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By Anita Haya Patterson

This publication lines a provocative line from Emerson's paintings on race, reform, and id to paintings by way of 3 influential African- American thinkers--W. E. B. Du Bois, Martin Luther King Jr., and Cornel West--each of whom bargains sophisticated engagement with either the culture of written protest and the critique of liberalism Emerson formed. Emerson has been forged in fresh debate as both an antinomian or an ideologue--as both subversive of institutional controls or indebted to capitalism. the following, Patterson contributes a extra nuanced view, probing Emerson's list and its cultural and old matrix to rfile a primary rhetoric of contradiction--a strategic aligning of antagonistic political concepts--that enabled him to either verify and critique components of the liberal democratic version. Drawing richly on issues in political philosophy, legislations, faith, and cultural background, Patterson examines the character and implications of Emerson's contradictory rhetoric in components I and II. partially III she considers Emerson's legacy from the point of view of African-American highbrow historical past, making a choice on clean continuities and an important discontinuities among the canonical pressure of protest writing Emerson helped identify and African-American literary and philosophical traditions.

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