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A framework for the love of nature : Henry David Thoreau's construction of the Wild in Walden and the gift as an ethos for architectureSandstra, Theodore. January 1999 (has links)
No description available.
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Henry David Thoreau as a Social CriticFussell, Myra Beth 08 1900 (has links)
A study of Henry David Thoreau's opinions on religion, economics, politics, government, and major political issues of his time.
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Sound Imagery in "Walden" and Related WorksMaddux, Linda Darlene 12 1900 (has links)
Through careful analysis of sound in Walden with some attention to related works, this study demonstrates the three major facets of Thoreau's use of sound: first, an unusual aural sensitivity illustrated by his many varied sound images, which add concreteness and experiential immediacy; next, the depth of meaning that sound has as his metaphysical symbol in perception and expression of spiritual truth; finally, his effectiveness with such auditory devices as rhythm, alliteration, assonance, and onomatopoeia to achieve a poetic quality-. Of equal importance to Thoreau are the sounds of his writing and the sounds in his writing. Realizing the reality, depth, and texture Thoreau gives his prose through his remarkable treatment of sound increases one's appreciation of Walden as art and of Thoreau as literary artist.
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Games of circles : dialogic irony in Carlyle's Sartor resartus, Melville's Moby Dick, and Thoreau's WaldenChodat, Robert January 1995 (has links)
This thesis examines the connections between three frequently associated nineteenth-century texts, Carlyle's Sartor Resartus, Melville's Moby Dick, and Thoreau's Walden. It begins by reviewing the contexts normally offered for them, and then proposes an alternative one, "dialogic irony," that is based upon the complementary theoretical models of Friedrich Schlegel and Mikhail Bakhtin. After this conceptual background is outlined, the various modes of dialogic irony presented in the three works are discussed. That of Walden arises out of a close analogy between self and text: both are a series of inner voices juxtaposed with and often contradicting one another. Sartor complicates this relatively unobstructed form of selfhood through the inclusion of the Editor, whose unitary voice represents a challenge to the kind of selfhood sanctioned by Walden. Moby Dick also challenges dialogic irony, but its forms of opposition are more penetrating and various: while in Carlyle's text dialogic irony is ultimately affirmed through the figure of Teufelsdrockh, Ishmael is left stranded and displaced by the multitude of voices in his text. Melville's work therefore provides an excellent way to review and critique some of the prevailing assumptions about dialogue in contemporary criticism, a task sketched in the conclusion.
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The importance of consciousness and the mind/body problem exploring social systems of containment in 19th century American literature /Lang, Christopher T. January 2006 (has links)
Thesis (M.A.)--Kutztown University of Pennsylvania, 2006. / Source: Masters Abstracts International, Volume: 45-06, page: 2833. Typescript. Abstract precedes thesis as 1 leaf (iii). Includes bibliographical references (leaves 461-474).
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A Universal and Free Human Nature: Montaigne, Thoreau, and the Essay GenreTapley, Lance January 2002 (has links) (PDF)
No description available.
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Games of circles : dialogic irony in Carlyle's Sartor resartus, Melville's Moby Dick, and Thoreau's WaldenChodat, Robert January 1995 (has links)
No description available.
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Le désir de solitude et l'expérience de la nature chez Rousseau et ThoreauHenri, Tommy 27 January 2024 (has links)
Le désir de solitude est omniprésent dans l'œuvre de Jean-Jacques Rousseau et de Henry David Thoreau. Dans leurs cas, elle s'accompagne d'une expérience de la nature. Ce mémoire propose une étude des raisons qui poussent ces deux auteurs à rechercher cette solitude. Le premier chapitre analyse la solitude originelle évoquée dans le Discours sur l'Origine et les Fondements de l'Inégalité parmi les Hommes. Rousseau y vante le mode de vie solitaire et autosuffisante de l'homme du pur état de nature. Nous verrons dans le deuxième chapitre, comment l'auteur explique dans les Lettres à Malesherbes et les Rêveries du promeneur solitaire sa nature solitaire et le rôle accessoire de la nature. Dans le troisième, nous examinons ses Confessions où il exprime son désir de vivre éloigné des hommes qui le tourmentent. Le quatrième chapitre est consacré à Thoreau et son désir de vivre une vie indépendante et délibérée en pleine nature. Il explique ce désir dans son livre bien connu Walden. Le cinquième chapitre se concentre sur les excursions de Thoreau.
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Death in American LettersTrigg, Christopher Peter 05 December 2012 (has links)
This dissertation examines American attitudes towards death from the colonial era to the end of the nineteenth century. I begin with a close analysis of the thanatology of the Congregational church in New England, before demonstrating the lasting influence of Puritan thought on three later writers: Jonathan Edwards, Henry David Thoreau and Stephen Crane. In contrast to purely cultural studies of mortality in America (including those by Phillipe Ariès, David Stannard and Michael Steiner), my investigation discusses the philosophical difficulties that obstruct any attempt to speak about death. Building on Jacques Derrida’s work in Aporias (1993), I identify three logical impasses that interrupt Puritan writing on mortality: the indeterminacy, singularity and finality of death. While Edwards, Thoreau and Crane write in different circumstances and diverse genres, I argue that they are sensitive to these same three aporias when they discuss death. In this regard, they resist a broader post-Puritan tendency (in both scientific and sentimental texts) to minimize the uncertainties surrounding human mortality and approach death as a universal (rather than radically singular) phenomenon.
While my study situates each of its authors in the cultural and intellectual contexts in which they worked, it also challenges the notion that it is possible to write a history of death. Speaking strictly, mankind’s relationship to death can never change. It is always, in fact, a non-relation. The very idea of death destabilizes our most fundamental historical and literary assumptions. Accordingly, my second chapter uses a deconstruction of Edwards’ theory of revivalism to argue that the New-England awakenings of the eighteenth century expressed the converts’ desire to renounce responsibility for their souls, rather than accept it. In my third chapter, I argue that those writings in which Thoreau registers what might seem to be a nihilistic fascination with dead and decaying bodies in fact express a sentimental desire for a peaceful death. Chapter four reads Stephen Crane’s poetry, fiction and journalism in the context of his Calvinist heritage, breaking down the distinction between his textual play with the concept of death and the Puritans’ “serious” attempts to come to terms with mortality.
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Death in American LettersTrigg, Christopher Peter 05 December 2012 (has links)
This dissertation examines American attitudes towards death from the colonial era to the end of the nineteenth century. I begin with a close analysis of the thanatology of the Congregational church in New England, before demonstrating the lasting influence of Puritan thought on three later writers: Jonathan Edwards, Henry David Thoreau and Stephen Crane. In contrast to purely cultural studies of mortality in America (including those by Phillipe Ariès, David Stannard and Michael Steiner), my investigation discusses the philosophical difficulties that obstruct any attempt to speak about death. Building on Jacques Derrida’s work in Aporias (1993), I identify three logical impasses that interrupt Puritan writing on mortality: the indeterminacy, singularity and finality of death. While Edwards, Thoreau and Crane write in different circumstances and diverse genres, I argue that they are sensitive to these same three aporias when they discuss death. In this regard, they resist a broader post-Puritan tendency (in both scientific and sentimental texts) to minimize the uncertainties surrounding human mortality and approach death as a universal (rather than radically singular) phenomenon.
While my study situates each of its authors in the cultural and intellectual contexts in which they worked, it also challenges the notion that it is possible to write a history of death. Speaking strictly, mankind’s relationship to death can never change. It is always, in fact, a non-relation. The very idea of death destabilizes our most fundamental historical and literary assumptions. Accordingly, my second chapter uses a deconstruction of Edwards’ theory of revivalism to argue that the New-England awakenings of the eighteenth century expressed the converts’ desire to renounce responsibility for their souls, rather than accept it. In my third chapter, I argue that those writings in which Thoreau registers what might seem to be a nihilistic fascination with dead and decaying bodies in fact express a sentimental desire for a peaceful death. Chapter four reads Stephen Crane’s poetry, fiction and journalism in the context of his Calvinist heritage, breaking down the distinction between his textual play with the concept of death and the Puritans’ “serious” attempts to come to terms with mortality.
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