Academic essays typically and quite rightly advance theses and defend them with arguments. In this essay, I do not propose or defend a thesis. Instead, I try to ask, in a sustained way, a straightf...

ABSTRACT This article aims to analyze some contours of the existential practice of attempting to “locate one's life” through self-reflection. I will focus primarily, but not exclusively, on two exemplifications of self-reflection that are not “philosophical” in any technical or academic sense: Cory Taylor's Dying: A Memoir and Yi-Fu Tuan's Who Am I? An Autobiography of Emotion, Mind, and Spirit. Taylor, a novelist, is writing hurriedly facing imminent death, while Tuan, a distinguished cultural geographer, writes facing not death but the (...) prospect of continuing to live without any real will to do so. Their reflections are carried out in two different rhetorical registers, with quite different motivational contexts and expectations. They throw clear light, with rich philosophical import, on the complex relations between memory and mood, such as regret and nostalgia, the languages of self-description, and the permanent tensions between hope and action in coming to terms with what or who one is, or has become, or with what, if anything, lies ahead. (shrink)

Kant’s approach to the nature of artworks suggests that art has a metaphysical dimension that accounts for the two major elements of aesthetic experience. Aesthetic judgements are occasioned by experiences of pleasure and have an objective aspect since they are experiences with which other persons are expected to agree. More recently, Arthur Danto has argued that an artwork must be situated in an artworld. Pragmatists see aesthetic experience instead as integral to experience and requiring no special explanation other than association (...) with consumatory moments of experience. I want to argue that the pragmatist approach is basically correct, that contra Danto and Kant, aesthetic experience has no special implications for metaphysics. I locate this notion of aesthetic experience in the work of Ralph Waldo Emerson and offer speculations about the cultural relativity of concepts of aesthetic beauty. (shrink)

Two years after the death of his small son, Ralph Waldo Emerson famously wrote of the experience, "I cannot get it nearer to me" (CW 3:29). Most readers have been troubled by this remark, reading it as a sign that Emerson's relationship to grief and even to his son was disturbingly oblique, and the predominant response has been that it demonstrates he was detached, cold, and disconnected in the service of his transcendental philosophy.1 Such a response is grounded in the (...) tacit assumption that philosophy seems to be, or to call for, some intellectually grounded transcendence of the personal, whether the personal is whimsical or fatal. Emerson himself worried at times that he was too cold, too intellectual, even as .. (shrink)

This essay examines the contemporary masculinity of straight, white men in the business classes of the United States as a category of identity. I argue that this form of masculine identity is currently in crisis, and, through a reading of the 1995 film Toy Story, develop an argument about the value of ‘downsizing’ masculinity in an era of diminished work expectations.

Christians have traditionally conceived of the moral life as an imitation of Christ, whereby followers enter into fellowship with God. The American Transcendentalists can be understood as extending rather than dispensing with this legacy. For Emerson, a person cultivates virtues by imitating those she loves and admires. Ultimately, however, the virtues enable her to innovate on received models, to excel by pressing beyond exemplars. Emerson's famous line, “imitation is suicide,” is not a contradiction but a fulfillment of the imitation of (...) Christ, understood in his terms. In his own time, John Brown was the public figure who, for Emerson, most nearly exemplified this innovative imitation of Christ. An examination of exemplarity, of this artful union of imitation and innovation in moral and spiritual formation, sheds light on how modern agents can cultivate the virtues needed to be at home in the modern world. (shrink)

The natural sciences and religion are two of the primary modern social practices that, for better and worse, shape our relationship to nature. Ralph Waldo Emerson helps us to think about their relation to one another and the virtues needed for the perfection of each. His insights about virtue and the “religious sentiment” shed light on how we moderns might make a home of a world indelibly marked by science, technology, and anthropogenic change. In addition to the quintessentially Emersonian virtue (...) of self‐trust, the virtues of faith, hope, and love are vital for this home‐making endeavor. Emerson, thus, prefigures what prominent environmental ethicists have described as a “turn to virtue in climate ethics,” as well as what some see as a return to religious communities, values, and ideals, as the way forward. By guiding readers through Emerson's early work Nature and his late essay “Worship,” this article provides an account of these three traditionally theological Emersonian virtues of the Anthropocene. (shrink)

Ralph Waldo Emerson is often seen as the early American prophet of autonomy. This essay suggests a perhaps surprising fellow traveler in this prophetic call: Joseph Smith. Smith opposed religious creeds for the same reason that Emerson denounced them, namely that creeds represent a threat to the autonomy of a person's beliefs. Smith and Emerson also forward similar defenses of individual autonomy in action. Furthermore, they encounter a shared problem: how can autonomy be possible in a society where other individuals (...) hold some kind of authority? I propose that each thinker resolves this tension through an insight with a Kantian echo. A suitably qualified version of authority can sometimes count as an expression of, rather than hindrance to, autonomy. I describe the overlap in Emerson and Smith as a “frontier” version of Kantianism. They favor determining one's own beliefs and actions in a way that looks forward to an open future of possibility. (shrink)

An American essayist, poet, and popular philosopher, Ralph Waldo Emerson (1803–82) began his career as a Unitarian minister in Boston, but achieved worldwide fame as a lecturer and the author of such essays as “Self-Reliance,” “History,” “The Over-Soul,” and “Fate.” Drawing on English and German Romanticism, Neoplatonism, Kantianism, and Hinduism, Emerson developed a metaphysics of process, an epistemology of moods, and an “existentialist” ethics of self-improvement. He influenced generations of Americans, from his friend Henry David Thoreau to John Dewey, and (...) in Europe, Friedrich Nietzsche, who takes up such Emersonian themes as power, fate, the uses of poetry and history, and the critique of Christianity. (shrink)

Transcendentalism is an American literary, political, and philosophical movement of the early nineteenth century, centered around Ralph Waldo Emerson. Other important transcendentalists were Henry David Thoreau, Margaret Fuller, Amos Bronson Alcott, Frederic Henry Hedge, and Theodore Parker. Stimulated by English and German Romanticism, the Biblical criticism of Herder and Schleiermacher, and the skepticism of Hume, the transcendentalists operated with the sense that a new era was at hand. They were critics of their contemporary society for its unthinking conformity, and urged (...) that each individual find, in Emerson's words, “an original relation to the universe”. Emerson and Thoreau sought this relation in solitude amidst nature, and in their writing. By the 1840s they, along with other transcendentalists, were engaged in the social experiments of Brook Farm, Fruitlands, and Walden; and, by the 1850's in an increasingly urgent critique of American slavery. (shrink)