{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://iastate.aviaryplatform.com/iiif/r20rr1q745/manifest","type":"Manifest","label":{"en":["Schulz, Dieter, Emerson and Transcendentalism"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/004/original/ISULogo.png?1601681107","metadata":[{"label":{"en":["Publisher"]},"value":{"en":["Iowa State University. Special Collections and University Archives"]}},{"label":{"en":["Identifier"]},"value":{"en":["RS008-006-053 (call number)","AV203365 (UID)"]}},{"label":{"en":["Description"]},"value":{"en":["Emerson and Transcendentalism is a February 7, 1984 event in the Iowa State University Lecture Series featuring Dieter Schulz. Dieter Schulz discusses the philosophy of transcendentalism.","This item was captioned by Rev.com in conformance with WCAG 2.1 AA accessibility guidelines. 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Special Collections and University Archives, Iowa State University Library, Ames, Iowa."]}},{"label":{"en":["Ark"]},"value":{"en":["https://n2t.net/ark:/87292/w9804xq59"]}},{"label":{"en":["Date"]},"value":{"en":["1984-02-07"]}},{"label":{"en":["Type"]},"value":{"en":["lectures","Sound"]}},{"label":{"en":["Agent"]},"value":{"en":["Schulz, Dieter, 1943- (speaker)"]}},{"label":{"en":["Format"]},"value":{"en":["1/4 inch audio cassette"]}},{"label":{"en":["Subject"]},"value":{"en":["Emerson, Ralph Waldo, 1803-1882","Transcendentalism (New England)","Romanticism--Influence","Sublime, The"]}},{"label":{"en":["Language"]},"value":{"en":["English (primary)"]}},{"label":{"en":["Relation"]},"value":{"en":["Committee on Lectures records (RS 8/6/53) (physical collection)","Iowa State Lectures Series (digital collection)"]}}],"summary":{"en":["Emerson and Transcendentalism is a February 7, 1984 event in the Iowa State University Lecture Series featuring Dieter Schulz. 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For other uses you need to obtain permission from the rights-holder(s)."]}},"provider":[{"id":"https://iastate.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Iowa State University"]},"homepage":[{"id":"https://iastate.aviaryplatform.com/","type":"Text","label":{"en":["Iowa State University"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/004/original/ISULogo.png?1601681107","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/105/775/small/lecture.png?1613511035","type":"Image","format":"image/png"}],"items":[{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775","type":"Canvas","label":{"en":["Media File 1 of 2 - 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[Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e So we know each other quite well.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=5.71,7.46"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And Professor Schulz now has a sabbatical year at Yale.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=9.773,14.24"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And when I heard he was doing a Midwest tour,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=14.24,15.89"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I wanted to grab him to come here and talk to us.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=15.89,19.193"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You might be interested in knowing that we are","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=21.52,23.22"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"trying to set up an exchange program","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=23.22,25.18"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"between Heidelberg and ISU","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=25.18,27.6"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and that's in the preliminary stages.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=27.6,30.13"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Okay, he has written a number of publications articles.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=30.13,34.37"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He's written a lot in 18th century English,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=34.37,36.63"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"fiction, theater but one of his main areas really","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=36.63,40.87"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is early American literature from the colonial period","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=40.87,44.411"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and transcendental period.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=44.411,46.71"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I might mention a couple of his book length works.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=46.71,49.47"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"One of them is called A Seduction Scene in English fiction,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=49.47,52.71"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is 1660 to 1760.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=52.71,55.09"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That's the English title.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=55.09,56.27"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And the other book that recently came out","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=56.27,58.12"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is quest patterns in English and American romantic fiction.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=58.12,61.47"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So he's here today to talk to us about Emerson.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=61.47,64.033"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Those of you don't know much about what's going on","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=65.04,69.01"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in Germany, might be interested to know that","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=69.01,70.78"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"there's a very active group of people","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=70.78,72.52"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"working in American literature.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=72.52,75.1"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I think they have a lot of murmur some interesting ideas","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=75.1,78.01"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that as outsiders of our culture that we wouldn't notice.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=78.01,81.12"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So we look forward to hearing what he has to say.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=81.12,83.57"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience clapping)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=85.828,88.828"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e Thank you very much.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=91.52,92.62"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Delighted to be here.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=93.864,95.4"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I was gonna say those two years with","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=95.4,98.34"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"team teaching with Dr. Ratta,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=100.27,102.34"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"which were one of the high points,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=102.34,104.184"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"we call it here a high point.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=104.184,105.93"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Okay, one of the highlights of my teaching career.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=105.93,108.683"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I appreciate this opportunity to share","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=110.16,112.01"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"some thoughts on Emerson and transcendentalism with you.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=112.01,116.95"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Emerson and transcendentalism is kind of a morphous subject.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=116.95,120.59"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So I decided to focus on one aspect","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=120.59,124.9"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that I find essential to Emerson's thought,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=124.9,129.44"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and to transcendentalism in general.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=129.44,133.478"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'll be talking about Emerson's concept","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=133.478,135.99"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of the visionary moment,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=135.99,138.383"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and I'll try to relate that concept to the tradition","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=139.25,142.64"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of the sublime as that tradition was developed","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=142.64,145.503"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in the 18th century and then into the 19th century.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=145.503,150.293"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"One of Emerson's central ideas","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=151.64,153.76"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is the fusion of the individual soul","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=153.76,156.39"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"with what he variously calls","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=156.39,157.8"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The Over-Soul God, universal being, et 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geniuses,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=909.14,911.7"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/285","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Emerson was very much aware of his poetry.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=911.7,914.54"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/286","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And over the years, his comments 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that,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=925.24,928.893"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/291","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"No writer is more deeply imbued","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=929.787,932.027"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/292","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"with the spirit of Wordsworth than 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visionary","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=2666.04,2669.28"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/797","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"made him question and ultimately discard","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=2669.28,2672.41"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/798","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the synthesis achieved by Wordsworth","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=2672.41,2674.85"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/799","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"by the same talking he anticipated the long Paul","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=2675.74,2679.643"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/800","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the notion of empty trancedants","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=2679.643,2682.57"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/801","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"which became central to moderness.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=2682.57,2686.023"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/802","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'd like to conclude by","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=2687.4,2688.74"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/803","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"commenting briefly on Paul narrative of Arther","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=2693.2,2697.11"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/804","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"because I think it's a good illustration","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=2697.11,2698.9"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/805","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of the notion of empty transcendence implied.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=2698.9,2703.9"}]},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22813/annotation/806","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/022/813/original/AV203365_Emerson_and_Transcendentalism_a.vtt?1613511040","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/022/813/original/AV203365_Emerson_and_Transcendentalism_a.vtt?1613511040"}]},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22814","type":"AnnotationPage","label":{"en":["AV203365_Emerson_and_Transcendentalism_a.txt [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775/transcript/22814/annotation/807","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"- So we know each other quite well. And Professor Schulz now has a sabbatical year at Yale. And when I heard he was doing a Midwest tour, I wanted to grab him to come here and talk to us. You might be interested in knowing that we are trying to set up an exchange program between Heidelberg and ISU and that's in the preliminary stages. Okay, he has written a number of publications articles. He's written a lot in 18th century English, fiction, theater but one of his main areas really is early American literature from the colonial period and transcendental period. And I might mention a couple of his book length works. One of them is called A Seduction Scene in English fiction, is 1660 to 1760. That's the English title. And the other book that recently came out is quest patterns in English and American romantic fiction. So he's here today to talk to us about Emerson. Those of you don't know much about what's going on in Germany, might be interested to know that there's a very active group of people working in American literature. And I think they have a lot of murmur some interesting ideas that as outsiders of our culture that we wouldn't notice. So we look forward to hearing what he has to say.\r\n\r\n- Thank you very much. Delighted to be here. I was gonna say those two years with team teaching with Dr. Ratta, which were one of the high points, we call it here a high point. Okay, one of the highlights of my teaching career. I appreciate this opportunity to share some thoughts on Emerson and transcendentalism with you. Emerson and transcendentalism is kind of a morphous subject. So I decided to focus on one aspect that I find essential to Emerson's thought, and to transcendentalism in general. I'll be talking about Emerson's concept of the visionary moment, and I'll try to relate that concept to the tradition of the sublime as that tradition was developed in the 18th century and then into the 19th century. One of Emerson's central ideas is the fusion of the individual soul with what he variously calls The Over-Soul God, universal being, et cetera. The metaphor of the transparent eyeball in nature pinpoints the moment in which that fusion occurs, the linking up of the ego with infinity and eternity. Here are a few sentences from that famous or as some would have it a notorious passage. With each divine impulse, as Emerson writes in The Over-Soul, the mind rends the thin rinds of the visible and finite, and comes out into eternity and inspires and expires it's air. So this is not famous passage, this is from the over soul. In his journalists and essays, Emerson utilizes a wide range of words, phrases, and images to describe this kind of experience. Despite the variety of expression cipher, there is a considerable degree of consistency in the emphasis he places on metaphors of light and vision. In Self-Reliance, he refers to the hour of vision. In the poet, he discusses inspiration as a form of sublime vision and in the transcendentalist, he outlines the point of view of one who looks at life from these moments of illumination. Similarly in Experience, he discusses the benefits might arise from illumination and flashes of light. In his journals, Emerson comments on the hours of clear vision. And on the moment when the eyes straight pierce through all appearances. In notebook entry of 1838, which was later incorporated into Self-Reliance sums up both the importance Emerson attributes in such moments, and the idea that there are implications to the extent that they can be articulated at all are most adequately rendered through images of vision. Here's what he says, \"In the highest moments we are the vision. \"There's nothing that can be called \"gratitude nor property joy. \"The soul is raised over passion. \"It sees nothing so much as identity.\" Additional examples could be furnished, but the ones that have cited suffice to remind us of Emerson's preoccupation with the repertory moment. In a sense, his whole thinking centers around the moment of illumination. To Emerson, vision is a metaphor for perception, which in turn serves as a metaphor for being, we are what we see and a change in vision amounts to attaining a new identity. In the visionary moments, to use another favorite term of Emerson, man undergoes a metamorphosis. By liberating the divine principle that pervades the soul as well as the universe, man ascends to a higher level of existence. It is in these moments that the soul comes truly into its own. And in the sense that the limitations of everyday life belong to the realm of appearances rather than of reality. These moments, rare though they may be, possess a greater reality than ordinary experience ever can. As he puts it in the oversoul, our faith comes in moments, our vice is habitual. Yet there is a depth in those brief moments, which constrains us to ascribe more reality to them than to all other experiences. This is the familiar Emerson, the spokesman of the transcendentalists belief in man's divine potential. The visionary moment in this context marks the point where that potential is completely realized. Then there are also a number of troublesome aspects to these visionary moments. Look at each and all, a poem published in 1839. Emerson's best known poetical version of the moment of illumination may serve to indicate their problematical nature. As the title Each and All suggests, the poem focuses on the way in which each individual object is related to its natural context as part and parcel of a more comprehensive whole. Deprived of their contexts, objects and individuals lose their vitality and brilliance. They become petrified, meaningless, even unintelligible, Both explicit statements and examples, illustrate an idea Emerson jotted down in 1836, all is in each every natural form to the smallest. The leaf, a sunbeam, a moment of time, a drop is related to the whole and partakes of the beauty of the whole. At first, the speaker of the poem is disillusioned by what he perceives as a disparity between beauty and truth. And he decides to renounce beauty in favor of truth. But even while he reaches this conclusion, nature as it were, launches a counter offensive, revealing herself in all her splendor and thereby forcing the speaker to reverse his position and accept nature as both beautiful and true. I'm gonna quote the last couple of lines. \"As I spoke, beneath my feet, \"the ground-pine curled its pretty wreath, \"running over the club-moss burrs. \"I inhaled the violet's breath \"around me stood the oaks and firs. \"Pine cones and acorns lay on the ground. \"Over me soared the eternal sky, full of light and deity. \"Again I saw, again I heard, \"the rolling river, the morning bird. \"Beauty through my senses stole, \"I yielded myself to the perfect whole.\" The concluding lines correspond to the transparent eyeball experience described in nature. In affirming, the unity of natural objects and the perceiving subject, Each and All offers an exceptionally clear illustration of the organic metaphor that is central to the romantic tradition. At the same time, certain aspects of the poem point to a distinctly none, if not, anti-romantic sensibility. The very structure of Each and All, is characterized by abstractness of design and by stylization. The instance is given to illustrate the central thesis are presented in such a way that they actually appear as examples adduced to support an argument. There's no sense of a process of experience building up toward an epiphany. Concrete experience is subordinated to abstract reasoning. The experiential data are obviously arranged for a purpose with a result that the revelation fails to come through as an authentic climax. The epiphany is merely asserted what we get is the idea of an epiphany, a contrived revelation, rather than a sense of the real thing. The structure of the poem then belies its thesis. The design of Each and All shows no interaction between subjectivity and nature or of an organic process unfolding. theoretical concept precedes rather than follows or interacts with sensory perception. One way of dealing with Emerson's violation of his own organic principles in this poem would be simply to say that Emerson was a secondary poet who failed to live up to his theories. Yet the familiar argument about Emerson's artistic inferiority, although it cannot be dismissed lightly appears to me superficial. The elements of abstractness and contrivance emanate from fundamental tensions in Emerson's thought. They signal the collapse of the organic metaphor and hence the disintegration of the higher romantic synthesis. That is my thesis. From the perspective of the romantic sublime, as I hope to show, Emerson's version of the visionary experience marks an important transitional stage between say words was glory beyond glory ever seen on the one hand and both layers artificial paradises on the other. The spurious in Each and All, and the tension between overt organicism and implicit extract as the design point to an aspect of Emerson sensibility that anticipates key elements of modernism. In view of other hand and equally relevant contexts, the attempt to link Emerson and the romantic sublime requires a note of explanation. Broadly speaking, the kind of experience Emerson tries to articulate can be labeled mystical. Emerson himself points repeatedly to the relevance of the mystical tradition to his own thought. In American intellectual history, Jonathan Edwards comes to mind as possibly a more immediate influence. The parallels between Edwards' divine and supernatural light, and the antinomian strain in Emerson's thinking are striking indeed and have been noted. One could extend this perspective beyond the 19th century to include such modern writers as Virginia Wolf and James Joyce. But as soon as one brings in 20th century authors, the need for differentiation becomes obvious. For despite broad similarities between for instance, medieval mysticism and joyous concept of epiphany. There are also significant differences and those differences may in fact be more important than the analogies. It has been noted that the idea of the visionary undergoes radical changes in some 18th century writers. Who source autobiography reproduces the familiar Augustinian pattern of conversion. To do so the illuminated moment marks the point where time and eternity intersect where conos is transformed into caivas. But also differs from the mystical tradition and that he no longer conceives of the visionary moment as an actual breakthrough to eternity. Timelessness to him is a quality of the experiential moment. So long as this state lasts, one is sufficient unto himself like God, I mentioned also not only to emphasize the methodological need for an historical approach to the visionary experience, but also because is a major figure of early romanticism and that leads us back to our specific topic. Emerson's work relates to the concept of the sublime as that concept had been developed in 18th century aesthetics and romantic poetry. Notably, in the poetry of William Wordsworth. Wordsworth was preeminently a poet of the inspired moment with a profound impact on later writers, well beyond the romantic era. And although I'm not primarily interested in tracing lines of influence, it seems worth noting that Wordsworth was a major intellectual force in the America of the 1820s and 1830s, which happened to be the formative period of Emerson's career. Although he never ranked Wordsworth at the top of his list of geniuses, Emerson was very much aware of his poetry. And over the years, his comments became increasingly appreciative. Recent scholarship tends to emphasize the Wordsworth connection and up to a point confirms Oliver Wendell Holmes remark that, \"No writer is more deeply imbued \"with the spirit of Wordsworth than Emerson.' So the next part of my talk, I'm going to discuss the 18th century concept of the sublime. Edmund Burke and other critics agreed that the experience of sublimity was ambivalent in that it combined the seemingly opposite emotions of fear and exhilaration. Confronted with the sublime object, the landscape and mountain, the work of art, whatever, the soul is filled with anxiety. At the same time, it expands and is elevated above worldly concerns. In a letter written several years before his seminal treaties, the philosophical inquiry into the origin of our ideas of the sublime and beautiful, Burke described his reaction to a flood in Dublin. It gives me pleasure, he writes, to see nature in these great though terrible scenes. It fills the mind with grand ideas and turns the soul in upon itself. In more extract terms, the experience of the sublime is characterized by contraction alternating with expansion. Faced with the destructive forces in nature the ego shrinks as it were. It is made aware of its own insignificance and lack of power. Yet it also feels irresistibly attractive, sensing as it does that the forces manifesting themselves in nature, emanate from an eternal principle. And to the extent that that principle corresponds to an element in the soul, it is made aware of its own. The soul is made aware of its own divinity. Hence the elation that succeeds the initial sense of fear. The sublime is limited to moments of high emotional intensity. It comes unexpectedly as a shock. Sheila, developing a distinction earlier introduced by Kant. I use that this shock involves a split between the physical and the moral sides of men. While the physical man tends to become overwhelmed, the moral man comes to realize his strength. The former is crushed, the latter elevated to new levels of awareness. Despite his emphasis on the momentary nature of the sublime, Sheila goes on to differentiate three distinct phases. First man confronts an objective physical force, the mountain, the avalanche, anything in nature. Next, he becomes aware of his physical weakness. You could be wiped out by that avalanche or by that flood. In the third stage, he realizes his own moral superiority, even though he could be physically annihilated, he is morally superior to the destructive power that seems to threaten his existence. At this stage, the soul recognizes a spiritual principle that is not subject to physical limitations. The sublime then allows men to transcend the world of sensory experience. The soul doubles back on itself and achieves full recognition of its divinity. Whether or not they accepted Schiller's three-phase model, critics generally agreed that the sublime involves a dramatic shift from sensory experience toward subjectivity. Coleridge, now we move into the early 19th century, Coleridge taking up the familiar distinction between the beautiful and the sublime strongly emphasizes the element of subjectivity in the letter when he points out, \"I meet, I find the beautiful, but I give, \"contribute, or rather attribute that sublime.\" Wordsworth poetry largely follows the pattern outlined by Burke and the other theorists just mentioned. The climactic visions in the prelude involve the obliteration of the senses. In these visions, the famous lines from The Prelude, the light of sense goes out, but with a flash that has revealed the invisible world. And Wordsworth echoes Coleridge's stress on subjectivity when he observes that the mind is Lord and master. What needs to be emphasized however, is the strong tendency in Wordsworth's poetry to establish some degree of continuity between the visionary moment and sensory experience in the great visions as well as in the smaller revelations called spots of time, the epiphany is embedded in concrete experience. This is what Harold bloom refers to as Wordsworth's gradualism in his early book on the visionary company, Bloom Remarks. The epiphany's in Wordsworth are not really sudden. There are no raptures of prophecy, but rather a slowly mounting intensity of baffled vision until at last, the illumination greatly comes even the Snowden episode in which not nature, but the power that moves her is revealed. The power's showing forth as bloom continues is not miracle, but rather intensification of natural process and visual appearance. The words worthy and sublime exhibits a dialectical structure in the moment of ecstasy the census are both contained and transcended in the vision. Since I'm German I think I have an obligation to use at least one German word. The census are in Hegel's threefold sense of annihilated elevated and preserved. Worse was urged to anchor the sublime in nature and the senses stems from his fear of solipsism in losing hold of empirical reality, the mind might fall prey to its own projections. In the Fenwick notes to the intimations owed he recalls how as a child, he often found it difficult to accept external objects as really existing apart from himself and how in such moments of doubt, he would hold onto a wall or a tree to recall myself as he puts it, \"To recall myself from this abyss of idealism \"to the reality.\" Hence Wordsworth's insistence that the sublime be related to empirical reality. There is always in words worth a strong pull away from pure vision toward nature and observation. Emerson's interest in Wordsworth manifests itself in numerous journal entries, more specifically Emerson was aware of words version of the sublime, the note of 1841 sites the great vision of the solitary in the excursion and the ending of Each and All, he poem I quoted from proclaims the kind of mediated vision, vision continuous with sensation that is characteristic of yet the structural pole of Emerson's poem, as I tried to point out, runs counter to the spirit of the words worthy in synthesis. And it is this discrepancy that I find crucial to an understanding of Emerson's visionary moments. The disintegration of the high romantic sublime in Emerson manifests itself in four closely related symptoms. First, Emerson consistently admits or reduces the initial two phases of the sublime, the phases in which according to Sheila the subject feels threatened and overpowered by an external force. The element of fear is to him either non-existent or swallowed up in the ecstasy of the inspired moment, the transparent eyeball passage in nature hints at a vestige of fear where he says, \"Almost I fear to think how glad I am \"or in a different version I am glad to the brink of fear.\" But he hints at a vestige of fear only in order to underscore the extraordinary degree of ecstasy, the perfect exhilaration experienced by the soul. Speaking of the hour of vision, Emerson claims that, \"Vast spaces of nature, the Atlantic ocean, \"the South sea long intervals of time, years, centuries are of no account.\" This is a highly revealing observation in that it discounts some of the natural phenomena that were traditionally associated with the sublime. When it's reminded of the comments on a vastness and infinity in Burke's inquiry, vast objects, both frightened and stimulate the imagination. Burke and other critics would have gone along with Emerson's assertion and the oversoul that quote, \"Before the revelations of the soul \"time space and nature shrink away.\" But would have insisted that first there had to be a fearful awareness on the part of the perceiver of an outside power, actually existing and posing a potential threat. In this respect and others that I'll mention later, Thoreau is much closer towards world and the romantic sublime than Emerson, the Mount Tad and a chapter in the Maine woods offers an extraordinary illustration of what Sheila describes as the first two stages of the sublime. By focusing on the hostility of nature as Thoreau says, \"The presence of a force, \"not bound to be kind to men \"thorough manages to convey a powerful sense \"of the resistance, which nature presents \"to the grasping imagination, \"the myths around the peak do not clear up \"the epiphany fails to materialize.\" In Emerson, by contrast the visions come easily or so it seems all it takes is crossing a bear common. And if a mountain has to be climbed, the actual ascent appears hardly worth mentioning while the vision seems as short as he puts it in notebook entry upon a mountain solitude, a man instantly, and I would underline instantly feels a sensible exaltation and a better claim to his rights in the universe. The second symptom of the disintegration of the sublime. Emerson significantly reduces the status of the senses and the words word in sublime to the light of sense goes out but Wordsworth makes considerable efforts to anchor vision in concrete experience. His poetry as he remarks celebrates the way in which the visionary mind may discover dwelling places in nature. The spots of time, recapture moments that are securely located in both temporal and geographical terms. Vision and sensation constitute a continuum. Thoreau makes the same point when he notes in his journal, \"I never feel that I am inspired unless my body is also.\" Inspiration moves along the senses, vision and observation reinforced to each other. Sheila as we recall, defined the sublime in terms of a split between the physical and the moral man with the letter triumphing over the former, this conception comes close to Emerson, but with a significant difference. In Emerson the sense is neither parallel the dynamics of vision, nor do they constitute the kind of tension envisaged by Sheila they are largely irrelevant. The transparent eyeball functions as Sheila puts it as a spatial converter reducing experience to the scan of the proceeding lens. Things are immediately suffused with the light of the intellect. They have no chance of resistance. Third the movement of transcendence or metamorphosis in Emerson is invariably outward or upward. I have died out of the human world, concludes this description of a nocturnal vision. An experience toward the end of the similar passage he notes, \"I am ready to die out of nature and be born again \"into this new yet unapproachable America I have found in the west.\" And in an already quoted passage from the oversoul with each divine impulse, the mind wrens, the thin rays of the visible and finite and comes out into eternity. Emerson does not share where it's was fear of solipsism. He unhesitatingly follows what he calls the centrifugal tendency of a man, his passage out into free space. The push is always outward and beyond it never circles back as it doesn't to the visible and finite. Both Wordsworth and Thoreau felt strongly that the ecstasy of such moments could carry over and have a profound impact on the individual's everyday activities. As thorough notes in his journal, \"Our moments of inspiration are not lost though we have no particular poem to show for them. For those experiences have left an indelible impression and we are ever in the nun reminded of them. Emerson it's true may have had a similar idea when he entered the following note in his journal, \"Every man has had one or two moments of extraordinary experience has met his soul has thought of something which he never afterwards forgot, and which revised all his speech and molded all his forms of thought. Generally, however, Emerson places much greater emphasis on the radical discontinuity that separates the vision from ordinary life. Fourth, Emerson goes far beyond words in extending the realm of the sublime. In his critical comments, as well as in his poetry, Wordsworth made sweeping claims for the inherent sublimity of the humble and commonplace. Emerson extends this idea in his notebooks, where he says, for example, \"What is there of the divine in a load of bricks? What is there of the divine in a barber shop or a pretty much all.\" I'm quoting from the unexpurgated version. This is not the bliss Perry edition. Confronted with dull, strange despise things, the aroused intellect... This is again, a notebook entry. The aroused intellect finds that effect is an epiphany of God. Well, despite the parallels in these comments, a shift has occurred that is of the utmost importance words for us and again, the same can be said of Thoreau, often confines to mere description with a result that the described object may remain just that a thing without any particular aura, when remembers at least I do the doll stretches and the prelude and Walden. The risk and focusing on the ordinary is that only the ordinary will be communicated not the epiphany. Wordsworth was quite prepared for the sake of accurate observation to take the chance that effect would not flower. And Thoreau as we have seen could climb a mountain and return without having had a revelation. In Emerson by contrast the specular mound, this is a phrase he himself uses. The specular mound is anywhere and nowhere for the point that much, if not all of the divine can be perceived in a load of bricks, implies that nothing is particularly likely to produce the sublime. What do these four symptoms as I've called it symptoms of the disintegration of the romantic sublime add up. By temperament Emerson did not inclined toward raptures and enthusiasm. I was born cold he notes in a letter and repeatedly laments his lack of inspiration. In 1826, he muses about the weary days and the days of eclipse that are so much more frequent than the days of joy let alone the hours of vision I find in me, he says no power to recreate for myself the same brilliant entertainment. This coveted power does not return. And every attempt to force the soul is heavily baffled. Such remarks may help explain why Emerson was unable to emulate words was wise passiveness or Thoreau's contemplate contemplative stance. The moment of vision of complete self-realization could not be incorporated into a total experience of man and his world. Even when you most fully embraced the organic metaphor, Emerson did not argue from a position of strength. He could neither afford to wait until the myths would clear nor could he force the illumination. The signs of disintegration outlined above can be traced from the early notebook entries to the later essays. This continuity should not blind us to shifts in emphasis broadly speaking in what has come to be known as the optimistic Emerson, the focus is on the inner resources of the subject. While later writings moved toward a quiet histic attitude of passive acceptance, both positions, however, in their seemingly opposite ways, seriously undermine the higher romantic synthesis in the words worthy and mode. In subverting, the romantic dialectic of nature and the soul Emerson places a tremendous burden on the imagination deprived of the senses and nature as allies and collaborators, the soul is on its own and supplying the power needed to generate the visions. Coleridge anticipated this dilemma when he pointed out that one finds the beautiful, but the attributes, the sublime, the core region Eagle must constantly refuel itself. And it is no coincidence that Coleridge along with the Quincy, Paul and Paul Layer felt tempted to resort to artificial stimulants. Emerson of course, strongly objected to drugs in the poet he denounces the counterfeit excitement induced by alcohol and other narcotics. Nature is the only legitimate source of inspiration, the true poet drinks water. But having robbed nature of any intrinsic capability to produce the sublime. Emerson tends to turn nature herself into a narcotic. The following note of 1841 may be facetious, but it suggests what kind of problem Emerson had to confront. \"I suppose there is no more abandoned Epicure \"or opium eater than I, \"I taste every hour of these autumn days, \"every light from the sky, \"every shadow on the earth ministers to my pleasure\" The theoretical shift toward the mind and away from the empirical pole of experience, combined with an awareness of what he felt to be his own mental sluggishness, pushed Emerson in the direction of Coleridge and the artificial paradises of modernism. The illuminations derived from nature are essentially akin to the opium eaters. Interestingly, Emerson articulated his predicament quite early in his career. His journals express a sense of insecurity and doubt that seems to have evaporated in most of the essays or to the extent that it does show up in the essays. For instance, in the noble doubt, introduced toward the end of nature, the problems are presented in such a fashion as to make them appear resolved. In 1823 entry sounds an ominous note indicating as it does the illusory genus of the regulatory moment. Faced with a sad spectacle of history Emerson finds it hard to maintain his faith in man's spirituality that more brilliant seductive faith he argues makes only momentary converts when it is aided by the gay exhilaration, which nature within and without awakens in youth or by the few hours or moments that happen in a man's life when the heart is swelled and imagination is feasted at seasons of revel magnificence and public joy. Whereas the times when the country conviction is forced upon the soul outnumber these moments, a 1000 fold. What is disturbing about these remarks is not the familiar point about the scarcity of those moments but the suspicion that they may not be real, that they may be illusions conjured up by the emotional chemistry, peculiar to youth and to moods of euphoria. What if the soul does not really break through to a new knowledge? What if it's simply imposes it's own projections on reality. In his later essays starting perhaps with circles, Emerson places ever greater emphasis on the frustrating aspects of man's quest for transcendence, the fact that as he puts it, \"There is no end in nature is at once the inspire and the condemner of every success,\" To perhaps increasing awareness of the possibly illusory nature of the soul's inspirations. He moves away from the aroused intellect as the generator of visions toward a quiet histic stance. He continues to treasure the visionary moment. Indeed, his craving for such moments seems to become more intense, but he appears reluctant to allow the imagination to go ahead and project its glimpses of eternity instead, he just sits back and waits, whatever the source of the visions, the idea of the regulatory moment as radically discontinuous with experience. Adam brights a view of man's existence as a series of disconnected episodes, the view that subverts the romantic notion of organic growth with profound consequences for Emerson sod in the realms of ethics and aesthetics. One of the most important of aspects of Emerson's crisis in the early 1840s was his disenchantment with the idea of self culture, which he had so strongly advocated in the 1830s, the goal of culture, the emancipation of man's divine potential seemed ever more elusive while in nature the visionary moment appears at least theoretically integrated into a scheme of development. Emerson later focuses on the moment itself as a self-contained unit, utterly beyond human control, utterly inscrutable, much of you as David Robinson has pointed out, has a clear affinity with the doctrines of elect, but irresistible grace, that some of Emerson's Puritan ancestors had preached. It also anticipates I would add certain aspects of modernism. For aesthetically the view of man's existence as discontinuous translates into a theory of art that concentrates on either the single moment or emphasizes structural discontinuities for the former images comes to mind for the letter Groton narrative of Arthur Gordon PIM offers a case in point, but one of the most striking fore shadowings of the modernist poetics of fragmentation is provided by Emerson himself in his unfinished poem, The Poet, the poem significantly entitled the discontented poet in an earlier version. First builds one of Emerson's most emphatic celebrations of poetic vision. Its first section is thoroughly Wordsworth in tone and outlook, but the speaker is unable to sustain the vision anxiety takes over and the poem literally falls apart. David Porter has persuasively argued that Emerson's failure to complete the poem is of a peace with his failure to compose the dilemma in the poem. It's fragmentation is the beginning of what came to be an aesthetics of pieces so far Porter, the conviction that all is in each allowed Emerson to engage in almost unprecedented flights of the imagination, but you also had to face the less inspiring correlary of the same premise Zen Anthony's he jotted down in 1836 Zen complained in his old age, that all things hastened back to unity identity. He was weary of seeing the same thing in a tedious variety of things forms. proclaimed in Eureka, that the original one from which all things emanated and to which they stroll to return was identical with nothingness. How close did Emerson come to this conclusion? If the epiphthany is in his poetry and prose strike one as artificial and contrived, one should be wary of jumping to conclusions as to Emerson's artistic abilities. The tensions within his concept of the visionary made him question and ultimately discard the synthesis achieved by Wordsworth by the same talking he anticipated the long Paul the notion of empty trancedants which became central to moderness. I'd like to conclude by commenting briefly on Paul narrative of Arther because I think it's a good illustration of the notion of empty transcendence implied.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105775#t=0.0,2709.89061"}]}]},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776","type":"Canvas","label":{"en":["Media File 2 of 2 - AV203365_Emerson_and_Transcendentalism_b.mp3"]},"duration":269.58367,"width":640,"height":40,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/105/776/small/lecture.png?1613511043","type":"Image","format":"image/png"}],"items":[{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/content/1","type":"AnnotationPage","items":[{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-iastate.s3.wasabisys.com/collection_resource_files/resource_files/000/105/776/original/AV203365_Emerson_and_Transcendentalism_b.mp3?1613511043","type":"Audio","format":"audio/mpeg","duration":269.58367,"width":640,"height":40},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776","metadata":[]}]}],"annotations":[{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815","type":"AnnotationPage","label":{"en":["AV203365_Emerson_and_Transcendentalism_b.vtt [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e Expressions, thus emphasizing the Radical Discontinuity","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=5.29,10.29"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"between the realm of awe and wonder and ordinary experience.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=11.08,15.773"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The approach to the marvelous,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=16.73,18.29"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is accompanied by progressive depersonalization,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=18.29,21.3"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"on the part of the hero, pin ceases to function.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=21.3,24.9"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He gets drowsy and he allows himself to be carried away","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=24.9,28.078"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"by the swift current farther and farther towards","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=28.078,32.05"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the south pole until at last he is swallowed up","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=32.05,34.75"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"by the the abyss.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=34.75,36.63"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Here are the last lines of the narrative section.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=36.63,40.157"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"And now we rushed into the embraces of the cataract,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=40.157,44.567"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"where a chasm through itself open to receive us.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=44.567,48.516"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"But there arose in our pathway a shrouded human figure,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=48.516,53.137"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"very far larger in its proportions","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=53.137,55.387"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"than any dweller among men.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=55.387,58.457"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"And the hue of the skin of the figure was","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=58.457,61.157"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"of the perfect whiteness of the snow.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=61.157,63.887"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"As usual INPO, the image of the abyss marks","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=66.112,69.886"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the ultimate negation.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=69.886,72.103"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's positive concomitant, transcendence,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=73.0,76.496"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the reverse side of the coin as it were,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=76.496,79.37"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is adumbrated in the huge white figure.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=79.37,82.403"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"A lot of critical acumen has been expended on","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=83.32,86.88"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the symbolic implications of that white figure.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=86.88,90.63"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I have no quarrel with any of the interpretations offered,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=90.63,93.42"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"except that all of them,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=93.42,95.15"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in so far as they try to extract symbolic meaning from it,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=95.15,99.25"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"are more or less beside the point.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=99.25,101.753"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"From the perspective of the sublime,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=102.94,104.72"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the huge figure does indeed suggest","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=104.72,106.948"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the intervention of a transcendent power.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=106.948,110.64"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It seems as though the negative phase,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=110.64,112.8"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the motion of sinking were succeeded by an upward swing.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=112.8,117.8"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"What is significant,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=118.75,119.583"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"however, is that the narrative breaks off at this point.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=119.583,122.66"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The figure is veiled, a shrouded human figure.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=122.66,126.61"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's color white, is both negative.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=126.61,129.62"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's no color at all, and positive.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=129.62,132.58"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It comprises the whole spectrum.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=132.58,134.453"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"If the shroud were to drop,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=135.6,137.41"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"if the figure were to assume some kind of shape,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=137.41,141.18"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"we might be justified in venturing a symbolic reading.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=141.18,144.183"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But at this point, the story ends apart from","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=145.56,148.33"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the Hulk sickle PostScript.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=148.33,150.96"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The image refuses to turn into a symbol.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=150.96,154.253"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Pose art stops short to use one","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=155.13,157.43"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of his favorite phrases upon the verge of revelation.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=157.43,161.483"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"Its combination is an epiphany,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=162.357,164.384"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"which fails to materialize.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=164.384,167.167"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This idea of the function of art,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=168.69,170.533"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is neither dated nor idiosyncratic.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=171.37,174.053"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The Argentinian writer Borges, at any rate,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=174.9,177.513"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"reaches pretty much the same conclusion in his essay,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=179.92,182.8"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the Well, sorry, \"The Wall and the Books.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=182.8,186.047"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Music, he says, \"Music states of happiness, mythology,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=187.01,192.01"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"faces belaboured by time, certain twilight's,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=192.307,195.907"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"and certain places, try to tell us something","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=195.907,198.88"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"or have said something we should not have missed,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=199.897,203.83"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"or about to say something.\"","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=203.83,206.237"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This imminence of a revelation,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=207.29,210.37"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"which does not occur is perhaps","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=210.37,213.41"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the aesthetic phenomenon per say.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=213.41,215.853"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Thank you.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=216.81,218.344"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience clapping)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=218.344,221.344"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e Yeah.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=229.0,230.53"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e So any comments, questions, sir?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=230.53,232.68"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I will be happy to answer them.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=236.455,238.005"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Overwhelmed by the sublime?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=247.75,249.902"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience laughing)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=249.902,252.152"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e No, there aren't any questions.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=260.68,261.513"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Thank you very much.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=261.513,262.8"},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e Okay, thank you for coming.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=262.8,264.25"}]},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22815/annotation/73","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/022/815/original/AV203365_Emerson_and_Transcendentalism_b.vtt?1613511047","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/022/815/original/AV203365_Emerson_and_Transcendentalism_b.vtt?1613511047"}]},{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22816","type":"AnnotationPage","label":{"en":["AV203365_Emerson_and_Transcendentalism_b.txt [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776/transcript/22816/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"- Expressions, thus emphasizing the Radical Discontinuity between the realm of awe and wonder and ordinary experience. The approach to the marvelous, is accompanied by progressive depersonalization, on the part of the hero, pin ceases to function. He gets drowsy and he allows himself to be carried away by the swift current farther and farther towards the south pole until at last he is swallowed up by the the abyss. Here are the last lines of the narrative section. \"And now we rushed into the embraces of the cataract, \"where a chasm through itself open to receive us. \"But there arose in our pathway a shrouded human figure, \"very far larger in its proportions \"than any dweller among men. \"And the hue of the skin of the figure was \"of the perfect whiteness of the snow.\" As usual INPO, the image of the abyss marks the ultimate negation. It's positive concomitant, transcendence, the reverse side of the coin as it were, is adumbrated in the huge white figure. A lot of critical acumen has been expended on the symbolic implications of that white figure. I have no quarrel with any of the interpretations offered, except that all of them, in so far as they try to extract symbolic meaning from it, are more or less beside the point. From the perspective of the sublime, the huge figure does indeed suggest the intervention of a transcendent power. It seems as though the negative phase, the motion of sinking were succeeded by an upward swing. What is significant, however, is that the narrative breaks off at this point. The figure is veiled, a shrouded human figure. It's color white, is both negative. It's no color at all, and positive. It comprises the whole spectrum. If the shroud were to drop, if the figure were to assume some kind of shape, we might be justified in venturing a symbolic reading. But at this point, the story ends apart from the Hulk sickle PostScript. The image refuses to turn into a symbol. Pose art stops short to use one of his favorite phrases upon the verge of revelation. \"Its combination is an epiphany, \"which fails to materialize.\" This idea of the function of art, is neither dated nor idiosyncratic. The Argentinian writer Borges, at any rate, reaches pretty much the same conclusion in his essay, the Well, sorry, \"The Wall and the Books.\" Music, he says, \"Music states of happiness, mythology, \"faces belaboured by time, certain twilight's, \"and certain places, try to tell us something \"or have said something we should not have missed, or about to say something.\" This imminence of a revelation, which does not occur is perhaps the aesthetic phenomenon per say. Thank you.\r\n\r\n- Yeah.\r\n\r\n- So any comments, questions, sir? I will be happy to answer them. Overwhelmed by the sublime?\r\n\r\n- No, there aren't any questions. Thank you very much.\r\n\r\n- Okay, thank you for coming.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/2486/collection_resources/36643/file/105776#t=0.0,269.58367"}]}]}]}