Skip to main content
ACLS Humanities EBook

ACLS
Humanities Ebook
Browse Books Help
Get access to more books. Log in with your institution.

Your use of this Platform is subject to the Fulcrum Terms of Service.

Share the story of what Open Access means to you

a graphic of a lock that is open, the universal logo for open access

University of Michigan needs your feedback to better understand how readers are using openly available ebooks. You can help by taking a short, privacy-friendly survey.

  1. Home
  2. Books
  3. American renaissance: art and expression in the age of Emerson and Whitman

American renaissance: art and expression in the age of Emerson and Whitman

F. O. Matthiessen
Restricted You don't have access to this book. Please try to log in with your institution. Log in
Read Book

  • Contents

  • Reviews

  • Cover
  • Frontmatter
  • BOOK ONE: FROM EMERSON TO THOREAU
    • I. IN THE OPTATIVE MOOD (page 3)
      • 1. Consciousness (page 5)
      • 2. Eloquence (page 14)
      • 3. Expression (page 24)
      • 4. The Word One with the Thing (page 30)
      • 5. 'The light of the body is the eye' (page 44)
      • 6. A Few Herbs and Apples (page 55)
      • 7. The Flowing (page 64)
      • 8. Self-Portrait of Saadi (page 71)
    • II. THE ACTUAL GLORY (page 76)
      • 1. Expected Unexpectedness (page 76)
      • 2. What Music Shall We Have? (page 83)
      • 3. Thinking in Images (page 92)
    • III. THE METAPHYSICAL STRAIN (page 100)
      • 1. Man Thinking (page 100)
      • 2. The Mingling of Walden and Ganges (page 113)
      • 3. Ishmael's Loom of Time (page 119)
    • IV. THE ORGANIC PRINCIPLE (page 133)
      • 1. From Coleridge to Emerson (page 133)
      • 2. Horatio Greenough (page 140)
      • 3. Thoreau (page 153)
      • 4. New England Landscapes (page 157)
      • 5. Walden: Craftsmanship vs. Technique (page 166)
  • BOOK TWO: HAWTHORNE
    • V. THE VISION OF EVIL (page 179)
    • VI. PROBLEM OF THE ARTIST AS NEW ENGLANDER (page 192)
      • 1. Starting Point (page 192)
      • 2. The First Tales (page 202)
      • 3. 'To open an intercourse with the world' (page 219)
      • 4. The Haunted Mind (page 229)
    • VII. ALLEGORY AND SYMBOLISM (page 242)
      • Theory (page 242)
      • 1. The American Bias and Background (page 242)
      • 2. The Imagination as Mirror (page 253)
      • 3. The Crucial Definition of Romance (page 264)
      • Practice (page 271)
      • 1. The Scarlet Letter (page 275)
      • 2. From 'Young Goodman Brown' to 'The Whiteness of the Whale' (page 282)
      • 3. Hawthorne and James (page 292)
      • 4. Hawthorne and Milton (page 305)
      • Coda (page 313)
    • VIII. A DARK NECESSITY (page 316)
      • 1. Hawthorne's Politics, with the Economic Structure of The Seven Gables (page 316)
      • 2. Hawthorne's Psychology: The Acceptance of Good and Evil (page 337)
      • 3. From Hawthorne to James to Eliot (page 351)
  • BOOK THREE: MELVILLE
    • IX. MOMENT OF TRANSITION (page 371)
      • 1. 'Out of unhandselled savage nature' (page 371)
      • 2. Mardi: A Source-Book for Plenitude (page 377)
      • 3. Autobiography and Art (page 390)
    • X. THE REVENGER'S TRAGEDY (page 396)
      • 1. The Economic Factor (page 396)
      • 2. 'The world's a ship on its passage out' (page 402)
      • 3. Structure (page 409)
      • 4. 'A bold and nervous lofty language' (page 421)
      • 5. The Matching of the Forces (page 431)
      • 6. The Fate of the Ungodly God-like Man (page 445)
      • 7. The Levels Beyond (page 460)
    • XI. THE TROUBLED MIND (page 467)
    • XII. REASSERTION OF THE HEART (page 488)
      • 1. An Alien to His Contemporaries (page 488)
      • 2. Billy Budd, Foretopman (page 500)
  • BOOK FOUR: WHITMAN
    • XIII. ONLY A LANGUAGE EXPERIMENT (page 517)
      • 1. 'Words! book-words! what are you?' (page 517)
      • 2. Vision and Attitude (page 532)
      • 3. Three Analogies for a Poem (page 549)
        • Oratory (page 549)
        • The Opera (page 558)
        • The Ocean (page 564)
      • 4. 'Rhythm in its last ruggedness and decomposition' (page 578)
      • 5. 'Landscapes projected masculine, full-sized and golden' (page 596)
        • The Genre Painting of W.S. Mount (page 596)
        • The Realism of Millet and of Eakins (page 602)
        • 'And what shall the pictures be that I hang on the walls?' (page 613)
    • XIV. MAN IN THE OPEN AIR (page 626)
      • 1. The Need for Mythology (page 626)
      • 2. Representative Men (page 631)
      • 3. American Demigods (page 635)
      • 4. Full Circle (page 646)
  • CHRONOLOGY (page 657)
  • INDEX (page 663)
Reviews
Journal AbbreviationLabelURL
MLN 57.3 (Mar. 1942): 212-216 http://links.jstor.org/sici?sici=0149-6611%28194203%2957%3A3%3C212%3AARAAEI%3E2.0.CO%3B2-M
AL 13.4 (Jan. 1942): 432-435 http://links.jstor.org/sici?sici=0002-9831%28194201%2913%3A4%3C432%3AARAAEI%3E2.0.CO%3B2-9
JAAC 1.4 (Winter 1941-42): 88-91 http://links.jstor.org/sici?sici=0021-8529%28194124%2F194224%291%3A4%3C88%3AARAAEI%3E2.0.CO%3B2-6
Citable Link
Published: 1941
Publisher: Oxford University Press
Copyright Holder: Francis O. Matthiessen
ISBN(s)
  • 9780199726882 (ebook)
  • 9780195007596 (paper)
Subject
  • American: 1789-1899
ACLS Humanities Ebook Contact Us

Twitter

ACLS Michigan Publishing

ACLS HEB is a partnership between ACLS and Michigan Publishing

ACLS HEB

  • Browse and Search
  • About ACLS HEB
  • Impact and Usage

Information For

  • Librarians
  • Publishers
  • Societies

Quicklinks

  • Help/FAQ
  • Title List
  • MARC Records
  • KBART Records
  • Usage Stats
© 2022 ACLS Humanities Ebook · Accessibility · Preservation · Privacy · Terms of Service
Powered by Fulcrum logo · Log In
x This site requires cookies to function correctly.