Walden

Başta Ralph Waldo Emerson, Henry David Thoreau , Margaret Fuller gibi yazarlar gelir. Ben sizlere ders dışında okuduğum, transandantalizm felsefesine yakın bulduğum kitapları da anlatacağım. Kelime anlamı ''Deneyüstücülük'' olan transandantalizm, 19.yüzyılda, ABD'nin New England eyaletinde ortaya çıkmıştır.

The full text is available here
http://kata.petra.ac.id/index.php/ing/article/view/18851/18544

Many similar subjects can be traced in world literature; among them is nature since it belongs to man/nature binary opposition. The American poet and philosopher, Ralph Waldo Emerson (1803-1882) employs nature in his works. Throughout his works, the American writer discusses the affinity between man and nature, emphasizing how man takes advantage of it. The contemporary Iranian poet, Sohrab Sepehri (1928-1980), also makes intensive use of nature in his poems; his interest in the subject increases along with his tendency to Buddhism. Sepehri is proficient in using nature either in philosophical or emotional issues. Due to the significance of nature in the works or the two figures, an ecocritical reading of them is not only applicable but unavoidable. This comparative study aims at investigating different approaches towards nature employed by the two poets, emphasizing their points of difference. Although both poets employ nature in their works with romantic tendencies, the postmodern environmental ethics of Sepehri is in direct contrast to the instrumental value viewpoint held by his American counterpart.

The American Romanticists of the mid-19th century may not have held a monopoly on being the first literary authors to opine about nature’s vast beauty, overwhelming immensity and humbling simplicity, but they were a generation of writers that had the ability, thanks to the enlightened and provable facts and ideals of science and philosophy, to understand that man was “a part of nature, and of the proper relationship between him and the rest of created things” (Krutch 14).

Nature, in all of its resplendent boundless innate beauty, wonder and immensity, from sea to shining sea, provided Concord’s most famous literary giants, Ralph Waldo Emerson and Henry David Thoreau, with the inspiration and impetus to let their imaginations flourish with wild and creative abandon and to capture, on paper for the first time, the personal sentiments that made man recognize its eternal bond with the natural world and at long last give American’s their own literary genre that spoke to their affinity for the land and a nation they were proud to call home.

This paper posits that the notion of aesthetic ambiguity and the emphasis on site-specific, rather than style-specific approach, has been a central and under-examined position in the architecture of Ricardo Bofill. Accordingly, it investigates the processes undertaken and the methodological components that promote and provoke change and evolution across the spectrum of Bofill’s body of work.

Much of the political theory literature on Thoreau is divided, with one camp focusing on resistance and civil disobedience, while the second concentrates on withdrawal. This bifurcation is not borne out in Thoreau’s texts, and it can lead to a mischaracterization of Thoreau as an essentially instrumental thinker and an idiosyncratic political actor. In this article I argue against this bifurcation of withdrawal and resistance, maintaining that Thoreau’s exit was simultaneously a mode of resistance. His “resistant exit” has double political significance because it was instrumental and expressive. In addition to the change that it can produce in the individual, Thoreau’s resistant exit is consequential because the action itself symbolizes opposition.

This essay argues that the prose style of Walden—and the use of metaphor in particular—is a literary mechanism for considering one of Thoreau’s chief philosophical concerns:  the idea of necessity.  The formal aspects of Thoreau’s prose in Walden are closely linked with his repudiation of this philosophical category. This essay begins by explaining modern formulations of the idea of “necessity” by reference to the work of John Locke, David Hume, and Immanuel Kant, who were seminal figures during Thoreau’s early education at Harvard and his subsequent intellectual development. Kant’s philosophy inaugurates a way of thinking that Thoreau adapts as a means for challenging the unquestioned, collective habits and assumptions of his contemporaries. By further developing Kant’s challenge to the moral and social implications of the idea of necessity, Thoreau constructs a philosophical justification for his reformist call to recast the shape of society. Yet Thoreau’s prose style conveys an even more radical philosophical position than Kant’s break from Locke and Hume. As this essay argues, Thoreau’s use of metaphor recuperates a method for knowing and experiencing the world that he insists has been lost within the collective assumptions and economic demands of an industrializing society.

The point of this paper is to foster an awareness of the varied uses to which scholars are putting the term 'ecocriticism' in varied perspectives today. Thoreau's Walden is such indisputable literary monument on environmental literature to explore, upkeep and strengthen interest in establishing pragmatic relationship between the human and natural worlds. Thoreau lived simply without " modern improvements " which he called " improved means to unimproved ends. " This displays how one places oneself in the nature world, understands nature, and the environmental aspects to cast-off materialism. Thoreau rejects what is profane and superficial but pleads nature as the storehouse of sincerity and impartiality. He proves that society creates loneliness and fear, which can be dispelled by content with Nature. A man is never alone if he is aware of his non-human relationships. The paper perhaps is a seminal attempt to make some evolution toward fostering and legitimizing the sweats of ecocritics in ecocriticism (across) milieu. It sufficiently accounts for the personal connection and sense of responsibility towards self, society, literary studies and nature. Thoreau's Walden elevates the concept of ecocriticism further to have interdisciplinary impact beyond prejudice to create a 'universal discipline' to discuss, innovate and create healthy literature-environment anthology to live in for progenies. This convinces intellectuals to pursue an interest in ecology while enduring literary professionals. Thoreau's belief in nature sets new tenets that address the major ecological concerns to see it 'greening' to prevent 'The Endangered Earth-a virulent veracity' tomorrow.

The point of this paper is to foster an awareness of the varied uses to which scholars are putting the term 'ecocriticism' in varied perspectives today. Thoreau's Walden is such indisputable literary monument on environmental literature to explore, upkeep and strengthen interest in establishing pragmatic relationship between the human and natural worlds. Thoreau lived simply without " modern improvements " which he called " improved means to unimproved ends. " This displays how one places oneself in the nature world, understands nature, and the environmental aspects to cast-off materialism. Thoreau rejects what is profane and superficial but pleads nature as the storehouse of sincerity and impartiality. He proves that society creates loneliness and fear, which can be dispelled by content with Nature. A man is never alone if he is aware of his non-human relationships. The paper perhaps is a seminal attempt to make some evolution toward fostering and legitimizing the sweats of ecocritics in ecocriticism (across) milieu. It sufficiently accounts for the personal connection and sense of responsibility towards self, society, literary studies and nature. Thoreau's Walden elevates the concept of ecocriticism further to have interdisciplinary impact beyond prejudice to create a 'universal discipline' to discuss, innovate and create healthy literature-environment anthology to live in for progenies. This convinces intellectuals to pursue an interest in ecology while enduring literary professionals. Thoreau's belief in nature sets new tenets that address the major ecological concerns to see it 'greening' to prevent 'The Endangered Earth-a virulent veracity' tomorrow.

American Transcendentalism (1836-1860), despite having an amorphous and transient lifespan, holds strong importance in American history: religious, philosophical, and literary. Not only did this movement approach societal and spiritual life with new and radical perceptions concerning a variety of matters, but the tenets it preached still strike a certain chord within all who study them. Leaders of this compelling movement, including Ralph Waldo Emerson, Henry David Thoreau, and Margaret Fuller, who are all prominent names in American literary history, called for a “transcendence” from a mediocre existence. Transcendentalism rooted from and sprouted diverse explanations of religion and philosophy including Unitarianism, Puritanism, and Idealism. However, in spite of the pivotal role politics, religion and philosophy played in the formation of the American Transcendentalist thought, this paper will not be discussing them. The following chapters have been orchestrated to exemplify, in breadth and depth, how 19th century American Transcendentalist doctrines yet seep from contemporary literature, contrary to a widespread belief that American Transcendentalist texts were extinguished when their explicitly transcendental authors passed away, and the movement itself subsided. In doing so, I will be analyzing two modern novels (fiction and nonfiction) in light of a quintessential transcendentalist text.

The revisitation of Walden&Thoureau and Sidhartha&Hesse suggests a revision of the relation spirituality&architecture&landscape. The fusion between Nature and states of mind, or between landscapes and mindscapes underlines the inevitability of a poetic dimension of the inhabiting. The dialectic internal spaces&external spaces points out the spiritual dimension of the well being as a critical matter to the QoL.
Key words: quality of life, well being, spirituality, spiritual architecture, landscapes, mindscapes

This essay singles out the peculiar animal soundscape that Thoreau
sketches in Walden, especially in the following chapters: “Higher Laws”, “Brute Neighbors” and “Winter Animals”. In them, in fact, the ‘I’ describes and recollects the voices of the various animals at Walden Pond. In order to make sense of this variegated and multifarious soundscape, Thoreau resorts to many possible exegetic tools, among which there is literature.

This fully annotated and well-illustrated catalog descibes the private collection of Kevin Mac Donnell acquired by The Thoreau Institute at Walden Woods in 2014. The collection consists of 366 items, including first editions, original manuscripts, two books from Thoreau's library, books owned by Thoreau's family and friends, and other primary research materials.

Terrence Malick’s “The Thin Red Line” (1998) presents significant deviations from James Jones’s 1962 novel on which it is based. In fact, Malick’s adaptation introduces some philosophical interrogations absent in the novel concerning the question of the world’s existence. The aim of this paper is to show that the world questioning posed by “The Thin Red Line” goes deep beyond the film’s narrative level: in fact, it is addressing a specific way of understanding the world that traces its origins back to the thought of Stanley Cavell and Henry David Thoreau.

Am Unabhängigkeitstag 1845 zieht Henry David Thoreau sich zurück in die Wälder von Concord, um sich dort eine Hütte zu bauen. Von diesem Experiment berichtet sein Buch Walden, ein faszinierendes, aber bis heute in der akademischen Philosophie kaum beachtetes Werk. In Die Sinne von Walden, das nun in deutscher Übersetzung bei Matthes und Seitz erschienen ist, erschließt der seinerseits noch viel zu wenig bekannte amerikanische Philosoph Stanley Cavell (*1926) den Gedankenreichtum von Thoreaus Text. Es handelt sich um ein „Traktat über politische Erziehung“ von ungebrochener Aktualität. Leider in einer äußerst enttäuschenden deutschen Übersetzung.

The full text is available here http://kata.petra.ac.id/index.php/ing/article/view/18851/18544 Many similar subjects can be traced in world literature; among them is nature since it belongs to man/nature binary opposition. The American poet and philosopher, Ralph Waldo Emerson (1803-1882) employs nature in his works. Throughout his works, the American writer discusses the affinity between man and nature, emphasizing how man takes advantage of it. The contemporary Iranian poet, Sohrab Sepehri (1928-1980), also makes intensive use of nature in his poems; his interest in the subject increases along with his tendency to Buddhism. Sepehri is proficient in using nature either in philosophical or emotional issues. Due to the significance of nature in the works or the two figures, an ecocritical reading of them is not only applicable but unavoidable. This comparative study aims at investigating different approaches towards nature employed by the two poets, emphasizing their points of difference. Although both poets employ nature in their works with romantic tendencies, the postmodern environmental ethics of Sepehri is in direct contrast to the instrumental value viewpoint held by his American counterpart.

Ce texte revient sur une oeuvre récente de l'artiste Stéphane Thidet, intitulée From Walden to space. Il envisage à partir d'une double structure d'écriture (forme courte et forme longue) d'interroger les modalités du récit et le potentiel sculptural de l'expérience sonore.

This paper was the basis for a talk given at the Thoreau Society Annual Gathering in 2015. What may interest Thoreau scholars is the image of a phoenix, found in Walden's "Conclusion" (at the very end), which I unpack in the opening pages. The rest of the paper discusses how we can read Thoreau as a "mythistorian" calling for a revolutionary historical consciousness. Our historical narratives are sometimes written with a point of view and agenda that distort the facts, whereas our mythologies, understood in allegorical way, give a more accurate picture of the history of human suffering and even the way to transcend it.

"Volar" es una provocación, un título que podría sonar pretencioso para el propio Thoreau, que escribió que “mantenerse a la expectativa puede convertirse en una profecía” (cf. el 12 de abril de 1852), una lección inapreciable para quien habla o escribe con la perspectiva de lo que espera que las palabras muestren.

2017. “Book review.” Celestial Mechanics: a tale for a mid-winter night. By William Least Heat-Moon (a.k.a. William Trogdon), New York: Three Room Press, 2017. University of Toledo Carlson Library Digital Archives; Department of Geography and Planning. 7. http://utdr.utoledo.edu/geography/7

This article proposes an evaluation of Thoreau's decision to abandon formal teaching early in his life and focused on his lifetime work, The Journal, to extract from it the ethics and methods of what could be, today, a Thoreauvian method for Environmental Education