Douglas Anderson – författare

The contents of the letters published here, again show the great range of subjects that occupied Van Leeuwenhoek: from sugar candy, the shape and crystal structure of diamonds, the dissolution of silver crystals in aqua fortis to gold dust from Guinea dissolved in aqua regia and the dissolution and separation of gold, silver, and copper.Every volume in the Series contains the texts in the original Dutch and an English translation. The great range of subjects studied by Van Leeuwenhoek is reflected in these letters: instruments to measure water, pulmonary diseases; experiments relating to the solution of gold and silver; salt crystals and grains of sand; botanical work, such as duckweed and germination of orange pips; description on protozoa. blood, spermatozoa and health and hygiene, for example and harmfulness of tea and coffee and the benefits of cleaning teeth.

A whole range of major American writers have focused on images of the household, of domestic virtue, and the feminine or feminized hero. This important 1990 book examines the persistence and flexibility of such themes in the work of a tradition of classic writers from Ann Bradstreet through Jefferson and Franklin to Hawthorne, Melville, Whitman and Emily Dickinson. Without minimizing the differences that divide these figures, Anderson shows the extent to which, in their various circumstances, they were all committed to a common enterprise - a social and cultural reconstruction based on the domestic values of the ideal private household.

A whole range of major American writers have focused on images of the household, of domestic virtue, and the feminine or feminized hero. This important 1990 book examines the persistence and flexibility of such themes in the work of a tradition of classic writers from Ann Bradstreet through Jefferson and Franklin to Hawthorne, Melville, Whitman and Emily Dickinson. Without minimizing the differences that divide these figures, Anderson shows the extent to which, in their various circumstances, they were all committed to a common enterprise - a social and cultural reconstruction based on the domestic values of the ideal private household.

Pragmatism and the Philosophy of Sport explores the philosophical significance of sport – the phenomenological experience, the training, coaching, and the competition – from a uniquely pragmatic angle of vision. The philosophical insights of John Dewey, William James, C.S. Peirce, Jane Addams, and Josiah Royce shed new light on the meaning of the physical practices that take place on our soccer fields, national arenas, backyards, and playgrounds. Interestingly, a close examination of these contemporary practices allows us to understand a wide array of ethical, epistemological and metaphysical commitments that the American pragmatic tradition has articulated for more than a century. Pragmatism’s insistence that truth be embodied in the practical consequences of everyday life, its balancing of communal and individual purposes, its emphasis on the role of chance and spontaneity in experience — resonate with the findings of modern kinesiology and sport science.

Benjamin Franklin, writes Douglas Anderson in his preface, is "no one's contemporary...Blending elements of the fifteenth-century spiritual discipline of Thomas a Kempis with the journalistic energy of Daniel Defoe, the urbane reason of Lord Shaftesbury with the scientific initiative of Thomas Edison, Franklin places exceptional demands on the historical imagination of his readers-demands that are inevitably slighted by writers who emphasize only one set of interests or one facet of a complex temperament." In The Radical Enlightenments of Benjamin Franklin Anderson takes a fresh look at the intellectual roots of one of the most engaging and multifaceted of America's founders. Anderson begins by tracing the evolution of young Franklin's theology of works between the letters of Silence Dogood (1722) and his impassioned defense of the heterodox Irish clergyman Samuel Hemphill in 1735. He places the twenty-five-year production of Poor Richard's Almanac in the context of early eighteenth-century moral and educational psychology.He examines the broad intellectual continuities uniting Franklin's 1726 journal of his return voyage to Philadelphia with successive editions of his Experiments and Observations on Electricity, first published in 1751. And he offers a careful examination of Franklin's seminal, and controversial, 1751 essay "Observations Concerning the Increase of Mankind." The Radical Enlightenments of Benjamin Franklin brings us a much fuller understanding of Franklin's intellectual and literary roots and his later influence among common readers.

Widely regarded as the most important narrative of seventeenth-century New England, William Bradford's Of Plimmoth Plantation is one of the founding documents of American literature and history. In William Bradford's Books this portrait of the religious dissenters who emigrated from the Netherlands to New England in 1620 receives perhaps its sharpest textual analysis to date-and the first since that of Samuel Eliot Morison two generations ago. Far from the gloomy elegy that many readers find, Bradford's history, argues Douglas Anderson, demonstrates remarkable ambition and subtle grace, as it contemplates the adaptive success of a small community of religious exiles. Anderson offers fresh literary and historical accounts of Bradford's accomplishment, exploring the context and the form in which the author intended his book to be read.

Benjamin Franklin wrote his posthumously published memoir - a model of the genre - in several pieces and in different temporal and physical places. Douglas Anderson's study of this work reveals the famed inventor as a literary adept whose approach to autobiographical narrative was as innovative and radical as the inventions and political thought for which he is renowned. Franklin never completed his autobiography, choosing instead to immerse his reader in the formal and textual atmosphere of a deliberately "unfinished" life. Taking this decision on Franklin's part as a starting point, Anderson treats the memoir as a subtle and rewarding reading lesson, independent of the famous life that it dramatizes but closely linked to the work of predecessors and successors like John Bunyan and Alexis de Tocqueville, whose books help illuminate Franklin's complex imagination. Anderson shows that Franklin's incomplete story exploits the disorderly and disruptive state of a lived life, as opposed to striving for the meticulous finish of standard memoirs, biographies, and histories.In presenting Franklin's autobiography as an exemplary formal experiment in an era that its author once called the Age of Experiments, "The Unfinished Life of Benjamin Franklin" veers away from the familiar practices of traditional biographers, viewing history through the lens of literary imagination rather than the other way around. Anderson's carefully considered work makes a persuasive case for revisiting this celebrated book with a keener appreciation for the subtlety and beauty of Franklin's performance.

The Introspective Art of Mark Twain is a major new assessment of a towering American writer. Seeking to trace the development of Mark Twain’s imagination, Douglas Anderson begins near the end of Twain’s life, with the long dialogue What Is Man? that Twain published anonymously in 1906. In Twain’s view, the little-read What Is Man? lies at the heart of his creative life. It is the central aesthetic testament that he employed to tell the story of his artistic evolution. Anderson follows the contours of that story as it unfolds over Twain’s career. The portrait that emerges addresses the full scope of Twain’s achievement, drawing on his autobiographical and travel writings, as well as the published and unpublished works of fiction that are by now deeply embedded in the world literary canon. “Steer by the river in your head,” Mark Twain’s master pilot, Horace Bixby, once advised him, when the opaque atmosphere of the outer world made it impossible to see the actual Mississippi through which Twain was trying to guide his steamboat. For the purposes of this book, the river in one’s head is not a mental construct of the physical world but the riverine networks of consciousness itself: the river that is the mind. The detailed discussions of individual books that structure each chapter direct the attention of Mark Twain’s students and admirers, through inward rather than outward channels, toward a fuller appreciation for his legacy.

The Introspective Art of Mark Twain is a major new assessment of a towering American writer. Seeking to trace the development of Mark Twain’s imagination, Douglas Anderson begins near the end of Twain’s life, with the long dialogue What Is Man? that Twain published anonymously in 1906. In Twain’s view, the little-read What Is Man? lies at the heart of his creative life. It is the central aesthetic testament that he employed to tell the story of his artistic evolution. Anderson follows the contours of that story as it unfolds over Twain’s career. The portrait that emerges addresses the full scope of Twain’s achievement, drawing on his autobiographical and travel writings, as well as the published and unpublished works of fiction that are by now deeply embedded in the world literary canon. “Steer by the river in your head,” Mark Twain’s master pilot, Horace Bixby, once advised him, when the opaque atmosphere of the outer world made it impossible to see the actual Mississippi through which Twain was trying to guide his steamboat. For the purposes of this book, the river in one’s head is not a mental construct of the physical world but the riverine networks of consciousness itself: the river that is the mind. The detailed discussions of individual books that structure each chapter direct the attention of Mark Twain’s students and admirers, through inward rather than outward channels, toward a fuller appreciation for his legacy.