In lieu of an abstract, here is a brief excerpt of the content:diacritics 30.2 (2000) 70-87 [Access article in PDF] Overhearing Hollander's Hyphens Poet-Critic, American-Jew Andrew Bush in memory of Maria TorokJohn Hollander. The Work Of Poetry. New York: Columbia UP, 1997. Hyphens Mordecai Kaplan's grand quest romance, Judaism as a Civilization (1934), finds its nadir midway through his argument. He had set out not from Judaism in search of, say, God, but from America in search of Judaism, an (...) altogether less auspicious quest. But having slain his rivals--gashed and gory Reformists, Orthodox and Conservatives Right and Left--he stops to survey the field in the section "Implications of the Proposed Version of Judaism." It is a dismal sight.Kaplan reached that perch by his unswerving loyalty to a reality principle that dictated a revised conceptualization of the "other-worldly." First, he called for a franker acknowledgment that Jewish civilization since the destruction of the second Temple was governed by "other-worldly sanctions" (primarily, reward beyond death for mitzvoth performed in this life): "the only plausible excuse for failing to recognize the predominance of other-worldliness in Judaism," writes Kaplan in a typically feisty moment, "is that it fills Judaism like an atmosphere, and is so ubiquitous as to escape notice" [213]. The proposition does not seem, on the face of it, to require a sharpened polemical edge. But Kaplan was arguing that the "other-worldly stage" of Jewish history was at an end. His position is not an outright rejection of the reality of the other-worldly, but rather an acceptance of the reality of a faith so diminished amongst the majority of modern Jews that otherworldly sanctions had ceased to function as an effective means of binding the community. If the future of Judaism was to be more than an illusion, he asserted, then a new form of coherence was necessary. Hence, the quest.The same reality principle operated with respect to the whole religious language of Judaism. Modernity had stripped "chosen-ness," "revelation," and even the "God-term" of their literal referents, leaving the central tenets of Judaism accessible to Kaplan's contemporaries only as metaphors. Kaplan's "proposed version of Judaism," which would of course become the platform for Reconstructionism, includes a powerful reading of those metaphors for modern Jews. No deconstructionist avant la lettre, for Kaplan the vitality of those metaphors depends upon some literal grounding, for which he offers the reconstructed literalism of the kehilla. Often a designation for congregations, thus closely associated with worship, and so a term vitiated by lapsed practice and intra-Jewish [End Page 70] strife, Kaplan's fundamental proposal is the establishment of the kehilla--which he translates as "community"--as a literal dwelling together in the neighborhood of a multipurpose "community center." 1 The proposal to build a voluntary ghetto without walls, to make community life binding again by giving it more than a virtual space, looks well beyond the subsequent realization in the form of America's numerous JCCs; but it presupposed a form of political organization at odds with American life, as Kaplan indicated through his mapping of Jewish political geography of the post-World War I era with respect to relative autonomy.The first zone on such a map was Palestine, "where the Jews are to be given the opportunity to develop their own civilization on the same terms as any other nation," which is to say, "if [a Jew] so chooses, to live entirely within his people's civilization" [215]. A second zone included those countries that admitted political identity to ethnic minorities, including Jews, where cultural autonomy was sufficient to allow for the "survival of the civilization of the Jew on a basis co-ordinate with the native civilization" [216]. In those cases, the Jew may live not only as a Jew, dwelling within a Jewish community, but may live a life no less Jewish than Czech, for instance. But in America, even for the Jew within walking distance of the proposed community center, that degree of autonomy does not exist; and with this realization, in a book directed specifically "toward a reconstruction of... (shrink)

In this dissertation, I argue that early nineteenth-century American poets’ and readers’ interpretations of Romanticism shaped their understanding of the role poetry and its producers could play in a developing national culture. By examining the public careers and private sentiments of four male poets — William Cullen Bryant, Henry Wadsworth Longfellow, Edgar Allan Poe, and Jones Very — I analyze how each reconciled poetic vocation with the moral and economic obligations associated with the attainment of manhood. I locate these (...) poets and their critics within specific historical discourses of aesthetic reception and production, focusing on the tensions and overlaps between Scottish Common-sense and Romantic aesthetic thought. Finally, I suggest that as a career objective the production of poetry paralleled rather than opposed the middle-class project of the “self-made man.” The effortful self-mastery urged upon young men by prescriptive writers was echoed in critics’ assessments of American poets’ works. Both the male poet and the self-made man operated within discourses which stressed imperatives — do, be, act — without specific objects. Yet, for aspiring poets, Romantic emphases on spontaneous composition and emotional expressiveness made deliberate craftsmanship irrelevant to poetic production. By identifying poetic production as spontaneous and as the highest form of disinterested intellectual labor, antebellum American critics and poets alike obscured the actual work involved in poetry writing. This erasure of conscious literary labor separated effort from its products, replacing a poet’s personal motives for writing poetry with the more nebulous goal of service, to be achieved through evidently inspired transcription than through purposeful composition. The title ‘poet’ suggested devotion to higher, more abstract goals, above mere commodity production. Each of these poets’ careers show how ambition compelled aspiring American poets to justify their work while disclaiming their individual hopes for their poetry and their reputations. Each poet promoted an understanding of poetic labor that demanded just such disclaimers. By underscoring the insubstantial and all but effortless nature of poetic composition itself, all four of these poets contributed to an enfeebled definition of the male poet — as a man who received impressions rather than produced them, and who observed rather than acted. (shrink)

The aim of this article is to familiarize the Polish reader with Poets and the Poetry of Poland, the first extensive anthology of the Polish literature published in English in the United States by Paweł Sobolewski. Particular emphasis was placed on the characteristics of this work, recreating the traces of reception of this work and showing the most important sources on which the author relied. The presented article also points out the importance of Sobolewski’s literary and cultural activity, as he (...) initiated multifaceted, often pioneering projects, becoming one of the leading Polish diaspora activists in the 19th century’s United States, also active in the American community. This paper was partially based on the source materials collected by Mieczysław Haiman at the Polish Museum in America, to which the access was possible thanks to a Kościuszko Foundation scholarship. The historical analysis of the sources based on the descriptive-historical paradigm was adopted as the basic tool. Noteworthy, the Poets and Poetry of Poland was the crown work of Sobolewski’s many-year mission, related to the desire to make Americans familiar with the Polish culture and to present it in representative forms. The anthology, including the translations of the works of 60 authors from the sixteenth to the nineteenth century, gave an insight into the multi- faceted recognition of the biographies and literary works of eminent Polish poets, mostly belonging to the times of Romanticism and the Enlightenment. Despite the strong inspiration from Rycharski’s textbook and other sources, the final shape of the volume was influenced by the editor’s personal experiences, his reading preferences and contact with the authors. The selection of works and the structure of the conducted argument reflect the spirit of affirmation for the great tradition created by the first generation of romantics and the significance of the November Uprising, in which Sobolewski took part. (shrink)

If you were looking for a philosopher likely to appeal to Americans, Friedrich Nietzsche would be far from your first choice. After all, in his blazing career, Nietzsche took aim at nearly all the foundations of modern American life: Christian morality, the Enlightenment faith in reason, and the idea of human equality. Despite that, for more than a century Nietzsche has been a hugely popular—and surprisingly influential—figure in American thought and culture. In _American Nietzsche_, Jennifer Ratner-Rosenhagen delves deeply (...) into Nietzsche's philosophy, and America’s reception of it, to tell the story of his curious appeal. Beginning her account with Ralph Waldo Emerson, whom the seventeen-year-old Nietzsche read fervently, she shows how Nietzsche’s ideas first burst on American shores at the turn of the twentieth century, and how they continued alternately to invigorate and to shock Americans for the century to come. She also delineates the broader intellectual and cultural contexts within which a wide array of commentators—academic and armchair philosophers, theologians and atheists, romantic poets and hard-nosed empiricists, and political ideologues and apostates from the Left and the Right—drew insight and inspiration from Nietzsche’s claims for the death of God, his challenge to universal truth, and his insistence on the interpretive nature of all human thought and beliefs. At the same time, she explores how his image as an iconoclastic immoralist was put to work in American popular culture, making Nietzsche an unlikely posthumous celebrity capable of inspiring both teenagers and scholars alike. A penetrating examination of a powerful but little-explored undercurrent of twentieth-century American thought and culture, _American Nietzsche_ dramatically recasts our understanding of American intellectual life—and puts Nietzsche squarely at its heart. (shrink)

SummaryThe writings of the very popular American poet Robert Frost (1874–1963) reveal an unusually specific and detailed knowledge of science. This was particularly evident among the poems of his penultimate volume, Steeple Bush, of 1947. Several of these poems confronted with basic insights issues raised by the period's ‘new physics’. Among those, especially Frost's epigram ‘A Wish to Comply’ wittily confronted an important epistemological difficulty in particle physics. Such science must induce a belief in the fundamental importance of entities (...) invisible to any physical human senses except those aided by complex apparatus used in abstruse experiments. Recondite scientific issues are confronted in other poems published in Steeple Bush such as ‘Skeptic’ (which meditates on the ‘red shift’ evidence for an expanding universe), but these poems are clearly derived from popular theoretical expositions, not practical experience. ‘A Wish to Comply’, on the other hand, clearly records an actual experience of a failed Millikan ‘oil drop’ experiment. This event evidently led to the poet to fake a report of his own observation of an electrically charged oil droplet, for reasons of social pressure. In meditating on these circumstances the epigram opens questions relating to scientific ‘systematic error’, the suppression, ‘trimming’ or ‘cooking’ of experimental data, and a bias toward confirmation of highly respected opinions. Although Frost did not live to know it, two of these questions have been latterly opened in regard to Millikan's own reports of his original oil drop experimental data. (shrink)

If patriotism can thus be seen as an incentive or as an instigation even in such a recondite science as epistemology, how much more readily can it be seen to perform such functions in other studies more immediately or inextricably bound up with communal human life? I pass over instances that occur to me—for instance, the Victorian Jesuit, Father Hopkins, declaring that every good poem written by an Englishman was a blow struck for England--and profit instead, if I may, by (...) the presence among us of Edward Said. I do not know, and it is none of my business to know, what passport Said presents at the international frontier. But it is surely common knowledge among us that he has deep and feelingful and intimate allegiances to the state of Lebanon. Who of us has failed to connect this with his books Orientalism and The Question of Palestine? The point is that, having made this connection, none of us thinks the worse of Said. On the contrary, we recognize that he has a special stake in such topics and therefore speaks on them with a special authority. Unless I am mistaken, that stake and that authority are, in a perhaps extended sense, patriotic. And whatever our speculative objections to the idea and the principle of patriotism, in practice we recognize it and we honour it.What I am questioning, it will now be plain, is the principle of "disinterest." "The disinterested pursuit of knowledge"—it is what in our distinct disciplines all of us have paid lip-service to, and perhaps more than lip-service. But when we come right down to it, is it what we believe? The honest patriot declares an interest; and if we are wise, we take note of the declaration, making allowances and reserving doubts accordingly. But what are we to make of the scholar who declares no interest, who claims implicitly to be truly disinterested. Can we believe him? And if we cannot, what guidance do we have as to what reservations to make, what doubts to entertain? I am of one mind with my Marxist colleagues who, from a political position very far from mine, warn us to be especially suspicious of the scholar who claims to have no axe to grind. We, all of us, have axes to grind; the crucial distinction is between those who know this about themselves and those who don't.Let me make myself clear. When I urge that the terms "patriotism" and "patriotic" be reinstated in our discourse, and particularly in those forms of our discourse that may be called "interpretation," I do not imply that patriotism is a nobler, a more elevated instigation than sundry others, mostly ideological, of which we are more aware. The point is precisely that of these others we are aware because we share a vocabulary which acknowledges them, whereas "patriotic" has been banished from our vocabulary, and so the reality which the word represents is left out of our calculations. Let me admit for the sake of argument what I do not in fact believe-- that patriotism is a concept and a sentiment so besmirched by the unholy uses made of it that, if mankind is to survive, patriotism will have to be eradicated. Even if that were the case, it remains true that patriotic interest and incitement are very far from having been eradicated from the world that we in fact inhabit, and try to interpret, here and now; and if we try to work within a vocabulary that pretends otherwise, we condemn ourselves to producing interpretations that are drastically partial and perhaps disastrously misleading. The point is not whether patriotism is a good thing or a bad thing but simply that it is; it exists, as powerful factor which we all in our hearts acknowledge even as our vocabulary refuses to. And when we speak in this context of "the world," we certainly include in that world ourselves, who offer to interpret it. Every one of our interpretations is coloured by the fact that we, the several interpreters, are British or American, French or Italian or Russian or whatever. If we think otherwise, we deceive ourselves; and yet where, in any of our currently acceptable vocabularies, determined as all of them are by the glib rationalism of the Enlightenment, do we find that momentous fact about ourselves acknowledged? Where is it acknowledged, for instance, in the vocabulary of feminism that "woman," as conceived by an American writing about Italians, cannot help but be significantly different from "woman" as conceived by an Italian looking at Americans? Or again, an Italian woman may well, we must suppose, be an Italian patriot; but where, in the current vocabulary of feminists, is that dimension of her "woman-ness" allowed for? Let it be acknowledged only so as to be deplored; but let it in any event be acknowledged. At the moment, it isn't.Donald A. Davie, the distinguished poet, is Andrew W. Mellon Professor of the Humanities at Vanderbilt University and honorary fellow of Saint Catharine's College, Cambridge and of Trinity College, Dublin. He has edited The New Oxford Book of Christian Verse, and his Collected Poems 1950-1970 appeared in 1972. His latest publications are Dissentient Voice and These the Companions; Recollections. (shrink)

Robert Frost is by far the most celebrated major American poet of the twentieth century. In part, this is because his poetry seems, on the surface, to be so accessible, even homey. But Frost was not just a powerful writer of popular lyric and narrative verse, argues Peter J. Stanlis in this major contribution to American literary study and philosophy. Rather, his work is deeply rooted in a complex philosophical dualism that opposes both idealistic monism, centered in spirit, (...) and scientific positivism, which posits that the universe can be understood as nothing but matter. In _Robert Frost: The Poet as Philosopher_, Stanlis shows how Frost’s philosophical dualism of spirit and matter is perceived through metaphors and applied to science, religion, art, education, and society. He further argues that Frost’s dualism provides a critique of the monistic forces that were instrumental in the triumph of twentieth-century totalitarianism. Thoroughly informed by his twenty-three year friendship and correspondence with Frost, Stanlis's landmark volume is the first attempt to deal with the poet’s philosophy in a systematic manner. It will appeal not only to fans of Frost but to all who understand poetry as a form of revelation for understanding human nature. (shrink)

Illuminating study of the ideas and influences of a near-forgotten American philosopher.

Hefty and serious—that is how this book feels when you pick it up. That was my subjective aesthetic experience anyway. Aesthetic judgment is, after all, one key to assessing our thoughts and perceptions. More on that soon, as you might expect.Hefty and serious also describes the questions with which the volume grapples: Is there, or can there be, a clear American Aesthetics, not merely aesthetics practiced by Americans? What would that look like? How would such a process affect the (...) minds and actions of Americans?The answers? It's complicated.The twenty essays in this volume trace the possibility of an American Aesthetics from foundational ideas of the past to the contemporary landscape. The goal is not only articulating an aesthetics that is distinctively American—aesthetics as a method for examining the arts and the artful—but also the possibility of aesthetics as a dynamic tool for pursuing a flourishing life within our hyper-capitalist, consumerist culture.Constant amongst the scholars gathered here is the assertion that aesthetics is not an abstract academic pursuit interesting only to the privileged and interested few but rather that aesthetics is the key element in the human pursuit of meaning and purpose in our lives. Aristotle would approve!Speaking of ancestors, the scholars here trace the work of grandparents such as Ralph Waldo Emerson, Charles Pierce, and William James, and parents such as the pragmatist John Dewey and the process philosopher Alfred North Whitehead. (Whitehead is from the UK but “American” in that he died in the US after a long career at Harvard and wrote his magnum opus, Process and Reality, in the US.) From these ancestors, the scholars gathered in this volume see a path forward: Art as conscious experience, as Dewey posited, and/or art as committed immersion in the process, as Whitehead claimed.Whitehead's process approach—process aesthetics—reminds us that each moment of our experience in this at once mundane and amazing world is an occasion of beauty and a telos—each moment is in the larger process of reality quite literally our last.William James attempted to map how we might free ourselves from the everyday and from everyday-ness: “We are stuffed with abstract conceptions, and glib verbalities and verbosities and in the culture of these higher functions the peculiar sources of joy connected with our simpler functions often dry up” (109). Yet, according to James, there is hope due to the fact that we human beings seek art and do art first and foremost because we enjoy it.Enjoyment was not the angle from which John Dewey approached the subject. According to Dewey our aesthetic reactions and interactions create the experience of art (and life) that re-accesses “an underlying harmony... that we vaguely remember” (112). For pragmatists, noticing a “thing” is entering a relationship with that thing, what David Strong terms in his essay, “correlational coexistence” (371).From these building blocks the scholars assembled propose ways to change US culture from one prone to ask, “What does it do?” into one in which it is increasingly possible to ask, “What does it mean?” This would be a fundamental shift in the dominant paradigms in US culture.How to get there? Randall E. Auxier offers a concise definition of “bad”—bad is something that is “lifeless and too much indebted to the actual.” My attempts at singing fall into that category, as do many American experiences conceived in the mode of what they do, not what they mean.That works of art escape or repel descriptions of their constitutive elements has proven to be a persistent philosophical conundrum through the centuries, as has the question of whether human feelings create an object or an object creates feelings, or both/and—Dewey's interaction of “organism and environment.” From whichever philosophical direction we approach this crux, aesthetic thinking can lead us to recognize and experience the inwardness of what we view as things—objects—and this examination can realign our personal axiology—our personal valuation of reality—the “ten thousand things” of ancient Chinese philosophy.Several authors cite Suzanne Langer's theory of symbol, broadening the scope of “art” well beyond Art with a capital A into the aesthetic and the ritualistic.The scholars gathered here are optimistic that aesthetic examination can create more of those rare moments (moments art can reliably create) in which our very being adjusts to the reality of existence, and we feel exhilarated and a part of the whole process of existence. We call this “nirvana” or “enlightenment.”That is another thing that feels hefty about this volume: the persistent optimism among the scholars that psychic wholeness and human flourishing are possible for more Americans. Robert S. Corrington terms this the “selving process,” roughly what Carl Jung termed “individuation.” This collection adds up to much more than the sum of its parts, as one idea inflected in a particular way by one author sparks off the same idea approached from a different perspective in another. This collection contains scholars on the cutting edge of process theology, pragmatism, aesthetics, and religion, many of whom are adept at crossing the traditional fences between academic fields. The US needs an American Aesthetics. As American poet William Carlos Williams wrote,It is difficultto get the news from poems yet men die miserably every day for lackof what is found there. (shrink)

What have Jonathan Edwards, Ralph Waldo Emerson, Henry David Thoreau, Charles Sanders Pierce, William James, John Dewey, Josiah Royce, George Santayana and Willard Van Orman Quine contributed to American philosophy? Edwards is without rival as the greatest philosopher/theologian of colonial America. Before Emerson, no other thinker remotely approaches Edwards in intellectual endowment, range of interests, or depth and subtlety of treatment of a variety of philosophical topics. Emerson and Thoreau together represent the high point of American transcendentalism. Charles (...) Sanders Peirce, William James, and John Dewey--the Big Three of American pragmatism--form a constellation of philosophers whose like has been seen neither before nor since their time. The brilliant, irascible Peirce may well be the greatest philosopher America has produced. Philosophical idealism reached its American zenith in Josiah Royce, a thinker whose vast erudition and formidable intelligence breathed new life into a point of view widely thought to be moribund. George Ssantayana is, with Emerson, the poet of American philosophy. Quine is one of America’s most distinguished living philosophers and very proudly the most influential. (shrink)

A Vaiṣṇava Poet in Early Modern Bengal: Kavikarṇapūra’s Splendour of Speech. By Rembert Lutjeharms. Oxford Theology and Religion Monographs. Oxford: Oxford University Press, 2018. Pp. 360. $99.

Robert Frost is by far the most celebrated major American poet of the twentieth century. In part, this is because his poetry seems, on the surface, to be so accessible, even homey. But Frost was not just a powerful writer of popular lyric and narrative verse, argues Peter J. Stanlis in this major contribution to American literary study and philosophy. Rather, his work is deeply rooted in a complex philosophical dualism that opposes both idealistic monism, centered in spirit, (...) and scientific positivism, which posits that the universe can be understood as nothing but matter. In _Robert Frost: The Poet as Philosopher,_ Stanlis shows how Frost’s philosophical dualism of spirit and matter is perceived through metaphors and applied to science, religion, art, education, and society. He further argues that Frost’s dualism provides a critique of the monistic forces that were instrumental in the triumph of twentieth-century totalitarianism. Thoroughly informed by his twenty-three year friendship and correspondence with Frost, Stanlis’s landmark volume is the first attempt to deal with the poet’s philosophy in a systematic manner. It will appeal not only to fans of Frost but to all who understand poetry as a form of revelation for understanding human nature. (shrink)

In American Poetic Materialism from Whitman to Stevens, Mark Noble examines writers who rethink the human in material terms. Do our experiences correlate to our material elements? Do visions of a common physical ground imply a common purpose? Noble proposes new readings of Walt Whitman, Ralph Waldo Emerson, William James, George Santayana and Wallace Stevens that explore a literary history wrestling with the consequences of its own materialism. At a moment when several new models of the relationship between human (...) experience and its physical ground circulate among critical theorists and philosophers of science, this book turns to poets who have long asked what our shared materiality can tell us about our prospects for new models of our material selves. (shrink)

In 1944, American Polonia consisted of two separate social groups. The first one was the so-called “old Polonia”. This group was significantly assimilated into America’s culture and way of life, and had strong self-help organizations. The second group, “new Polonia”, was formed of wartime émigrés, mainly with intellectual backgrounds. They experienced at first hand the anti-human policies of the Nazi and Soviet systems.In the Polish American Congress, founded in 1944 by representatives of both groups, there was great concern (...) about the policies of President Franklin D. Roosevelt. The fear was that these policies would allow Stalin, by a method of fait accompli, to introduce the Soviet system in all countries “liberated” by the Red Army. Old Polonia was under the influence of the US Administration and, despite reservations, supported the approach of Polish Prime Minister Stanisław Mikołajczyk who was committed to finding a Polish-Soviet compromise. Such a compromise turned out to be impossible because of Stalin’s demands. Firstly, nearly 50% of the pre-war territory of Poland was to be ceded to the Soviet Union. Secondly, fundamental changes were to be made in the government leadership of the Polish satellite state.New Polonia, which in 1942 formed the National Committee of Americans of Polish Descent, had a strong intellectual group. They warned the Polish American Congress and the US Administration against conceding to Stalin’s demands. From the perspective of the Sixtieth Anniversary of the Warsaw Uprising, their evaluation of Stalin’s policy has turned out to be correct.There was also a small group of Polish American activists centered around Professor Oskar Lange and the eminent poet Julian Tuwim, who belonged to the so-called Kościuszko League. During the Warsaw Uprising they were willing to accept Stalin’s demands and in connection with this supported the policies of the Polish Committee for National Liberation (a pro-communist coalition).The overwhelming majority of American Polonia was involved in unmasking false information about the Warsaw Uprising in the American press. They signed petitions to the President and Secretary of State. They collected money. They organized religious and patriotic meetings at which true information about the Warsaw Uprising was presented. (shrink)

Literature from the United Kingdom and the United States represents the cultural expression of those peoples' lived experiences. Reading British and American literature may also aid in our understanding of the values, worldview, and ideological underpinnings of western civilization. Therefore, this thesis examines the mythological and religious themes in British and American literature using literary works from both countries. Greek Myth is the source and soil of ancient Greek literature. Ancient Greek and Roman literature is a rich treasure (...) for later generations to understand myths, providing creative materials for later British and American writers. It can be said that myths and religious ideas gave birth to great literary works and some immortal poets. Among them, "_Wuthering Heights_" is the main representative work of 19 th -century literature and occupies an important position in British and American literary history. Based on this, this paper discusses British and American literature's religious and cultural characteristics in "_Wuthering Heights_", mainly from the perspective of environment description and plot shaping. I hope this research can play a role in attracting jade. (shrink)

Before he became infamous for character assassination disguised as literary executorship, Rufus W. Griswold established his reputation in America as a critic and early literary anthologist. In 1842, Griswold released the first edition of his massive Poets and Poetry of America with prominent Philadelphia publisher Carey and Hart. At nearly five hundred royal octavo pages—complete with elaborate frontispiece; ornamental title page with an etching by George Hewitt Cushman after Thomas Creswick; twelve-page, double-columned “historical introduction”; authorial headnotes; and selections of verse (...) from more than one hundred poets active in the roughly seventy years since American independence—Griswold’s volume was... (shrink)

B a c k g r o u n d. This article reveals the understanding of the concept of nature in the works of the American philosopher Henry David Thoreau. Henry David Thoreau is an American philosopher, poet, essayist, naturalist and political activist. Together with Ralph Waldo Emerson, his friend and mentor, he is considered one of the founders of the transcendentalist movement. Transcendentalism was a powerful movement of American philosophy of the 19th century. It was characterized (...) by focusing on the problem of human self-knowledge, human's returning to own essence, living in harmony with nature, as well as criticism of modern society and active abolitionism. M e t h o d s. The article uses both general scientific methods and special methods, such as – the method of historical-philosophical reconstruction, which made it possible to reproduce the ideas of the American thinker, the hermeneutic method – for explaining individual positions of the philosopher. In addition, literary-critical methods were used, for the possibility of using various primary sources, and systematic method – to identify a systematized structure in the philosophical work of H. D. Thoreau. R e s u l t s. One of the main features of transcendentalism is a special interest in reflection on nature and a special approach to it. Thus, the concept of nature is present in most of H. D. Thoreau's works, and it is the central topic of his philosophical searches. The concept of nature in his works appears in different contexts, acquires different meanings. Thus, H. D. Thoreau talks about nature in the context of nature, in the context of poetic creativity, in his philosophical searches, in his vision of man and in his argumentation of his own political position. However, the different meanings that H. D. Thoreau attaches to the concept of nature do not contradict each other, but, on the contrary, complement and clarify his understanding of nature. C o n c l u s i o n s. This article proposes to consider the use of the concept of nature by H. D. Thoreau in the following aspects: Nature and Peculiarities of nature as a subject of scientific knowledge. Nature and The relationship between nature and culture through the relationship between "the wild" and society. Nature and From naturalism to humanism. Nature as an inner essence of man and solitude with nature as a return to this essence. (shrink)

What does Emerson want for himself and for us, or, put another way, what does he do in his writings as a whole? Can we understand Emerson's writings today? One critic, F. O. Matthiessen, in his American Renaissance: Art and Expression in the Age of Emerson and Whitman, pithily remarks that some of Emerson's philosophical essays are "generally unreadable";1 Len Gougeon, however, argues that we can know something about Emerson. Gougeon suggests that Emerson emphasizes the individual and the (...) class='Hi'>American political sphere, noting Emerson's increased focus on the political climate as America approached civil war.2 Crucial to his argument is the transformation of Emerson the man into one of the most... (shrink)

This book is a discussion of the nature and import of Richard Rorty's philosophy, particularly as it relates to his reevaluation of American pragmatism.

In the winter of 1859, the Boston poet Julia Ward Howe sailed for Cuba; and in the winter of 1860, Ticknor and Fields published an account of her travel. A Trip to Cuba appeared only months after the same firm had published Richard Henry Dana's story of his ???vacation voyage,??? To Cuba and Back . These two narratives responded to a burgeoning American interest in the Caribbean island that promised recuperation to American invalids and adventure for military ???filibusters.??? (...) Howe's narrative demonstrated a self-conscious familiarity with antebellum travel writing more broadly, however, as she playfully resisted yet ultimately upheld various conventions of a genre that had become a staple of the American literary marketplace. ???I do not know why all celebrated people who write books of travel begin by describing their days of seasickness,??? she noted, before discussing her own shipboard illness. She followed similar cues as she blended elements of autobiography, the social sketch, nature writing, and political and social commentary. Across 250 ???sprightly??? pages, readers were offered a familiar melange of humorous portraits, detailed descriptions of ???foreign??? institutions, and extensive commentary on local customs and social mores. (shrink)

A Poet of the Abbasid Period, Abū al-Qāsim al-Zāhī 313–352 AH/925– 963 CE: His Life and Poetry. By Khalid Sindawi. Codices Arabici Antiqui, vol. 12. Wiesbaden: Harrassowitz, 2010. Pp. 59 + 180. €54.

Although not exactly continuous, the Native American challenge to the canon, as I have tried to show, has been of comparatively long standing. Nonetheless, inasmuch as Native American literary production and Euramerican writing influenced by it have only barely begun to enter the courses in and the anthologies of general American literature, that challenge cannot be said to have been effective as yet. No doubt it will take more time for poets and teachers to recognize what Native (...) American literatures aboriginally were and, to some extent, still are; to recognize when and if the influence of these literatures is present in work by Native and non-Native writers. It is only since the 1950s and 1960s that philological and structural work has begun to make this recognition possible in any case.It is only more recently still that an adequately sophisticated criticism for these literatures has begun to develop, with the publication of Abraham Chapman’s basic and eclectic collection of essays, Literature of the American Indians: Views and Interpretations ; Karl Kroeber’s uneven but valuable introduction to the subject, Traditional Literatures of the American Indian: Texts and Interpretations ; and Hymes’ “In Vain I Tried to Tell You”: Essays in Native American Ethnopoetics , a collection of Hymes’ seminal and indispensable work. The broadest and most sophisticated collection of essays—gathering work by Hymes, Tedlock, Toelken, Kroeber, and others—has only just appeared: Smooting the Ground: Essays on Native American Oral Literature is edited by Brian Swann, a poet and translator of Mative American song.61 These developments are encouraging for Native American literatures. As American society continues to move away from anthropocentrism and textual authority, the Native tradition may for the first time effectively assert its claim upon the canon of American literature. 61. For his translations, see, for example, Swann’s Song of the Sky: Versions of Native American Songs and Poems . Swann works from texts, not performances, from English language versions, not transcriptions of Native languages; as a result, he has made a point of insisting, “These poems of mine are not translations” but instead “versions” of Native American poetry. Although he has given up specific claims to authenticity, Swann has nonetheless shown how much can be done by the non-Native poet and scholar responding to the Native tradition as a powerful source. Arnold Krupat is a member of the literature faculty at Sarah Lawrence College. He is the coeditor of the University of Nebraska Press’ Native American Autobiography Series and is currently completing an anthology of Native American autobiographies, Indian Lives. His previous contribution to Critical Inquiry, “An Approach to Native American Texts,” appeared in the December 1982 issue. (shrink)

The philosopher, poet and painter Viola Cordova was the first Native American woman to earn a Ph.D. in philosophy. Like all scholars, she rose on the shoulders of those who came before. Crediting the influence of both Western and Native American philosophical works, Cordova’s aim was to make clear the nature and benefit of Native American philosophy. To achieve this she explained Apache philosophy as well as that of the closely-related Navajo, distinguished the Native American worldview (...) from that of Western philosophy, and demonstrated the beneficial consequences it offers. This introduction to Cordova reveals how significant her Native American philosophy with its dissimilar ontology would be to the philosophical canon, and how if admitted to it, the canon would be truer and more comprehensive. (shrink)

Whitman was not one to be troubled about the solution of the problem of knowledge in particular, much less in general, nor for that matter was Emerson. Their way was to postulate solutions to problems just before they encountered them. My point, however, is that Whitman, with Emerson, did encounter a problem, the Diltheyan solution to which has tempted philosophers of history into our own time. If quoting Dilthey as a gloss on Emerson I would seem to want to involve (...) Whitman in philosophical issues beyond his ken, then instead I would recall an earlier, quite fundamental statement of the mood, rather than one of the mode: "That which hath been is now; and that which is to be hath already been; and God requireth that which is past." The King James version of these words from Revelations 3:16 is perhaps clarified in the Revised Standard version: "That which is, already has been; that which is to be, already has been , and God seeks what has been driven away."Roy Harvey Pearce is a professor of American literature at the University of California, San Diego. He is the author of The Savages of America: A Study of the Indian and the American Mind; The Continuity of American Poetry; and Historicism Once More: Problems and Occasions for the American Scholar. (shrink)

The still astonishing expansion of the American university since World War II has transformed the nation's intellectual and cultural life in myriad ways. Most intellectual historians familiar with this period would agree, I suppose, that among the conspicuous changes is the sheer increase in the size and diversity of intellectual and cultural activity taking place on campuses across the country. After all, we know that colleges and universities that employ us also provide full- and part-time academic appointments to novelists, (...) poets, playwrights, filmmakers, choreographers, composers, classical and jazz musicians, painters, photographers, and sculptors, even though most of them probably began their careers with little or no desire to join us in the halls of academe. This now widespread employment practice has decentralized the nation's literary and artistic talent. It also has made for a manifold increase in degree-granting programs in writing and the creative arts. One example will suffice here. When World War II ended, there were a small handful of university-based creative-writing programs. Over the course of the next thirty years, the number increased to fifty-two. By 1985, there were some 150 graduate degree programs offering an MA, MFA, or PhD. As of 2004, there were more than 350 creative-writing programs in the United States, all staffed by practicing writers and poets, many of whom now also hold advanced degrees in creative writing. (shrink)