Ralph Waldo Emerson

This text is a review of Joseph Urbas's Emerson's Metaphysics: A Song of Laws and Causes (Lexington Books, 2016). In this book, Urbas proposes a reconstruction of the metaphysics of the American poet, essayist, and self-defined philosopher Ralph Waldo Emerson. According to Urbas, Emerson has a coherent metaphysics, the fundamental principle of which is the category of causation. Reacting to David Hume, Emerson would have deliberately emphasized causation, connection, relation, tie, link, and so on. Emerson is thus characterized as a (...) "causationist" and his philosophy is considered a "causationism." Urbas also argues — against other prevalent interpretations — that Emerson's philosophy is part of the New England "ontological turn" and that it is best understood as a "metaphysical realism" of both particulars and universals alike. I examine these lines of argumentation and propose a couple of critical remarks concerning Emerson's relations to Goethe and Francis Ellingwood Abbot. (shrink)

A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.

This essay presents an approach to understanding improvised music, finding in the work of certain outstanding jazz musicians an emblem of Ralph Waldo Emerson's notion of self-trust and of Stanley Cavell's notion of moral perfectionism. The essay critiques standard efforts to interpret improvised solos as though they were composed, contrasting that approach to one that treats the procedures of improvisation as derived from our everyday actions. It notes several levels of correspondence between our interest in jazz improvisations and the particular (...) demands of Emerson's writing, and ends by considering how exemplary moments of instruction in jazz are expressive of Emersonian self-trust. (shrink)

Despite their differences, Ludwig Wittgenstein, Ralph Waldo Emerson, and Leo Strauss share two key philosophical commitments. They recognize that philosophy cannot establish or discover a conceptual structure to which one might appeal to justify what one says. And they agree that the task of philosophical writing is to convey a way of thinking set apart from that which seeks to establish or discover conceptual structures. Yet each knows that his writing, in the absence of a universal ground of appeal, will (...) mostly fail to convey that way of thinking, and so will be, to that extent, esoteric. What differentiates them is their rendering of philosophy's inherent esotericism. -/- Wittgenstein's late interest in aspect-seeing and aspect-blindness grows out of his well-documented despair that his writing would fall before uncomprehending eyes. The correlation here rests on noticing, contra Stephen Mulhall, that Wittgenstein's aspect-seeing remarks are inspired by aesthetic matters, not least by the 'subjective universality' of aesthetic judgments. Indeed, Wittgenstein's appeals to grammatical criteria are rightly understood, not as appeals to rules in a game, but as cousin to the form of justification in aesthetics. But then, as in aesthetic justification, there may be no reason for a speaker's inability to convey to another the connections he or she may see. Emerson, whose approach to writing comes into view alongside parallel strategies in jazz and film, begins with the fact that he can write the way he does---relying on the transformative possibilities of words whose multiple meanings he acquired the way anyone does---and concludes that no one is precluded from finding in his writing a model for transforming thinking. Strauss begins with the fact that esoteric writing works the way it does---conveying the writer's true thoughts to some while withholding them from the majority---and concludes that such writing reveals a natural order of rank among readers. Yet nothing in the nature of writing philosophy as Strauss understands it compels one, in the end, to accept Strauss's conclusion. (shrink)

A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.

A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.

This article examines Stanley Cavell's method of reading Emerson—and finds it wanting in rigor and fidelity to the original. Though Cavell declares himself to be among those who "care about the Emersonian text," who are "concerned to preserve the order of words of the Emersonian text," there is a substantial amount of evidence that this is not always the case. A close reading of Cavell's readings of Emerson reveals a pattern of misconstrual and misquotation whose effect is to strip away (...) the "otherness" of Emerson's words and further the project of refashioning him as a secular, skeptical, postmetaphysical thinker. (shrink)

There is a traditional interpretation of the work of Ralph Waldo Emerson that portrays him as a champion of nature, wilderness, or country life and an opponent of the city, technology, or urban life. Such a view, though, neglects the role of human activity in the universe as Emerson saw it. Furthermore, this view neglects the proper relation between soul and nature in the universe and risks entailing a philosophy of materialism--an unacceptable position for Emerson. An examination of Emerson's philosophy (...) will show that it is not fundamentally hostile to urban life or technology, and that, in fact, an anti-urban position is opposed to the most central themes of Emerson's philosophical vision. (shrink)

This study aims to highlight some major aspects of Emersonian skepticism while at the same time showing their deep links with the philosophy of Montaigne. In doing so, it does not rely solely on the well-known essay “Montaigne; or, the Skeptic” (1850), but it tries to articulate its content and other works of Emerson, in order to enrich and refine the moral and anthropological meanings of his skeptical attitude.

This text is a review of Joseph Urbas's Emerson's Metaphysics: A Song of Laws and Causes (Lexington Books, 2016). In this book, Urbas proposes a reconstruction of the metaphysics of the American poet, essayist, and self-defined philosopher Ralph Waldo Emerson. According to Urbas, Emerson has a coherent metaphysics, the fundamental principle of which is the category of causation. Reacting to David Hume, Emerson would have deliberately emphasized causation, connection, relation, tie, link, and so on. Emerson is thus characterized as a (...) "causationist" and his philosophy is considered a "causationism." Urbas also argues — against other prevalent interpretations — that Emerson's philosophy is part of the New England "ontological turn" and that it is best understood as a "metaphysical realism" of both particulars and universals alike. I examine these lines of argumentation and propose a couple of critical remarks concerning Emerson's relations to Goethe and Francis Ellingwood Abbot. (shrink)

(Bibliography) Includes bibliographical references (p. 181-196) and index.

Resistance movements have traditionally posited a logocentric reality to counter the prevailing structure of dominance. This element of opposition--in the humanities it has been a transhistorical nature and self--is characterized as a preideological essence. Whether this identity is a worker, a woman, the coherent individual, or nature, the tendency has been to use it as a cultural critique as well as an ontologically superior source for representation in literature and for recasting the shape of society. In the process, however, resistance (...) movements tend to replicate--by their participation in logocentricity--the problems of exclusion, hierarchy, mystification, and authority that they initially oppose. ;Examining the use that Emerson, Melville, Jeffers and Snyder make of the term "nature" provides a structure for discussing the problem of attempting to establish a point outside of the text. In addition, the use of nature has a specific role in relation to particular historical moments--nineteenth-century expansion; World War II; and Vietnam--in the works of these writers. ;Emerson is an often referenced source as an example of the oppositional spirit. One finds, however, that his attempt to depoliticize nature results in a centering of anthropocentric concerns. His treatment of the term exposes the criss-crossing of cultural currents and the attempt to locate power. As a result, Emerson inadvertently serves the interests of empire within a rhetoric of freedom. ;Melville probes the possibilities of nature as a ground and finds that the aesthetics of doubleness suggests political contradiction, epistemological relativity, and the will to power. Melville also explores the political and particularly male usages of metaphor. ;Jeffers and Snyder continue to work against a human centered form of resistance and representation. Jeffers posits women and nature against a patriarchal world of violence and narcissism. While tending to posit an essentialist concept of nature, Jeffers nevertheless sets the stage for a nonfoundationalist ecofeminism. Snyder appropriates this framework and, with the help of Hopi myth and Buddhist teachings, moves closer to a resistance that challenges without reference to authority. (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.

Conventional wisdom concerning the intellectual relation between Ralph Waldo Emerson, America’s first public intellectual, and William James, arguably Emerson’s greatest philosophical progeny, has tended to follow a path of invidious comparison. “Literary critics admit his philosophy and deny his literature,” John Dewey notes in characterizing this tendency in an address delivered during the Emerson centenary celebrations in 1903. “And if philosophers extol his keen, calm art and speak with some depreciation,” he adds, “it also is perhaps because Emerson knew something (...) deeper than our conventional definitions”. In more recent decades, critics in both philosophy and literary studies, rather than... (shrink)

Ralph Waldo Emerson, an important figure in the popular understanding of America has been rediscovered by scholars and critics, yet there has been no critical study of Emerson's relation to traditional nineteenth-century questions about ethics and epistemology. In Emerson's Epistemology David Van Leer turns to this unexplored area of Emerson's philosophy and especially to the problem of his relation to the central intellectual issue of his age - the transcendental idealism of Immanuel Kant. Although Emerson would throughout his life try (...) a number of vocational roles, he considered himself primarily a thinker. He saw his roles as poet and prophet as versions of the more fundamental one of philosopher. Thus an understanding of Emerson's relation to traditional problems about the theory of knowledge clarifies not only the arguments of the specific essays, but the shape of his complex career. (shrink)

Ralph Waldo Emerson is one of the most significant figures in nineteenth-century American literature and culture-indeed, this collection argues, in the history of philosophy. The Other Emerson is a thorough reassessment of the philosophical underpinnings, theoretical innovations, and ethical and political implications of the prose writings of one of America's most enduring thinkers. Considering Emerson first and foremost as a daring and original thinker, _The Other Emerson_ focuses on three Emersonian subjects-subjectivity, the political, and the nature of philosophy-and range in (...) topic from Emerson's relationships to slavery and mourning to his place in the development of Romanticism as reread by contemporary systems theory. It is Emerson's appreciation of truth's instability that link him to the European philosophical tradition. Contributors: Eduardo Cadava, Princeton U; Sharon Cameron, Johns Hopkins U; Russell B. Goodman, U of New Mexico; Paul Grimstad, Yale U; Eric Keenaghan, U at Albany, SUNY; Gregg Lambert, Syracuse U; Sandra Laugier, Université de Picardie Jules Verne; Donald Pease, Dartmouth College. (shrink)

This book is Stanley Cavell’s definitive expression on Emerson. Over the past thirty years, Cavell has demonstrated that he is the most emphatic and provocative philosophical critic of Emerson that America has yet known. The sustained effort of that labor is drawn together here for the first time into a single volume, which also contains two previously unpublished essays and an introduction by Cavell that reflects on this book and the history of its emergence. Students and scholars working in philosophy, (...) literature, American studies, history, film studies, and political theory can now more easily access Cavell’s luminous and enduring work on Emerson. Such engagement should be further complemented by extensive indices and annotations. If we are still in doubt whether America has expressed itself philosophically, there is perhaps no better space for inquiry than reading Cavell reading Emerson. (shrink)

The long ignored philosophical content of Emerson's writings has recently emerged as a central topic in Emerson studies. In _Emerson's Pragmatic Vision_, David Jacobson enters the discussion, placing Emerson in a line of philosophers from Kant and Hegel to Heidegger and Derrida, and adding to our understanding of his philosophical appropriations and anticipations. In the process Jacobson shows how Emerson grappled not only with basic issues of philosophy but eventually with the value of philosophical discourse itself. Conceiving Emerson's writings as (...) reflective of a continuous inquiry into the fundamental question that motivates philosophy and guides reason—the question of Being—Jacobson traces his movement through philosophical humanism and anti-humanism to his identification of a philosophy founded on a reconceptualization of individual practice. _Emerson's Pragmatic Vision_ depicts not two Emersons but three. Between the early humanist confidence in self-reliance and the late embrace of fate, Jacobson identifies a transitional period, enunciated in the stark lecture, "The Method of Nature", and typified by the pessimism and humanist nostalgia of "Experience." The doctrine of fate, Emerson's mature pragmatic philosophy, is presented as a response to this period in which is found Emerson's retrieval of a philosophical posture rooted in obedience to the eloquence of the practice of life. (shrink)

Emerson’s adoration of Plato began early in his life, and it hardly waned as he ages. His habit of regularly reading Platonic dialogues began before he matriculated at Harvard, and in 1822, at the age of nineteen, he concluded that Plato possessed two important characteristics: “intimate familiarity with the profoundest principles of philosophy, and at the same time a power to express them with the most perfect simplicity”. Emerson’s fascination with the connection between ideas and expression in Plato persists long (...) after his time at Harvard. Just as he launches his career as a lecturer, Emerson immerses himself in a fervent examination of Plato’s work. Library lending records indicate that Emerson.. (shrink)

The transcendentalist movement is generally recognized to be the first major watershed in American literary and intellectual history. Pioneered by Emerson, Thoreau, Orestes Brownson, Margaret Fuller, and Bronson Alcott, Transcendentalism provided a springboard for the first distinctly American forays into intellectual culture: religion and religious reform, philosophy, literature, ecology, and spiritualism. This new collection, edited by eminent American literature scholar Joel Myerson, is the first anthology of the period to appear in over fifty years. Transcendentalism: A Reader draws together in (...) their entirety the essential writings of the Transcendentalist group during its most active period, 1836-1844. It includes the major publications of the Dial, the writings on democratic and social reform, the early poetry, nature writings, and all of Emerson's major essays, as well as an informative introduction and annotations by Myerson. (shrink)

Professor Konvitz explores Emerson’s critique of history, its impact on human lives in the present, and its relation as a continuum in the evolution of man’s understanding of universal moral principles. Man makes his own history, asserts Emerson. Rather than being fixed and permanent, history evolves in response to man’s interest and selectivity. History is only that part of the past that is usable to us and the rest has no significance. Therefore, Emerson is critical of those whose lives are (...) governed by the past and suggests that it is necessary to live in the present, using the past only to enhance the experiences of the present. Professor Konvitz develops these themes by extensive quotations and examples. He then explores Emerson’s view that just as there are laws in the natural world or the physical realm, there are also laws that must work in the moral realm, that, when discovered, move mankind forward. (shrink)

To understand William James’s pluralism, suggests Professor Konvitz, one must understand the influence of Emerson’s view of evil. Emerson postulates that every evil is utilized in some way for good, and there is an inevitability of good winning out. James, Professor Konvitz argues, rebels against such optimism. For Emerson, the concept of evil contradicts his belief in the infinite capacity of mankind and his belief in the religious tradition that God the Creator creates only good. Konvitz then relates this view (...) of God to Emerson’s acceptance of the concept of the universal spiritual totality or the Over-Soul and explains why, in this spiritual oneness, there could be no room for actual evil. William James is introduced with a brief biographical sketch of his work as a physiologist, a psychologist, and finally a philosopher interested in religion. (shrink)