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Ralph Waldo Emerson's decision to quit the ministry, arrived at painfully during the summer and fall of 1832, was accompanied by illness so severe that he was forced to give up any immediate thought of a new career. Instead, in December, he embarked on a tour of Europe that was to take him to Italy, France, Scotland, and England. Within a year after his return in the fall in 1833, his health largely restored, he went to live in the town of Concord, his home from then on. The record of Emerson's ten months in Europe which makes up a large part of this book is unusually detailed and personal, actually a diary recording what Emerson saw and did as well as what he thought. He describes cities, scenes, and buildings that he found striking in one way or another and he gives impressions of the people he met. During his travels he made the acquaintance of Landor, of Lafayette, and of Carlyle, Wordsworth, and Coleridge, all of whom stimulated him. In Paris he was so much stirred by a visit to the Jardin des Plantes that he determined "to become a naturalist." On his return to America, still without a profession, he reverted in his journals to the more impersonal form they had taken in his days as a minister, focusing on his inner experiences rather than on external events. Notes start dotting the pages once again, this time not so much for future sermons--although for years he did a certain amount of occasional preaching as for the addresses of the public lecturer he would soon become. Through the thirty-four months covered by this volume, the journals continue to he the advancing record of Emerson's mind, demonstrating a growing maturity and firmness of style by compression and aphorism.
Practices of Surprise in American Literature After Emerson locates a paradoxical question - how does one prepare to be surprised? - at the heart of several major modernist texts. Arguing that this paradox of perception gives rise to an American literary methodology, this book dramatically reframes how practices of reading and writing evolved among modernist authors after Emerson. Whereas Walter Benjamin defines modernity as a 'series of shocks' inflicted from without, Emerson offers a countervailing optic that regards life as a 'series of surprises' unfolding from within. While Benjaminian shock elicits intimidation and defensiveness, Emersonian surprise fosters states of responsiveness and spontaneity whereby unexpected encounters become generative rather than enervating. As a study of how such states of responsiveness were cultivated by a post-Emerson tradition of writers and thinkers, this project displaces longstanding models of modernist perception defined by shock's passive duress, and proposes alternate models of reception that proceed from the active practice of surprise.
In his study of Romantic naturalists and early environmentalists, Dewey W. Hall asserts that William Wordsworth and Ralph Waldo Emerson were transatlantic literary figures who were both influenced by the English naturalist Gilbert White. In Part 1, Hall examines evidence that as Romantic naturalists interested in meteorology, Wordsworth and Emerson engaged in proto-environmental activity that drew attention to the potential consequences of the locomotive's incursion into Windermere and Concord. In Part 2, Hall suggests that Wordsworth and Emerson shaped the early environmental movement through their work as poets-turned-naturalists, arguing that Wordsworth influenced Octavia Hill’s contribution to the founding of the United Kingdom’s National Trust in 1895, while Emerson inspired John Muir to spearhead the United States’ National Parks movement in 1890. Hall’s book traces the connection from White as a naturalist-turned-poet to Muir as the quintessential early environmental activist who camped in Yosemite with President Theodore Roosevelt. Throughout, Hall raises concerns about the growth of industrialization to make a persuasive case for literature's importance to the rise of environmentalism.
Frank Lloyd Wright and Ralph Waldo Emerson: Transforming the American Mind is an interdisciplinary volume of literary and cultural scholarship that examines the link between two pivotal intellectual and artistic figures. It probes the degree to which the transcendentalist author influenced the architect’s campaign against dominant strains of American thought. Inspired by Emerson’s writings on the need to align exterior expression with interior self, Wright believed that architecture was not first and foremost a matter of accommodating spatial needs, but a tool to restore intellectual and artistic freedom, too often lost in the process of modernization. Ayad Rahmani shows that Emerson’s writings provide an avenue for interpreting Wright’s complex approach to country and architecture. The two thinkers cohered around a common concern for a nation derailed by nefarious forces that jeopardized the country’s original promise. In Emerson’s condemnations of slavery and inequality, Wright found inspiration for seeking redress against the humiliations suffered by the modern worker, be it at the hands of an industrial manager or an office boss. His designs sought to challenge dehumanizing labor practices and open minds to the beauty and science of agriculture and the natural world. Emerson’s example helped Wright develop architecture that aimed less at accommodating a culture of clients and more at raising national historical awareness while also arguing for humane and equitable policies. Frank Lloyd Wright and Ralph Waldo Emerson presents a new approach to two vital thinkers whose impact on American society remains relevant to this day.
In the eight regular journals and three miscellaneous notebooks of this volume is the record of fusions. This period of his life closes, as it opened, with 'acquiescence and optimism.'
The Treaty of Ghent signed in 1814, ending the War of 1812, allowed Americans once again to travel abroad. Medical students went to Paris, artists to Rome, academics to Göttingen, and tourists to all European capitals. More intrepid Americans ventured to Athens, to Constantinople, and even to Egypt. Beginning with two eighteenth-century travelers, this book then turns to the 25-year period after 1815 that saw young men from East Coast cities, among them graduates of Harvard, Yale, and Columbia, traveling to the lands of the Bible and of the Greek and Latin authors they had first known as teenagers. Naval officers off ships of the Mediterranean squadron visited Cairo to see the pyramids. Two groups went on business, one importing steam-powered rice and cotton mills from New York, the other exporting giraffes from the Kalahari Desert for wild animal shows in New York. Drawing on unpublished letters and diaries together with previously neglected newspaper accounts, as well as a handful of published accounts, this book offers a new look at the early American experience in Egypt and the eastern Mediterranean world. More than thirty illustrations complement the stories told by the travelers themselves.
Although Herman Melville’s Moby-Dick is beloved as one of the most profound and enduring works of American fiction, we rarely consider it a work of nature writing—or even a novel of the sea. Yet Pulitzer Prize–winning author Annie Dillard avers Moby-Dick is the “best book ever written about nature,” and nearly the entirety of the story is set on the waves, with scarcely a whiff of land. In fact, Ishmael’s sea yarn is in conversation with the nature writing of Emerson and Thoreau, and Melville himself did much more than live for a year in a cabin beside a pond. He set sail: to the far remote Pacific Ocean, spending more than three years at sea before writing his masterpiece in 1851. A revelation for Moby-Dick devotees and neophytes alike, Ahab’s Rolling Sea is a chronological journey through the natural history of Melville’s novel. From white whales to whale intelligence, giant squids, barnacles, albatross, and sharks, Richard J. King examines what Melville knew from his own experiences and the sources available to a reader in the mid-1800s, exploring how and why Melville might have twisted what was known to serve his fiction. King then climbs to the crow’s nest, setting Melville in the context of the American perception of the ocean in 1851—at the very start of the Industrial Revolution and just before the publication of On the Origin of Species. King compares Ahab’s and Ishmael’s worldviews to how we see the ocean today: an expanse still immortal and sublime, but also in crisis. And although the concept of stewardship of the sea would have been entirely foreign, if not absurd, to Melville, King argues that Melville’s narrator Ishmael reveals his own tendencies toward what we would now call environmentalism. Featuring a coffer of illustrations and an array of interviews with contemporary scientists, fishers, and whale watch operators, Ahab’s Rolling Sea offers new insight not only into a cherished masterwork and its author but also into our evolving relationship with the briny deep—from whale hunters to climate refugees.
“An extraordinary work of intellectual history as well as a scholarly tour de force, a bracing polemic, and a work of Christian prophecy...McCarraher challenges more than 200 years of post-Enlightenment assumptions about the way we live and work.” —The Observer At least since Max Weber, capitalism has been understood as part of the “disenchantment” of the world, stripping material objects and social relations of their mystery and magic. In this magisterial work, Eugene McCarraher challenges this conventional view. Capitalism, he argues, is full of sacrament, whether one is prepared to acknowledge it or not. First flowering in the fields and factories of England and brought to America by Puritans and evangelicals, whose doctrine made ample room for industry and profit, capitalism has become so thoroughly enmeshed in the fabric of our society that our faith in “the market” has become sacrosanct. Informed by cultural history and theology as well as management theory, The Enchantments of Mammon looks to nineteenth-century Romantics, whose vision of labor combined reason, creativity, and mutual aid, for salvation. In this impassioned challenge to some of our most firmly held assumptions, McCarraher argues that capitalism has hijacked our intrinsic longing for divinity—and urges us to break its hold on our souls. “A majestic achievement...It is a work of great moral and spiritual intelligence, and one that invites contemplation about things we can’t afford not to care about deeply.” —Commonweal “More brilliant, more capacious, and more entertaining, page by page, than his most ardent fans dared hope. The magnitude of his accomplishment—an account of American capitalism as a religion...will stun even skeptical readers.” —Christian Century
The title Ciphers of Transcendence reflects the philosophical interests of Patrick Masterson, Emeritus Professor of Philosophy of Religion, University College Dublin. Transcendence is a millefeuille term conveying layered and diverse nuances, from the first openness of human awareness towards the outside world, to the ultimate affirmation of and commitment to a loving and infinite Transcendent. Patrick Masterson has devoted his philosophical career to reflection upon the unfathomable nature of the latter, seeking to decipher instances and images of transcendence within the realm of limited human experience. Through teaching and writing he has shared with students and readers his deeply personal reflections on questions of primal importance. Patrick Masterson’s colleagues and students – all devoted friends – here offer, in return, their diverse perspectives. The essays deal in one way or another with transcendence, examined in dialogue with a roll call of thinkers across the ages, from ancient authors to medieval masters, modern giants to recent luminaries. The volume is enhanced by the inclusion of an essay by leading contemporary thinker Alasdair MacIntyre, and a poem from Seamus Heaney that evokes across the silence of solitude the tender presence of transcendence.