Emerson’s Vision of America in John Ford’s "Stagecoach"

When Ralph Waldo Emerson addressed the Phi Betta Kappa Society in 1837 at Harvard College, his directives included the establishment of an American literary tradition derived from the unique experience of his fellow citizens in a new context that included a wild frontier. He sought to establish a di...

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Main Author: Michael Forest
Format: Article
Language:English
Published: Nederlands Genootschap voor Esthetica (Dutch Association of Aesthetics) 2020-07-01
Series:Aesthetic Investigations
Subjects:
Online Access:https://www.aestheticinvestigations.eu/index.php/journal/article/view/212
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author Michael Forest
author_facet Michael Forest
author_sort Michael Forest
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description When Ralph Waldo Emerson addressed the Phi Betta Kappa Society in 1837 at Harvard College, his directives included the establishment of an American literary tradition derived from the unique experience of his fellow citizens in a new context that included a wild frontier. He sought to establish a different moral foundation built on a romantic sense of spiritual attachment to nature. This essay extends the new American grain and ground Emerson’s directives in a truly original and unique American artistic genre – the western film. My thesis is simply that John Ford’s elevation of the western film to artistic status with 1939’s Stagecoach is a uniquely appropriate fulfilment of Emerson’s call in the “American Scholar” for genre elevation, literary nationalism, romantic moral sentiment, and ultimately for confirming an American mythology that articulated and reinforced a native self-identity.
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spelling doaj.art-e8ad5fd370ec4e7a8caebd06e00d848a2022-12-21T21:10:24ZengNederlands Genootschap voor Esthetica (Dutch Association of Aesthetics)Aesthetic Investigations2352-27042020-07-013210.5281/zenodo.4415691Emerson’s Vision of America in John Ford’s "Stagecoach"Michael Forest0Canisius CollegeWhen Ralph Waldo Emerson addressed the Phi Betta Kappa Society in 1837 at Harvard College, his directives included the establishment of an American literary tradition derived from the unique experience of his fellow citizens in a new context that included a wild frontier. He sought to establish a different moral foundation built on a romantic sense of spiritual attachment to nature. This essay extends the new American grain and ground Emerson’s directives in a truly original and unique American artistic genre – the western film. My thesis is simply that John Ford’s elevation of the western film to artistic status with 1939’s Stagecoach is a uniquely appropriate fulfilment of Emerson’s call in the “American Scholar” for genre elevation, literary nationalism, romantic moral sentiment, and ultimately for confirming an American mythology that articulated and reinforced a native self-identity.https://www.aestheticinvestigations.eu/index.php/journal/article/view/212EmersonStagecoachJohn FordAmerican identityLiterary Nationalism
spellingShingle Michael Forest
Emerson’s Vision of America in John Ford’s "Stagecoach"
Aesthetic Investigations
Emerson
Stagecoach
John Ford
American identity
Literary Nationalism
title Emerson’s Vision of America in John Ford’s "Stagecoach"
title_full Emerson’s Vision of America in John Ford’s "Stagecoach"
title_fullStr Emerson’s Vision of America in John Ford’s "Stagecoach"
title_full_unstemmed Emerson’s Vision of America in John Ford’s "Stagecoach"
title_short Emerson’s Vision of America in John Ford’s "Stagecoach"
title_sort emerson s vision of america in john ford s stagecoach
topic Emerson
Stagecoach
John Ford
American identity
Literary Nationalism
url https://www.aestheticinvestigations.eu/index.php/journal/article/view/212
work_keys_str_mv AT michaelforest emersonsvisionofamericainjohnfordsstagecoach