This thesis will be an attempt to gather together the important ideas set forth in Whitman's early writing which are to be found also in Emerson's lectures, essays, and poems written before 1855. It will attempt to show what Whitman might have gained from Emerson if he had had no other source, and if a creative intellect had not the power of originating its own ideas.

« I think that philosophy is still rude and elementary. It will one day be taught by poets.The poet is in the natural attitude; he is believing; the philosopher, after some struggle, havingonly reasons for believing. » Le propos de cette thèse consistera à étudier dans quelle mesurele poète pourrait, un jour, enseigner la philosophie. Pour mener à bien ce travail de recherche,il conviendra d’étudier les paradoxes de la poétique révélés par une lecture génétique del’oeuvre d’Emerson.Alors que Platon chassait le poète en dehors de la cité, Emerson souhaite lui redonnerune place de choix dans la société. Par la lecture du projet poétique formulé par Emerson,l’étude de ses poèmes dans un cadre de « longue durée » et l’analyse d’une poétique quis’éprouve dans la prose pour progressivement perdre la subjectivité dans l’impersonnel, ils’agira de mettre en lumière dans quelle mesure l’expressivité poétique peut être productriced’un discours philosophique. Il conviendra alors de revenir sur l’idée de transcendance, et del’ouvrir au dialogue avec celle d’immanence pour mettre en lumière les liens entre poésie etphilosophie. Dès lors, il faudra s’interroger sur le discours produit par l’écriture d’Emerson etse demander s’il y a création de concepts, et donc philosophie, telle que Deleuze la définit. Lapoétique d’Emerson pourra apparaître comme la propulsion d’une pensée philosophique,suspendue dans l’indicible. Dans ce travail derecherche, il sera question de comprendre comment la poétique participe du projetmétaphysique de reformulation de l’âme pour suggérer un discours de portée philosophiqueencore inapprochable. Cette dernière idée ouvrira la perspective de la création, si elle existe, duconcept de « poète-penseur » dont Nietzsche prendra la pleine mesure à la suite d’Emerson. / Does Ralph Waldo Emerson make a better essayist than a poet? For a majority of his readers, it seems to be so: Emerson’s poetic talents would be best expressed in prose. In any case, he would not personify the poet he describes in his famous essay “The Poet,” and we should turn to Whitman and Dickinson for avant-garde poetry. It is such an assertion that I wish to challenge in this study. To do so, I offer an architectonic exploration of Emerson’s poetics to surpass the simplistic oppositions between his poems and essays, and to show how the ones as well as the others come under poetics that outstrip their constructive paradoxes. This research is thus organized around three major paradoxes, whose solution depends on three offices Emerson all holds at once. The office of the archeologist allows to resolve the paradox of the tabula rasa: how are we to understand that Emerson repeatedly rejects the influence of the past while his work remains saturated with literary and philosophical references? The office of the architect allows to untangle the paradox of the poet: how are we to interpret the conflicting relationship between Emerson and the poetic persona, given that his poems do not seem to take account of the poetic principles that the great poet to come is obliged to respect? The office of the anarchist finally allows to shed light on the paradox of the subject: how are we to account for an absolutely free subject – the projected goal of Emerson’s poetic project – that would not be limited by the restring confines of textuality itself?

Thesis (Ph. D.)--University of Michigan. / "It is the aim ... of this dissertation to treat of Emerson's critical opinion of Goethe."--Pref. Bibliography: 195-197.

John Milton, par son œuvre polémique en prose, a exercé une influence importante d’abord sur les colonies américaines, et ensuite aux Etats-Unis. C’est autour de l’interprétation de son statut de Dissenter que se met en place la construction d’une figure d’identification qui traverse les époques, pendant la Révolution et la campagne abolitionniste notamment. Cette thèse cherche à identifier les mécanismes et les moments fondamentaux de cette transmission culturelle, à travers le parcours de plusieurs auteurs américains : le Quaker John Woolman, l’abolitionniste William Garrison, et le Transcendantaliste Ralph Waldo Emerson. On analysera comment l’évolution de la définition du dissent a permis à l’œuvre de Milton d’accompagner différents mouvements intellectuels américains. On verra comment, à partir de racines anglaises, les problématiques soulevées par Milton dans les années 1640 à 1660, ont pu frapper ses lecteurs transatlantiques comme étant pertinentes pour leur époque, et comment l’œuvre en prose de Milton a pu participer à la définition de la désobéissance civile. / : John Milton in his prose works had a deep influence in North America, first in the colonies, and then in the United States. His status as a Dissenter, subject to many interpretations, enabled him to remain relevant throughout the different stages of American history, allowing actors from the American Revolution or the abolitionist campaign to identify with him and his works. This dissertation aims at identifying the mechanisms and stages of this form of cultural transmission, through the study of several American authors: the Quaker John Woolman, the abolitionist William Lloyd Garrison, and the Transcendentalist Ralph Waldo Emerson. Rooted in the English Civil War, the issues raised by Milton between 1640 and 1660 nonetheless strike a chord within his American readers as germane to their time. This work shall also investigate how Milton’s prose work, through the shifting definitions of Dissent, directly influenced the concept of civil disobedience.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-27T17:23:07Z No. of bitstreams: 1 viniciuslaradacosta.pdf: 994952 bytes, checksum: 0dda58fd4114e6b4181d822a4f644f7c (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-28T10:51:02Z (GMT) No. of bitstreams: 1 viniciuslaradacosta.pdf: 994952 bytes, checksum: 0dda58fd4114e6b4181d822a4f644f7c (MD5) / Made available in DSpace on 2016-01-28T10:51:02Z (GMT). No. of bitstreams: 1 viniciuslaradacosta.pdf: 994952 bytes, checksum: 0dda58fd4114e6b4181d822a4f644f7c (MD5) Previous issue date: 2014-08-26 / Este texto analisa a obra “America Hispana”, publicada pelo escritor e ativista político norte-americano Waldo Frank em 1931. Os objetivos do trabalho englobam o pensamento de Frank em relação às origens e aos destinos da América Latina, bem como os processos através dos quais a obra foi redigida e pode ser considerada como uma espécie descrição da trajetória do próprio Frank enquanto intelectual engajado ansioso por reconhecimento. Segundo as palavras do autor, “America Hispana” pretende escrever “a história de um povo e não de personagens ou grupos de personagens ficcionais” como fizera em trabalhos anteriores. Por isso agrupou-o com outros três volumes sob o título de El nuevo mundo, e nos quais buscava reescrever a história do continente. Partindo da mitologia em torno da formação do continente americano busca identificar as características comuns e complementares entre os povos que habitam a América e construir uma grande narrativa épica em torno deles. As obras de Waldo Frank tiveram grande repercussão no meio intelectual e político da América espanhola até a década de 1950, quando suas ideias entraram em ocaso. / This text analyzes the work “America Hispana”, published by the writer and political activist American Waldo Frank in 1931. The objectives include the thought of Frank in relation to the origins and destinations of Latin America as well as the processes by which the work was written and may be regarded as a kind description of the trajectory of Frank himself while engaged intellectual eager for recognition . In the words of the author, “America Hispana” want to write "the story of a people, not characters or groups of fictional characters" as he had done in previous works. Therefore grouped it with other three volumes under the title El nuevo mundo, and in which he sought to rewrite the history of the continent. Starting from the mythology surrounding the formation of the American continent seeks to identify common and complementary characteristics between people who inhabit America and build a big epic narrative around them. The works of Waldo Frank had great impact on the intellectual and political landscape of Spanish America until the 1950s, when his ideas went into decline.

This study explores continuities in thought between Jonathan Edwards and Ralph Waldo Emerson by comparing their respective views on spiritual awakening. Their parallel ideas are discussed as results of similar perceptual dispositions which lead both to view awakening as an inner metamorphosis that leaves man less self-centered and more capable of a universal perception and appreciation of spiritual unity and beauty. Emphasized are parallels in Edwards's and Emerson's concepts of God, their views on the nature of awakening, their versions of preparation, and their thoughts about virtue and the awakened man. These continuities are also discussed as ideas that compose an underlying unity in American thought which unites the seemingly contradictory heritages of Puritanism and transcendentalism.

In the Midst of Spoils is a setting, for SATB choir and small instrumental ensemble, of the poem "Blight," by Ralph Waldo Emerson. Emerson's poem contrasts modern man's exploitative attitude toward nature with the more reverent attitude assumed by ancient or primitive cultures. This setting is in a single movement, approximately twenty minutes in duration, consisting of fifteen distinct sections.

Tesis para optar al grado de Magíster en Filosofía / El presente trabajo contempla el análisis comparado del rol de los estudios históricos en la conformación del individuo en ambos autores. Tanto Emerson como Nietzsche están en contra de una construcción del pasado que disminuya el valor del presente, sin embargo, en Nietzsche la historia no solo forma parte de la constitución del individuo, sino además una carga condicionante que no puede ser dejada de lado. La tesis es que ha sido esta preocupación por la historia la que hace que el pensamiento de Nietzsche pierda el carácter democrático y progresista que caracteriza al pensamiento de Emerson. Así, mientras el norteamericano dice que todos los seres humanos son la expresión de un alma común u oversoul, que puede ser entendida de manera casi panteísta, Nietzsche reserva las posibilidades de Self Reliance, es decir, de autoconfianza y autorrealización –usando un lenguaje más moderno- solo a los hombres superiores, de entre quienes deberá surgir el superhombre. La tesis sostiene que es la profundidad con la que Nietzsche considera la historia y la cultura lo que hace que entre estos autores surja esta diferencia fundamental.

The investigation concerns a 1982 suit brought by Texas novelist Benjamin Capps and his publishers against the author and publisher of an historical novel, Sacajawea, alleging that the book contained approximately 145 instances of copyright infringement. Parallel-column exhibits of passages from the novel by Anna Lee Waldo and from Capps's writings illustrate the evidence submitted in court. The publishing history of the novel, brought out by Avon Books, is related, as well as the story of readers' discoveries of suspicious material and the ultimate litigation. A comparison is made of the original novel and a revised edition published in 1984. Using the Sacajawea case as a reference point, the study considers the state of ethics in the contemporary literary world.

This dissertation comparatively analyzes the works of Ralph Waldo Emerson, a nineteenth century American, and Jorge Luis Borges, a twentieth-century Argentinian, within the context of human rights. Through their writings, both Emerson and Borges provided a voice to the voiceless by addressing the most egregious violations of human rights during their respective days: For Emerson, the most virulent social ill was slavery; for Borges, it was fascism. While Emerson and Borges differ in several ways, they are remarkably similar in their emphasis of natural laws and natural rights, notably egalitarianism and liberty, which underpin humanity and comprise an integral aspect of civilization. By counteracting the antithesis of civilization, barbarism, the works of Emerson and Borges ultimately embody the tenets that would ultimately constitute The Universal Declaration of Human Rights. Thus, Emerson and Borges are indelibly linked through serving as harbingers of human rights. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2019. / FAU Electronic Theses and Dissertations Collection