passivity and immobility. Both writers, it argues, revise our idea of what a “powerful” body might be by developing the concept of “dynamic passivity”—a passivity that does not stand in simple opposition to states of activity, and that ought to be cultivated rather than overcome in the process of empowering (...) the body. The article examines and contrasts the different ways in which Wordsworth and Spinoza conceive of this dynamic passivity, with particular attention paid to how the former embeds a cultivation of “wise passiveness” for the reader in the very form of his poems, through a variety of elements like syntax, metre, and acoustic effects. (shrink)

This article frames the poetry of William Wordsworth and the philosophical writings of Spinoza as mutually illuminating works exploring the ethical and ontological questions raised by bodies in states of passivity and immobility. Both writers, it argues, revise our idea of what a “powerful” body might be by developing the concept of “dynamic passivity”—a passivity that does not stand in simple opposition to states of activity, and that ought to be cultivated rather than overcome in the process of empowering (...) the body. The article examines and contrasts the different ways in which Wordsworth and Spinoza conceive of this dynamic passivity, with particular attention paid to how the former embeds a cultivation of “wise passiveness” for the reader in the very form of his poems, through a variety of elements like syntax, metre, and acoustic effects. (shrink)

The Aesthetic Commonplace is a study of the everyday as a region of overlooked value in the work of William Wordsworth, George Eliot, and Ludwig Wittgenstein. The Romantic poet, the realist novelist, and the modern philosopher are each separately associated with a commitment to the common, the ordinary, and the everyday as a vital resource for reflection on language, on feeling, on ethical insight, and social attunement. The Aesthetic Commonplace is the first study to draw substantive lines of connection (...) between Wittgenstein and the cultural and literary history of nineteenth century England. Tracing conceptual and formal affinities between the poet, the novelist, and the philosopher, the book brings to light significant links between the intellectual history of the nineteenth century and the early decades of the twentieth, making the case for a continuous cultural commitment to the aesthetic as a distinctive mode of investigating thought, feeling, and the everyday language upon which we depend for their articulation. Addressed to both literary studies and to philosophy, The Aesthetic Commonplace makes a compelling case for the interdependence of form, concept, and emotion in the history and interpretive practices of both disciplines. (shrink)

Ce compte rendu a déjà paru dans E-rea [En ligne], n° 6.1, 2008. F. Gaillet-de-Chezelles, Wordsworth et la marche : parcours poétique et esthétique, Grenoble, Ellug, 2007, 423 p. Spécialiste de la période romantique, et de William Wordsworth en particulier, Florence Gaillet-de-Chazelles a développé dans Wordsworth et la marche : parcours poétique et esthétique une approche critique qui s'inscrit très bien dans celle de la collection « Esthétique et représentation : monde anglophone », - Recensions.

Admirers of Whitehead who know him best have suggested that Wordsworth had possibly a greater influence upon him than anyone except Plato. Nowhere apparently has Whitehead admitted such an influence, as he has that of Plato and Locke and that of William James, Bergson, and Alexander among traditional and contemporary philosophers But he had a predilection for poetry, and attributes to the great poets philosophical importance. They capture uniquely, he says, “a fragrance of experience”; and “… express deep intuitions (...) of mankind penetrating into what is universal in concrete fact.” As observers of nature both Wordsworth and Whitehead ascribed to animate and inanimate life a degree of feeling or satisfaction in the course of being and becoming. Like the poet, Whitehead must have found “joy in widest commonalty spread.” The multiplication table, he noted at one time, “… is no good to the realist. It shuts him up with Plato's ideas out of space and out of time” when “… like Wordsworth and the rest of us he wants to hear the throstle sing.”. (shrink)

Questions could and should be raised about the political profile of English Romanticism both in particular and in general. Wordsworth’s poetry is especially useful to me here because of the way in which, through formal discontinuities, it dramatizes political conflicts. Reacting against these discontinuities, aesthetically minded critics have simply tended to leave out of the canon those poems which have the greatest capacity to help us become aware of a political poetics. In this respect it may well be that Wordsworth (...) is the most stylistically perverse of the Romantic poets. Not the most difficult to read, necessarily—Percy Bysshe Shelley’s breath-suspending songs and William Blake’s determination to produce “variety in every line” with the aim of unfettering poetry surely make more aggressive and obvious demands on the reader.1 But in these cases we can be reasonably sure that the difficulties are part of a conscious and coherent intention to set imagination to work in kindling sparks from ashes. Wordsworth also set out to do this, and we can agree that he did so with some success in some poems. But critics from Samuel Taylor Coleridge onward have rightly questioned the unity of Wordsworth’s canon in this respect. In Biographia Literaria, Coleridge notices the “inconstancy of the style,” an unevenness and a general inability to satisfy the demands of “good poetry” conceived as something possessing an organic form.2 This concern with a wholeness and consistency of artifice is more Coleridge’s than Wordsworth’s, and it seems to me that it is precisely the disjunctions in the poems that embody some of their most original and historically urgent meanings. The blemishes recorded by Coleridge—alternating and dissimilar states of feeling, overminuteness in description, and obsession with “accidental circumstances” , overuse of the dramatic mode, disproportion of thought to event, and so forth—can in fact serve as eloquent signals for discerning the complexities of the poems as they address a historical crisis in consensus embodied exactly in the unstable vehicle of the Wordsworthian speaker.3 3. I have explored the “formal” implications of this crisis in Irony and Authority in Romantic Poetry , and the terms of its historical discourse in Wordsworth and the Figurings of the Real . David Simpson is professor of English at Northwestern University. He is the author of Irony and Authority in Romantic Poetry , Wordsworth and the Figurings of the Real , and Fetishism and Imagination: Dickens, Melville, Conrad and editor of German Aesthetic and Literary Criticism: Kant, Fichte, Schelling, Schopenhauer, Hegel. (shrink)

The meaning of "community" in William Wordsworth's poems deserves further exploration. Recent studies have shown an increasing interest in Wordsworth's thoughts and feelings regarding community. Of all the ongoing debates, the most interesting is the one between Lucy Newlyn and Simon J. White. In an article whose subtitle is "Community in The Prelude," Newlyn argues that in writing The Prelude Wordsworth's "aim was nothing less than to show how the foundations of a benevolent society might be laid using 'the (...) growth of the poet's mind' as the starting point. Self, as he understood it, was best seen in terms of its responsibilities to community."1 This view is challenged by White who, on the one hand, acknowledges... (shrink)

Today's educational environment forms the stage for a host of debates, many of which centre on the use of standardized assessment in the classroom. With this push towards standardization, less time is being devoted to incorporating ?experiential? knowledge, or that knowledge which comes from hands?on, travel, natural and other worldly experiences, into the learning environment. William Wordsworth and Thomas Hardy, two somewhat unlikely sources of educational insight, do have a pertinent message to add to this ongoing educational discussion. The (...) two authors, through their personal experiences and through their literary works, draw from and examine the roles of formal education and the functions of various facets of knowledge in education. They exemplify the importance of finding a balance between formal educational experiences and informal avenues of education. Both men remind society that without the incorporation of experiential knowledge into the educational experience, students cannot reach the full potential of their intellectual, emotional, spiritual and social growth. Through an examination of the lives and works of Wordsworth and Hardy, the importance of non?formal, non?standardized experiences is reasserted at a time when it is of utmost importance to evaluate the components that make up modern education. (shrink)

In the past decade a line of thought has developed that, in addition to the "fetishized sublime object" Judith Plotz describes in The Romantic Vocation of Childhood,1 there are other versions of "the child" at play in William Wordsworth's work.2 As Alan Richardson puts it, "If Wordsworth's 'Mighty Prophet' and Lamb's 'child angel' have lost their valence, other tendencies within the Romantic representation of childhood remain . . . vital, perhaps even indispensable."3 This essay focuses primarily on Wordsworth's more (...) down-to-earth accounts of childhood, accounts which, fully emerging in the 1799 Prelude, have affinity with work done by past and present evolutionary scientists. The biological concept of human .. (shrink)

Explore the aftermath of traumatic stress as it affects various populations, including therapists themselves! This book will educate you about the aftermath of traumatic stress as it impacts people in a variety of settings. It explores the factors that lead to increased or reduced vulnerability to the effects of traumatic stress, emphasizing the impact of cumulative/multiple trauma rather than the effects of a single traumatic incident, to help you design and implement effective prevention and intervention programs. The specific populations and (...) groups addressed in this important book include: adolescent girls involved in armed conflict in Colombia’s guerilla war urban African-American youth—a theoretical model for risk and resiliency people with strong spiritual/religious beliefs—how spirituality can affect a person’s reaction to traumatic stress women in recovery in a community aftercare shelter female trauma therapists—factors affecting vicarious traumatization of helping professionals college students with histories of abuse Providing a framework for understanding traumatic stress-related issues based on a variety of methodologies and measures, Traumatic Stress and Its Aftermath addresses important questions, such as: What is the relationship between the experiences of trauma or other stressful life events, and subsequent traumatic stress? What are the protective factors that can buffer or ameliorate the development of traumatic stress in the face of adverse life experiences, trauma, or other stressful events? How do these questions evolve in different cultural or community contexts, and with different populations? What are the implications for interventions for community institutions and mental health workers? What roles do self-esteem and spirituality play in a person’s reaction to traumatic stress? How do reactions to traumatic stress differ between women who have been sexually abused as children and women who have not? From editor Sandra S. Lee: “Contemporary developments in the study of traumatic stress are shifting. This book reflects an emphasis on the study of traumatic stress in normal community, cultural, or college student populations and groups, while other literature has focused on individuals specifically diagnosed with PTSD. In addition, Traumatic Stress and Its Aftermath: Cultural, Community, and Professional Contexts emphasizes the search for risk and protective factors and factors that can buffer the relationship between trauma exposure and subsequent distress.”. (shrink)

William Wordsworth's Ode: Intimations of Immortality from Recollections of Early Childhood is a meditation on the possibilities and limitations of consciousness vis-à-vis the natural world. The child's glow of delighted fascination grays into adult worries, venalities, and fear of death. But the lingering “embers” of our childhood bond with nature can still guide and sustain us.

Cambridge Professor Basil Willey wrote this volume as a companion to his preceding work on the Seventeenth Century Background. Whereas the 17th C. key word was "Truth," he maintains the 18th C key word was "Nature." Organized in 12 chapters including "The Wisdom of God in the Creation, Cosmic Toryism, Natural Morality--Shaftesbury, Nature in Satire, Jos. Priestley and the Socinian Moonlight, and Nature in Wordsworth.

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.2 (2003) 132-139 [Access article in PDF] Environmentalism: A Global History, by Ramachandra Guha. New York: Longman, 161 pp, includes Bibliographic Essay and Index. Softcover, ISBN 0-321-01169-4. This short but wide-ranging book is a global survey of the history of environmental thought by one of the people most responsible for broadening environmental discussions to include recognition of post-colonial societies. The overall goal of this introductory (...) textbook is to explain multiple environmental discourses from Brazil, the United States, China, India, the Soviet Union, and Africa, and then to situate them as complimentary components of a global socially oriented environmental discursive framework.With that said, it is always difficult to evaluate an introductory textbook. In this case, much of what is covered represents well-worn ground for the environmental scholar. The thesis that emerges is less about a new set of environmental proposals and more about how we ought to understand the history of ideas that informs the development of policy and what ideas ought to be taught in the classroom. Since this book is designed as a textbook, much of my commentary stems from a consideration of how it might work in the classroom. [End Page 132]As an educator regularly teaching courses in environmental thought, ethics, planning, and policy, I have often wondered why so few texts exist on the global history of environmental thought. Guha's work represents an attempt to bridge this gap in the literature. Despite Guha's admirable intentions, I am hesitant to endorse this work as an introductory textbook on the global history of environmental thought for one important reason: Guha's methodology leads to the omission of important components of the global history of environmental thought. From the outset, it is important to acknowledge the difficulty of this type of project. The very title of this work signals perhaps an impossible project, given the 145 pages of text set aside for the task. Guha does cover a number of subjects well, and some are welcome additions to the discussion of the history of environmental thought. Overall though, the topics not covered work to neutralize what is accomplished by the topics that are covered. Consider first what Guha does include.The book is divided into two parts, each focusing on a wave of environmental thought. In the first part, there are four chapters and an afterword. In the initial chapter, Guha argues that a more social and international environmentalism can be a spur to "human reflection and human action," and not just a "scientific study of the state of nature or a balance sheet of the impact of human beings on the earth" (p. 3). While it is common to divide the environmental movement into waves (usually three or four), Guha chooses to delineate only one major shift and thus only two waves of environmentalism. The first wave is comprised of what Guha calls a "period of pioneering and prophecy" and an initial reaction to industrialization; the second wave is comprised of the more socially oriented responses that have emerged in recent decades (p. 3). There are good reasons for delineating more waves, but Guha's project is generally well-served by the two-wave distinction.Guha divides the first wave into three varieties distinguished by their different guiding ideologies—back-to-the-land, scientific conservation, wilderness idea—which are treated respectively in chapters two, three, and four. What I found most compelling about Guha's varieties are some of the figures he chose to include. For example, in chapter two Guha offers a treatment of the back-to-the-land ideology that concurrently condemned excessive industrialization and espoused a commitment to agrarian and pastoral values. From William Wordsworth, William Blake, John Clare, Edward Carpenter, Henry David Thoreau, John Ruskin, Edward Carpenter, [End Page 133] Henry David Thoreau, William Morris, and Octavia Hill, to Gandhi and the Nazis, Guha's range here is impressive. While I do have reservations about how convincing it is to link Wordsworth, Ruskin, and Gandhi according to a largely generic and nondescript agrarian ideal that he claims... (shrink)

This chapter argues that two distinct, yet connected, contexts – Mill's “mental crisis” and his task as a “Logician” – led to the formation of two arguments on the value of art. On one hand, Mill argued that aesthetic cultivation was important as an end in itself. Excellence was to be pursued disinterestedly as part of a beautiful life. On the other, Mill argued aesthetic cultivation was important as a means to the utilitarian end – strengthening the social sympathies made (...) social happiness attainable. The first argument highlights what Mill thought was missing from the theory of his utilitarian predecessors, while the second brought Mill closer to this tradition, rather than moving him further away from it. (shrink)