Emerson

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Em·er·son

 (ĕm′ər-sən), Ralph Waldo 1803-1882.
American writer, philosopher, and central figure of transcendentalism. His poems, orations, and especially his essays, such as Nature (1836), are regarded as landmarks in the development of American thought and literary expression.

Em′er·so′ni·an (-sō′nē-ən) adj.

Emerson

(ˈɛməsən)
n
(Biography) Ralph Waldo. (rælf ˈwɔːldəʊ). 1803–82, US poet, essayist, and transcendentalist

Em•er•son

(ˈɛm ər sən)

n.
Ralph Waldo, 1803–82, U.S. essayist and poet.
Em`er•so′ni•an (-ˈsoʊ ni ən) adj.
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Noun1.Emerson - United States writer and leading exponent of transcendentalism (1803-1882)Emerson - United States writer and leading exponent of transcendentalism (1803-1882)
References in periodicals archive ?
These writers stay true to the realist call to acknowledge history through the plots of their stories, but also continue to value Emerson's theories of self-reliance and spiritual individualism by creating characters who are Emersonian heroes and heroines.
The study addresses the role of Emersonian transcendentalism in realist literature and argues that even as these realist texts aim to reject romantic excess and transcendental idealism, they still rely on the idealism and ideas of the romantic tradition.
In the best of the essays, connections are made, influences investigated, expansions and revisions of Emersonian relevance are advanced.
The Emersonian and Whitmanian affection for Hindu thought laid the groundwork for the arrival of emissaries like Swami Vivekananda and Paramahansa Yogananda, who brought Hinduism to America and spurred the later spiritual upheavals of the 1960s.
RICHARD DEMING, SENIOR LECTURER IN ENGLISH AND DIRECTOR OF CREATIVE WRITING AT YALE UNIVERSITY, IS THE AUTHOR OF LISTENING ON ALL SIDES: TOWARD AN EMERSONIAN ETHICS OF READING (STANFORD UNIVERSITY PRESS, 2008).
It is this kind of rags-to-riches narrative that places the Tabernacle Choir and its namesake Church squarely within that appreciable vein of Emersonian ideology considered so keenly American.
Shifting our critical and conceptual perspective from a traditional Matthiessenian notion of an "optative mood" to something of a Badiouian "operative mood" opens up new ways to consider how, across the early works, the Emersonian self is shaped by interactions with a religious and universal Other, or what scholars of Emerson, following Emerson's own terminology, often term the "impersonal," as well as the ways these interactions influence the self's relation to specific social and historical landscapes.
Yet the Emersonian philosophy of self-invention is also a philosophy of self-ruin.
In the first part of the paper, I examine Stanley Cavell's suggestion, put forward in his Carus Lectures of 1988, that Beckett's play can be read as a work that embodies and develops the idea of Emersonian moral perfectionism.
The book has to begin in the nineteenth century because the conceptual framework is so heavily indebted to Emersonian ideas of selfhood.
There are discussions of law in the plays of Shakespeare, of the concept of law in Geoffrey of Monmouth's influential History of the Kings of Britain, of Emersonian individualism, of the literary criticism of Henry Hazlitt (best known to libertarians as a writer on economics), of imperial law in E.