This essay aims to identify a semiotic consciousness found in New England Transcendentalism, consisting of the worldview that signs are pervasively present throughout nature and society. It finds that this worldview exists as a historical strand of thought stretching through the 19th century and, ultimately, further beyond, thereby making up an early movement in American semiotics. In this context, I furthermore see Transcendentalist thought informing the backdrop of Charles Peirce’s groundbreaking theory of signs later in the century, especially his metaphysical (...) claims about a “universe... perfused with signs”1 (1906: EP 2.394). In order to bring into full view the presence of a semiotic consciousness in Transcendentalism, I first address the intellectual history and genealogical roots that helped shape the minds of the Transcendentalists. Relevant influences include those both local to New England and imported from abroad, in particular the theologies of Jonathan Edwards and of Emanuel Swedenborg. Next, I directly examine the ideas of the figurehead of the Transcendentalist movement, Ralph Waldo Emerson, together with his Concord peers, Amos Bronson Alcott and Henry David Thoreau. Taking them as my case studies, I track the different ways a like-minded interest in signs takes shape within their individual projects. Focus-ing on their descriptions of nature, we find it in their experiences of the natural environment, their understanding of phenomena as representational and poetic, and their belief in the dialogical sharing of ideas across minds and species. Along the way, I further work out some of the aspects of a general theory of signs identifi-able within the Transcendentalist perspective, as well as distinguish it from other theoretical alternatives. Ultimately, I contend that the Transcendentalists held a similar idea of nature existing as a sign representing deep and varied meanings. (shrink)

This book proposes an original philosophy of nature, contributes to our understanding of two of America’s greatest philosophers, Ralph Waldo Emerson and Charles S. Peirce, and examines the philosophical expressions of the art of nineteenth-century American landscape painting.

In this paper, I present a detailed interpretation of Peirce’s cosmogony about the origin of the universe and its evolutionary development. This involves bringing together and making sense of Peirce’s disconnected statements on cosmology, which are scattered throughout his writings and which sometimes employ different terminologies. Furthermore, it shall involve identifying the categories of firstness, secondness, and thirdness that govern its conceptual structure, and ultimately the metaphysical structure of the universe to which it refers. Attending to the categories at play (...) here reveals the basic “logic” of Peirce’s theory from which its rational coherence is discernable. As such, it may be argued that given.. (shrink)

Although Charles Peirce only rarely applied his semeiotic principles to art, his ideas are highly informative for contemplating the exchange of qualitative meaningin the iconic signs constitutive of art. Reflecting on Peirce’s theory of the icon, three hypo-iconic sub-types, the formative role of the sign-interpretant, and the metaphysical “qualisignificance” of a universe “perfused with signs”, I provide some theoretical notes toward sketching a semeiotic of art. Further illustrative of a Peircean semeiotic of art is the American painting of the Hudson (...) River School and the modern poetry of Wallace Stevens that progressively advance its insights in their own beautiful signs. These philosophers and artists have intellectual roots in Emerson’s transcendentalism with its Neoplatonic legacy, and together form a unique American strand of aesthetics. (shrink)

The Mind and Heart of Ralph Waldo Emerson in World Perspective All serious readers of Emerson’s writings will gain insight from Joseph Urbas’s “historical reconstruction” of Emerson’s bottom-line philosophical commitments. By closely engaging an exceptionally wide breadth of primary material – one simply unseen in previous philosophical interpretations of Emerson – The Philosophy of Ralph Waldo Emerson brings to bear the weight of his published and unpublished corpus on the topics of metaphys...

In multiple autobiographical sketches, Charles S. Peirce identifies New England Transcendentalism as an essential part of his intellectual biography. A well-known instance is the passage opening "The Law of Mind" that identifies the setting of his childhood and early education within "the neighborhood of Concord": I may mention, for the benefit of those who are curious in studying mental biographies, that I was born and reared in the neighborhood of Concord,—I mean in Cambridge,—at the time when Emerson, Hedge, and their (...) friends were disseminating the ideas that they had caught from Schelling, and Schelling from Plotinus, from Boehm, or from God knows what minds stricken with the monstrous mysticism of the East.... (shrink)

travel, emerson often insisted, is only for the fool-hearted. He said it so many times in his popular essays and public lectures, he had actually gained a reputation for it. [It] is a fool's paradise. Our first journeys discover to us the indifference of places. At home I dream that at Naples, at Rome, I can be intoxicated with beauty, and lose my sadness. I pack my trunk, embrace my friends, embark on the sea, and at last wake up in (...) Naples, and there beside me is the stern fact, the sad self, unrelenting, identical, that I fled from. I seek the Vatican, and the palaces. I affect to be intoxicated with sights and suggestions, but I am not intoxicated. My giant goes with me wherever I go.... (shrink)

Ecstatic naturalism and classical American philosophy both emphasize the creative possibilities of nature and expound metaphysical views in support of them. Ecstatic naturalism proposes that the creative transformations witnessed at the level of nature natured are sustained and empowered by nature naturing, which consists in innumerable “potencies.” This view has a historical precedence in Charles Peirce’s evolutionary cosmology, most notably in its cosmogonic stage of a “Platonic world” that consists in innumerable aesthetic potentialities. While Peirce’s cosmological position shares some affinities (...) with ecstatic naturalism, it nonetheless proposes its own unique theoretical stance on the creativity of.. (shrink)

In 1887 the Open Court Publishing Company had its founding in a philosophy of monism. The company’s proprietor Edward C. Hegeler began the enterprise in an effort to promote his personal philosophic, religious, and moral ideas. He believed that these ideas could be conciliated with the growing scientific trends of the late nineteenth century, and that monism was the intellectual framework for doing so. Paul Carus, the editor of the journals The Open Court and The Monist, joined Hegeler as an (...) intellectual ally in this regard. For thirty years he openly defended the doctrines of monism in countless articles and books, successfully grounding the Open Court on this philosophy. This paper uncovers the historical development of the philosophical origin of the Open Court as it began with Hegeler’s personal religious motives, his ideological tension with the original editor Benjamin Underwood, and his embrace of the monistic writings of Paul Carus. It also examines Hegeler’s and Carus’s publications and personal letters from the 1880s and 1890s in order to determine the fundamental doctrines of their unique sense of monism. In Carus’s writings in particular is proposed a monism of causality that is compatible with a deterministic worldview and a unitary conception of the sciences. Also, both Carus and Hegeler propose a monistic ethics of meliorism that conceives the diverse periods of human history to be evolving toward the one final end of the moral improvement of humankind. While these are the positive doctrines that they accept, they further reject the antitheses of philosophical dualism and irreligious attitude of agnosticism of all varieties. (shrink)

Na história da filosofia americana, há um filão de pensamento sobre os signos na natureza. Animais, insetos, árvores, flores, o clima, paisagens e a noite estrelada são todos encontrados expressivos de diversos significados. Além disso, esses fenômenos naturais são considerados por pensadores, como Ralph Waldo Emerson e Charles S. Peirce, como dotados de um caráter representativo no seu núcleo ontológico. A minha apresentação baseia-se nesta tradição, explorando a semiose da natureza em toda a sua extensão e no que diz respeito (...) ao seu ser fundamental. O seu objetivo é desvendar alguns fundamentos metafísicos que apoiariam a semiose universal, bem como defender a primazia de uma dimensão estética no centro da atividade semiótica. (shrink)

My thesis is that there is an aesthetic dimension of nature that is metaphysically significant, qualitatively pluralistic, and artistically creative, and that this accounts for the sensuous complexity of experience, as well as the possibility of discovering new qualitative features about the world and expressing them in novel forms, as exemplified in art. I call the philosophy that endorses the reality of this dimension Transcendentalist Aesthetics. The term "Transcendentalist" recalls the philosophy of New England Transcendentalism with its core in Ralph (...) Waldo Emerson, and which influenced the philosophical writings of Charles S. Peirce and the art of the nineteenth-century American landscape painters of the Hudson River School and Luminism. The primary overall goal is to present and argue for a Transcendentalist Aesthetics by making use of the philosophy of Emerson and Peirce, together with the writings and landscapes of the painters. More specifically, Emerson's claims about nature and art and the painters' representations of nature provide various poetic observations of nature that provide an empirical starting point concerning the rich aesthetic complexity of the world. This complexity finds a theoretical ground in Peirce's metaphysical cosmology, which presents a rationally coherent account of the greater structures and processes of the universe while possessing important aesthetic consequences for lived experience and art. The landscape paintings also have a role in that they are expressive of the Transcendentalist philosophy itself, serve as case studies for theoretical interpretation, and are concrete evidence that new qualitative features about the world may be discovered and realized in novel artistic ways. (shrink)