Transcendentalism is an American literary, political, and philosophical movement of the early nineteenth century, centered around Ralph Waldo Emerson. Other important transcendentalists were Henry David Thoreau, Margaret Fuller, Amos Bronson Alcott, Frederic Henry Hedge, and Theodore Parker. Stimulated by English and German Romanticism, the Biblical criticism of Herder and Schleiermacher, and the skepticism of Hume, the transcendentalists operated with the sense that a new era was at hand. They were critics of their contemporary society for its unthinking conformity, and urged (...) that each individual find, in Emerson's words, “an original relation to the universe”. Emerson and Thoreau sought this relation in solitude amidst nature, and in their writing. By the 1840s they, along with other transcendentalists, were engaged in the social experiments of Brook Farm, Fruitlands, and Walden; and, by the 1850's in an increasingly urgent critique of American slavery. (shrink)

A new ethics of human finitude developed through three experimental essays. As ethical beings, we strive for lives that are meaningful and praiseworthy. But we are finite. We do not know, so we hope. We need, so we trust. We err, so we forgive. In this book, philosopher John T. Lysaker draws our attention to the ways in which these three capacities—hope, trust, and forgiveness—contend with human limits. Each experience is vital to human flourishing, yet each also poses significant personal (...) and institutional challenges as well as opportunities for growth. Hope, Trust, and Forgiveness explores these challenges and opportunities and proposes ways to best meet them. In so doing, Lysaker experiments with the essay as a form and advances an improvisational perfectionism to deepen and expand our ethical horizons. (shrink)

I argue that Nietzsche’s criticism of the Kantian theory of disinterested pleasure in beauty reflects his own commitment to claims that closely resemble certain Kantian aesthetic principles, specifically as reinterpreted by Schiller. I show that Schiller takes the experience of beauty to be disinterested both (1) insofar as it involves impassioned ‘play’ rather than desire-driven ‘work’, and (2) insofar as it involves rational-sensuous (‘aesthetic’) play rather than mere physical play. In figures like Nietzsche, Schiller’s generic notion of play—which is itself (...) influenced by Kant’s claim that aesthetic pleasure is orthogonal to desire-satisfaction—becomes decoupled from his (further) Kantian view that aesthetic play essentially involves a harmony of sensuous receptivity and rational spontaneity. The result, I suggest, is a self-standing opposition between desires and passions. This motivates a recognizably Romantic vision of aesthetic disinterestedness, as freedom from desire realized in a state of creative determination by passion. (shrink)

This article begins by clarifying the notion of what Stanley Cavell has called ‘Emersonian moral perfectionism.’ It goes on to explore this through close analysis of aspects of Emerson’s essay ‘Experience,’ in which ideas of trying or attempting or experimenting bring out the intimate relation between perfectionism and styles of writing. ‘Where do we find ourselves?’ Emerson asks, and the answer is to be found in part in what we write and what we say, injecting a new sense of possibility (...) and responsibility into our relation to our words. But the language we speak and the lives that go with it are at the same time burdened with a past, and in the case of English, and in the American context especially, it is marked with a kind of repression relating to questions of slavery and race. These matters are implicated in questions of constitution, in both general and specifically political senses. Hence, inheritance and appropriation become causes of critical sensitivity, as do the forms of praise and acknowledgment that should meet them. The article explores ways of thinking through Emerson’s relation to these aspects of experience and seeks to find responses pertinent to today. (shrink)

Morimichi KatoTohoku University, JapanCOVID-19 is a strange disease, which 500 years ago, amid more violent diseases, wars and famine, might not have been seen to be major threat. However, today, i...

In this paper, I consider the tutorial conversation in Higher Education. To focus the discussion I use the scenario of a tutorial conversation between a lecturer and a student. I begin by suggesting that the increasing emphasis placed on student satisfaction in certain Higher Education Institutions tends to focus the tutorial conversation towards a form of settlement that I then consider in light of Thoreau's Walden. To explore what other conversation might be possible, I turn to the philosophical writing of (...) Martin Buber. I discuss his ‘life of dialogue’ in relation to the distinction he draws between I and Thou and between I and It and to how Nancy Vansieleghem and Jan Masschelein analyse this in relation to the 2002 film, Le Fils. With reference to the film adaptation of Alan Bennett's The History Boys, I suggest a different starting point for the tutorial conversation. I conclude that the tutorial discussion, seen as an invitation to speak, and as a form of exposition and dialogue, is the possibility of the opening up of a new dimension of thinking and acting. This is the invitation to a conversation in education that is itself truly educative. (shrink)