Art Archives | Open Culture archive | Open Culture
Jennifer LoveGrove is the author of the 2014 Scotiabank Giller Prize longlisted novel Watch How We Walk (ECW Press), as well as two poetry collections: I Should Never Have Fired the Sentinel (ECW Press) and The Dagger Between Her Teeth (ECW Press). Her writing has been published widely across Canada in literary journals, magazines and newspapers. In 2010 she was nominated for the K. M. Hunter Artist Award for Literature. For several years, she produced and hosted the literary radio show “In Other Words” on CKLN 88.1FM, and for a decade she edited and published the literary zine dig. Currently, she divides her time between downtown Toronto and rural Haliburton, and can be found online at
Ralph Waldo Emerson Biography - Brandeis University
The Journal "addresses the unique concerns of children in the American legal system."UCLA Journal of Environmental Law & PolicyThe Journal "publishes legal writings on issues of current interest to scholars, students, and practitioners in the field of environmental law and policy."UCLA Journal of International Law and Foreign AffairsThe Journal is "an interdisciplinary publication dedicated to promoting scholarship in international law and international relations."UCLA Journal of Islamic and Near Eastern Law"As the first law school journal in the West dealing with this topic, JINELs goal is to emphasize and critically analyze all legal issues--social, political, civil, historical, economic, and commercial--that are of particular relevance to Muslims and Near Easterners in both Muslim and non-Muslim societies."UCLA Journal of Law and TechnologyThe Journal "is dedicated to producing the best literature on the web concerning not only hard IP, but all intellectual property that is at the forefront of technology, at the forefront of academia, society, and innovation."UCLA Law ReviewTable of contents, subscription information, School of Law, University of California, Los Angeles, CA.
(1850), a book made up of lectures first given in 1845 on , Swedenborg, Montaigne, , Napoleon, and Goethe, is the fullest account of Emerson's biographical approach to literature. This subject is not new with him. It goes back at least to his early lecture on , but it now has a new emphasis. Just as he had once claimed that there is properly no history, only biography, so comes close to saying there is properly no literature, there are only literary persons. "There must be a man behind the book," he says of Goethe. "It makes a great difference to the force of any sentence whether there be a man behind it or no." Emerson's representative figures are his Plutarchan heroes. The book is a pantheon of heroes, chosen not from among warriors (except for Napoleon), but from among thinkers and writers, who are of use to us because they represent or symbolize qualities that lie in us, too. They are essays in symbolic literary biography. Assuming that language is representative, that is, symbolic, Emerson says that "Behmen and Swedenborg saw that things were representative." Then, moving, not toward circular idealism, but toward biography, he states: "Men also are representative: first of things, and secondly, of ideas." Emerson identifies in each of his figures some permanent quality of the human mind. He is also a prestructuralist in that he believes that the world people make and inhabit is determined partly or even largely by the structure of the human mind. "Our colossal theologies of Judaism, Christism, Buddhism, Mahometism are the necessary and structural action of the human mind." It follows from this that our reading is a process of recognizing our own thoughts, or capabilities for thought and imagination, in the work and lives of others. Emerson sums this up concisely. "The possibility of interpretation lies in the identity of the observer with the observed." The democratic aesthetic also follows from this. "As to what we call the masses, and common men,--there are no common men. All men are at last of a size; and true art is only possible on the conviction that every talent has its apotheosis somewhere."
Law Journals Index – WashLaw Web
From December 1836 to March 1837 Emerson gave his first series of independent lectures, the first that is, that he designed himself and gave under his own auspices. It was called the Philosophy of History, and it was a very important series for Emerson, since out of it evolved the great essays on "History" and "Self Reliance" that he would publish in his first volume of in 1841. There is also a lecture on "Literature" in the Philosophy of History series, given in January 1837. The general theme of the series is stated in the introductory lecture: "We arrive early at the great discovery that there is one Mind common to all individual men; that what is individual is less than what is universal; that those properties by which you are man are more radical than those by which you are Adam or John; than the individual, nothing is less; than the universal, nothing is greater; that error, vice, and disease have their seat in the superficial or individual nature; that the common nature is whole." Literature, then, is the written record of this mind, and in one important sense literature is always showing us only ourselves. This lecture contains Emerson's most extreme--and least fruitful--statement of his idealist conception of literature. He contrasts art with literature, explaining that while "Art delights in carrying a thought into action, Literature is the conversion of action into thought." In other words, "Literature idealizes action." In an abstract sense this may be so, but Emerson is generally at his best when he sees literature moving us toward action, not away from it. In another place this lecture has a very valuable comment on how literature is able to reach into our unconscious. "Whoever separates for us a truth from our unconscious reason, and makes it an object of consciousness, ... must of course be to us a great man." And there is also a rather uncharacteristic recognition of what Gustav Flaubert would call . "The laws of composition are as strict as those of sculpture and architecture. There is always one line that ought to be chosen, one proportion that should be kept, and every other line or proportion is wrong.... So, in writing, there is always a right word, and every other than that is wrong."
The Hare With Amber Eyes: A Family's Century of Art …
"Published articles by professors, practitioners and students varied topics including zoning the homeless, political lawyering, and the right to revolution."Harvard Law ReviewStudent-run organization whose primary purpose is to publish a journal of legal scholarship.