New PDF release: Aesthetic Individualism and Practical Intellect_American

By Olaf Hansen

ISBN-10: 069163551X

ISBN-13: 9780691635514

Addressing important concerns within the present revision of yankee literary reviews, Olaf Hansen includes out an exposition of yankee writing as a philosophical culture. His vast and comparative view of yank tradition finds the significance of the yank allegory as a real inventive and highbrow kind and as a unique mode of inspiration fairly fitted to show the philosophical legacy of transcendentalism. Hansen strains highbrow and cultural continuities and disruptions from Emerson via Thoreau and Henry Adams to William James, paying particular recognition to the modernism of transcendental idea and to its caliber as a legitimate philosophy in its personal correct. all in favour of defining rules of self, selfhood, and subjectivity and with ethical culture as an act of making order out of the cosmos, the yank allegory supplied a uncomplicated and often missed hyperlink among transcendentalism and pragmatism. Its "suggestive incompleteness" mixed in a hugely dialectic demeanour the essence of either enlightenment and romanticism. characterised neither by means of absolute objectivity nor via absolute subjectivity, it allowed hypothesis in regards to the which means of fact and approximately humankind's position in a realm of appearances.

Originally released in 1990.

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Extra resources for Aesthetic Individualism and Practical Intellect_American allegory in Emerson, Thoreau, Adams, and James

Sample text

Gross. . To say that this figure is a most admirable portrait of the distinguished surgeon would do it scant justice: we know of nothing in the line of portraiture that has ever been attempted in this city, or indeed in this country, that in any way approaches it. . The work, however, is something more than a collection of fine portraits; it is intensely dramatic, '? Parry Ellwood, "The Gross Clime," The Toronto Quarterly 32 (Winter 1969): 373. CHAPTER 1 and it is such a vivid representation of such a scene as must fre­ quently be witnessed in the amphitheatre of a medical school, as to be fairly open to the objection of being decidedly unpleasant to those who are not accustomed to such things.

2 Philosophy, in this sense, can only refer to his work, because we do not have any elaborated statements by Eakins on American art. There is no cogent statement on the nature of art from which we can quote; nothing, at least, in the sense of The Art Spirit by Robert Henri, who was a great admirer of Thomas Eakins, and who never missed an oc­ casion to point out the significance of his work. If we look at contemporary books on art, like those by James Jack­ son Jarves, The Art-Idea, and Art Thoughts, we will find that by their very orientation towards European art they make the sudden appear­ ance of a painting like The Gross Clinic rather more puzzling than not.

Matthiessen has paraphrased endeavors of that kind. Neither did Eakins stick to the rules of an acceptable kind of realism when doing The Gross Clinic. There is something altogether specific about the Gross Clinic, a quality of an orchestrated realistic rhetoric that transforms the historical moment into metaphysical time. It is, in fact, the very orchestration of the rhetoric of realism that causes this transforma­ tion. ) Apart from this element of mannered realism, how else does The Gross Clinic differ?

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