Download e-book for iPad: Aesthetic Individualism and Practical Intellect_American by Olaf Hansen

By Olaf Hansen

Addressing very important matters within the present revision of yank literary reports, Olaf Hansen includes out an exposition of yank writing as a philosophical culture. His extensive and comparative view of yankee tradition finds the significance of the yank allegory as a real creative and highbrow kind and as a different mode of notion quite 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 designated realization to the modernism of transcendental suggestion and to its caliber as a sound philosophy in its personal correct. keen on defining principles of self, selfhood, and subjectivity and with ethical culture as an act of constructing 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 via absolute objectivity nor by means of absolute subjectivity, it allowed hypothesis concerning the which means of truth 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

Example text

The forehead of the eminent doctor, his graying hair are splendidly exhibited in the kind of sacral light that suits the calm sur­ geon: master, after all, over life and death. Again, this part of the painting can be isolated and put into a his­ torical context that the rest of the painting and therefore the painting as a whole refuses to represent. In many respects the historical back­ ground of The Gross Clinic resembles that of the Dutch tradition of the group portrait, the shuckerstuck. Putting it into this tradition already means a removal from its real source of origin.

If we look for the influences that shaped Eakins's artistic development before his experiences in Paris, we will have to confine ourselves to his use of Rembrandt Peale's Graphics, a series of drawing manuals, and the exercises that Eakins did under the instructions given in those manuals. Indeed, his Drawing of Gears and Drawing of a Lathe, both of which are in the Hirschhorn Collection, refer us to the early photographs of mechanical objects, taken by Charles Sheeler during the rise of the American avant-garde.

His identity, then, is at stake, if the painting is going to be read correctly at all. There is no middle ground. CHAPTER 1 As if in confirmation of this point, most of the critics quoted showed a definite tendency to divide the image before them into elements that they liked (the head of the surgeon as a portrait) and those that they wanted out of the painting (the surgeon's bloody hands). The viewer, once he is willing to follow the path of his own reflections, will soon realize the analogy between the threat to his own identity in being si­ multaneously participant and observer, and the threat to the patient's identity as a victim and as someone to be restored to physical unity and health.

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