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By Olaf Hansen

Addressing very important matters within the present revision of yankee literary reviews, Olaf Hansen incorporates out an exposition of yank writing as a philosophical culture. His huge and comparative view of yankee tradition finds the significance of the yank allegory as a real inventive and highbrow kind and as a different mode of suggestion rather suited for exhibit the philosophical legacy of transcendentalism. Hansen lines highbrow and cultural continuities and disruptions from Emerson via Thoreau and Henry Adams to William James, paying detailed cognizance to the modernism of transcendental notion and to its caliber as a legitimate philosophy in its personal correct. excited about defining rules of self, selfhood, and subjectivity and with ethical culture as an act of constructing order out of the cosmos, the yankee allegory supplied a simple and regularly 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 through absolute subjectivity, it allowed hypothesis concerning the which means of fact and approximately humankind's position in a realm of appearances.

Originally released in 1990.

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Additional info for Aesthetic Individualism and Practical Intellect_American allegory in Emerson, Thoreau, Adams, and James

Example text

He will return to the scene as a whole in order to understand what exactly he is seeing. Obviously an operation is being performed; but what is the position of the patient? As Sylvan Schendler has summed it up: Something else disturbed genteel Philadelphia. In the better known of Rembrandt's anatomy lessons, The Anatomy of Dr. Tulp, the corpse is stretched out from right to left on the canvas, its loins covered with a cloth, and although it is seen from below and foreshortened, it causes no difficulty to the spectator.

Introduction particular tradition of American allegorical thought and its specific role in the development of the Amerian cultural history in general. To what extent the American nineteenth century was to a greater or lesser degree participant in an international cultural development is a question of interpretation and obviously an implicit theme within the context of our own argument. But without preempting the interpre­ tative bias of our choice it should be emphasized, given the back­ ground mentioned above, that our primary concern is the dialectical function of the American allegory as a cultural force sui generis.

And at the height of this intellectual passion he is almost lost to feeling. . For the Philadelphia of the time, the heroic painting might celebrate great men of great events, preferably military or political. . To picture any surgeon splat­ tered with blood, the bloody scalpel in his bloody hands, was an offense to an audience which wished to be ennobled by other sorts of images. Blood could be expected in a battle scene but not in a work that spoke so strongly of the pains of mortality. 21 After summing up many reasons for the hostile reaction of Eakins's audience, Schendler comes to the conclusion that in the case of Eakins, we are once more confronted with the virtually classic fate of the artist in America.

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