The Ulysses Sumner Milburn Hawthorne Collection Mss. Coll. #3
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Hawthorne's Concept of the Creative Process Thesis
48 BSI 78 HAWTHORNE'S CONCEPT OF THE CREATIVE PROCESS THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Retta F. Holland, B. S. Denton, Texas December, 1973 TABLE OF CONTENTS Chapter Page I. HAWTHORNEIS DEVELOPMENT AS A WRITER 1 II. PREPARATION FOR CREATIVITY: PRELIMINARY STEPS AND EXTRINSIC CONDITIONS 21 III. CREATIVITY: CONDITIONS OF THE MIND 40 IV. HAWTHORNE ON THE NATURE OF ART AND ARTISTS 67 V. CONCLUSION 91 BIBLIOGRAPHY 99 iii CHAPTER I HAWTHORNE'S DEVELOPMENT AS A WRITER Early in his life Nathaniel Hawthorne decided that he would become a writer. In a letter to his mother when he was seventeen years old, he weighed the possibilities of entering other professions against his inclinations and concluded by asking her what she thought of his becoming a writer. He demonstrated an awareness of some of the disappointments a writer must face by stating that authors are always "poor devils." This realistic attitude was to help him endure the obscurity and lack of reward during the early years of his career. As in many of his letters, he concluded this letter to his mother with a literary reference to describe how he felt about making a decision that would determine how he was to spend his life.1 It was an important decision for him to make, but consciously or unintentionally, he had been pre- paring for such a decision for several years. The build-up to his writing was reading. Although there were no writers on either side of Hawthorne's family, there was a strong appreciation for literature. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University M crct. rrs it'terrjt onai A Be" 4 Howe1 ir”?r'"a! Cor"ear-, J00 Norte CeeD Road App Artjor mi 4 6 ‘Og ' 346 USA 3 13 761-4’00 600 sC -0600 Order Number 9238197 Selected literary letters of Sophia Peabody Hawthorne, 1842-1853 Hurst, Nancy Luanne Jenkins, Ph.D. -
Scholars Portal PDF Export
Localism, landscape, and the ambiguities of place: German- speaking central Europe, 1860-1930 Author(s) Blackbourn, David ; Retallack, James N. Imprint Toronto [Ont.] : University of Toronto Press, c2007 Extent 1 electronic text (viii, 278 p.) Topic DD Subject(s) Nationalism -- Germany; Landscape -- Symbolic aspects -- Germany; National characteristics, German; Home -- History. -- Germany Language English ISBN 9781442684522, 9780802093189 Permalink http://books.scholarsportal.info/viewdoc.html?id=560292 Pages 85 to 106 3 ‘Native Son’: Julian Hawthorne’s Saxon Studies james retallack Fated to stand in the shadow of his gifted father Nathaniel Hawthorne, Julian Hawthorne (1846–1934) might be forgiven for attempting to ‘go native’ when fortune took him to Dresden, capital city of the Kingdom of Saxony. Near the end of an undistinguished period of professional training that began in 1869 and dragged on until 1874, Hawthorne wrote a misanthropic tome entitled Saxon Studies.1 First published seri- ally in the Contemporary Review, the book weighed in at 452 pages when it appeared in 1876. It may well have contributed to Hawthorne’s Brit- ish and American publishers going bankrupt a few weeks later: the only copies that exist today are those sent out for review purposes. Hawthorne claimed that he set out to write an objective, candid appraisal of Saxon society. But if this was a ‘warts and all’ study, the face of Saxony quickly turned into caricature. Soon one saw nothing but warts. Saxon Studies fits into no literary or scholarly genre: it is part autobiography, part travelogue, part social anthropology avant la lettre, and part Heimat romance (stood on its head). -
SOPHIA PEABODY HAWTHORNE Lessons from an Old Manse
SOPHIA PEABODY HAWTHORNE Lessons from an Old Manse Sophia Hawthorne’s window etching in her studio at The Old Manse: “Endymion painted in this room - finished January 20, 1844.” HISTORY On the morning of July 7, 1842, Nathaniel Hawthorne and Sophia Peabody were married in Boston. That afternoon, they rode out to Concord to begin their married life at The Old Manse. The Hawthornes were eager to begin this new chapter of their lives because they shared a vision of what their married life. Nathaniel was a writer, Sophia was an artist, and together they had planned to each develop their respective crafts while inspiring the other. The Old Manse was an ideal home for the Hawthornes with its shared and individual spaces. Sophia promptly transformed the dining room into her painting studio. By 1842, Sophia was a respected painter in the prime of her career. Current research shows her to be the first female American painter who was paid for her work, thus paving the way for others of her gender. In 1844 Sophia marked the completion of Endymion, the painting she considered her masterpiece, by using her diamond ring to etch the note above into her studio window. As her notes in this glass also show, Sophia’s life changed in 1844 when she gave birth to her first child, Una. The transition to motherhood was accompanied by an end to Sophia’s painting career. However, her diaries and letters show that she loved being a mother. And, in the second inscription on the window, Sophia expressed her daughter’s joy in seeing the shimmering icicles on maple trees in the yard after a winter storm: “Una Hawthorne stood on this window sill January 22’d 1845 while the trees were all glass chandeliers – a goodly show which she like much tho only ten months old” FOR CONTEMPLATION OR DISCUSSION Gender Roles - In the three years that the Hawthornes lived at The Old Manse, Sophia’s artistic career peaked and ended while Nathaniel’s grew to great acclaim. -
Rose Hawthorne Lathrop —>
MOTHER MARY ALPHONSA —> ROSE HAWTHORNE LATHROP —> MRS. GEORGE PARSONS LATHROP —> ROSE HAWTHORNE “NARRATIVE HISTORY” AMOUNTS TO FABULATION, THE REAL STUFF BEING MERE CHRONOLOGY “Stack of the Artist of Kouroo” Project Rose Hawthorne HDT WHAT? INDEX ROSE HAWTHORNE MOTHER MARY ALPHONSA 1851 May 20, Tuesday: At the “little Red House” in Lenox, Massachusetts, Rose Hawthorne was born to Nathaniel Hawthorne and Sophia Peabody Hawthorne. At least subsequent to this period, it seems likely that Nathaniel and Sophia no longer had sexual intercourse, as Nathaniel has been characterized by one of his contemporaries as deficient “in the power or the will to show his love. He is the most undemonstrative person I ever knew, without any exception. It is quite impossible for me to imagine his bestowing the slightest caress upon Mrs. Hawthorne.” Sophia once commented about her husband that he “hates to be touched more than anyone I ever knew.” Presumably the Hawthornes gave up sexual intercourse for purposes of contraception, or perhaps because they found solitary or mutual masturbation to be more congenial, or perhaps, in Nathaniel’s case, because he preferred to have sex with prostitutes, a social practice of the times which Hawthorne referred to as “his illegitimate embraces,” rather than go to the trouble of arranging “blissful interviews” with his wife.1 Hawthorne was bothered by the presence of children, and after the birth of Rose would speak bitterly of the parent’s “duty to sacrifice all the green margin of our lives to these children” towards which he never felt the slightest “natural partiality”: [T]hey have to prove their claim to all the affection they get; and I believe I could love other people’s children better than mine, if I felt they deserved it more. -
INFORMATION to USERS the Most Advanced Technology Has Been
INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there sp’e missing pagSb, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 6 " X 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Accessing theUMI World's Information since 1938 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA Order Number 8822869 The criticism of American literature: The powers and limits of an institutional practice Kayes, Jamie R. Barlowe, Ph.D. The Ohio State University, 1988 Copyright ©1988 by Kayes, Jamie R. Barlowe. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 PLEASE NOTE: In ail cases this material has been filmed in the best possible way from the available copy. -
The Birth-Mark Hawthorne, Nathaniel
The Birth-Mark Hawthorne, Nathaniel Published: 1843 Type(s): Short Fiction Source: http://gutenberg.org 1 About Hawthorne: Nathaniel Hawthorne was born on July 4, 1804, in Salem, Massachu- setts, where his birthplace is now a museum. William Hathorne, who emigrated from England in 1630, was the first of Hawthorne's ancestors to arrive in the colonies. After arriving, William persecuted Quakers. William's son John Hathorne was one of the judges who oversaw the Salem Witch Trials. (One theory is that having learned about this, the au- thor added the "w" to his surname in his early twenties, shortly after graduating from college.) Hawthorne's father, Nathaniel Hathorne, Sr., was a sea captain who died in 1808 of yellow fever, when Hawthorne was only four years old, in Raymond, Maine. Hawthorne attended Bowdoin College at the expense of an uncle from 1821 to 1824, befriending classmates Henry Wadsworth Longfellow and future president Franklin Pierce. While there he joined the Delta Kappa Epsilon fraternity. Until the publication of his Twice-Told Tales in 1837, Hawthorne wrote in the comparative obscurity of what he called his "owl's nest" in the family home. As he looked back on this period of his life, he wrote: "I have not lived, but only dreamed about living." And yet it was this period of brooding and writing that had formed, as Malcolm Cowley was to describe it, "the central fact in Hawthorne's career," his "term of apprenticeship" that would eventually result in the "richly med- itated fiction." Hawthorne was hired in 1839 as a weigher and gauger at the Boston Custom House. -
Wayside, Minute Man National Historical Park, Historic Structure Report Part II, Historical Data Section
National Park Service Cultural Landscapes Inventory 2013 Wayside Minute Man National Historical Park Table of Contents Inventory Unit Summary & Site Plan Concurrence Status Geographic Information and Location Map Management Information National Register Information Chronology & Physical History Analysis & Evaluation of Integrity Condition Treatment Bibliography & Supplemental Information Wayside Minute Man National Historical Park Inventory Unit Summary & Site Plan Inventory Summary The Cultural Landscapes Inventory Overview: CLI General Information: Purpose and Goals of the CLI The Cultural Landscapes Inventory (CLI) is an evaluated inventory of all significant landscapes in units of the national park system in which the National Park Service has, or plans to acquire any enforceable legal interest. Landscapes documented through the CLI are those that individually meet criteria set forth in the National Register of Historic Places such as historic sites, historic designed landscapes, and historic vernacular landscapes or those that are contributing elements of properties that meet the criteria. In addition, landscapes that are managed as cultural resources because of law, policy, or decisions reached through the park planning process even though they do not meet the National Register criteria, are also included in the CLI. The CLI serves three major purposes. First, it provides the means to describe cultural landscapes on an individual or collective basis at the park, regional, or service-wide level. Secondly, it provides a platform to share information about cultural landscapes across programmatic areas and concerns and to integrate related data about these resources into park management. Thirdly, it provides an analytical tool to judge accomplishment and accountability. The legislative, regulatory, and policy direction for conducting the CLI include: National Historic Preservation Act of 1966 (16 USC 470h-2(a)(1)). -
Louisa May Alcott 1 Louisa May Alcott
Louisa May Alcott 1 Louisa May Alcott Louisa Alcott Louisa May Alcott at about age 25 Born November 29, 1832 Germantown, Pennsylvania, United States Died March 6, 1888 (aged 55) Boston, Massachusetts, United States Pen name A. M. Barnard Occupation Novelist Nationality American Period Civil War Genres Prose, Poetry Subjects Young Adult stories Notable work(s) Little Women Signature Louisa May Alcott (November 29, 1832 – March 6, 1888) was an American novelist best known as author of the novel Little Women and its sequels Little Men and Jo's Boys. Raised by her transcendentalist parents, Abigail May and Amos Bronson Alcott in New England, she grew up among many of the well-known intellectuals of the day such as Ralph Waldo Emerson, Nathaniel Hawthorne, and Henry David Thoreau. Nevertheless, her family suffered severe financial difficulties and Alcott worked to help support the family from an early age. She began to receive critical success for her writing in the 1860s. Early in her career, she sometimes used the pen name A. M. Barnard. Published in 1868, Little Women is set in the Alcott family home, Orchard House, in Concord, Massachusetts and is loosely based on Alcott's childhood experiences with her three sisters. The novel was very well received and is still a popular children's novel today. Alcott was an abolitionist and a feminist. She died in Boston. Childhood and early work Alcott was born on November 29, 1832, in Germantown, which is now part of Philadelphia, Pennsylvania, on her father's 33rd birthday. She was the daughter of transcendentalist and educator Amos Bronson Alcott and social worker Abby May and the second of four daughters: Anna Bronson Alcott was the eldest; Elizabeth Sewall Alcott and Abigail May Alcott were the two youngest. -
•Œrappaccini's Daughter╊
"Rappaccini's Daughter" - Sources and Names BURTON R. POLLIN RAPPACCINI'S DAUGHTER has always been viewed as one of Hawthorne's strangest and most provocative tales. I should like to consider a few of the possible sources which serve chiefly to under- score the theme of the transformation or re-creation of human life, these being Mary Shelley's Frankenstein, Godwin's St. Leon, and Milton's Paradise Lost. Related to the supernatural motif of the story is the meaning in Italian of the names of four major characters. That Hawthorne could not have failed to know Frankenstein has been assumed by R. P. Adams for "The Birthmark." 1Mary Shelley's first work was a celebrated, perhaps even notorious, novel during the period of Hawthorne's early development, and it continued to be popular throughout the century. There were to be at least nine reprints in English of this work of 1818, two of them published in the United States.2 The third edition of 1831, with a long new pre- face by the author, constituted the ninth of the popular "Standard Novels" of Colburne and Bentley.3 Hawthorne probably saw the 1833 Philadelphia reprint by the well-known firm of Carey and Lea, to which he had addressed a request in 1832 concerning an article for the Souvenir, one of its publications.4 Frankenstein is a distinguished specimen of the Gothic tale, a genre which was promi- nent in Hawthorne's reading.5 It has left its traces in The Scarlet 1 R. P. Adams in Tulane Studies, VIII (1958), 115-151, "Hawthorne: The Old Manse" - specifically, p. -
Julian Hawthorne
JULIAN HAWTHORNE “NARRATIVE HISTORY” AMOUNTS TO FABULATION, THE REAL STUFF BEING MERE CHRONOLOGY “Stack of the Artist of Kouroo” Project Julian Hawthorne HDT WHAT? INDEX JULIAN HAWTHORNE JULIAN HAWTHORNE 1846 June 22, Monday: In Salem, Massachusetts, Sophia Peabody Hawthorne gave birth to a 2d child, Julian Hawthorne. Initially this apparently unwanted or resented child would not be named: for at least the first eight months his mother and father would refer to him merely as “bundlebreech” (on a following screen is Nathaniel Hawthorne, as depicted in this year in crayon and chalk on paper by Eastman Johnson). Benjamin Robert Haydon, would-be redeemer of British art, creator of grand agendas, his magnum opus “The Anti-Slavery Convention” finally completed in a world which greeted it with a grand “ho-hum,” at the age of 61 wrote “Stretch me no longer on this rough world” and made in the journal he had been keeping for 38 years a blood-smeared entry: My soul aspires My spirit is wounded My hand fumbles My heart races My brain aches to burst My hand drops the impasto-laden brush HDT WHAT? INDEX JULIAN HAWTHORNE JULIAN HAWTHORNE My eyes wail hot tears I fail to shave, to wash to change my linen The glory of being a painter resides in one’s utter neglect by critics and public. * * * * I ask friend L—— for £100. We dine in the city on mutton, wine, and trifle. Laughter is a patina. O God, Thy will be done! He breaks the news: bad times prevent his advancing even a threepence. -
Hawthorne Family Papers, [Ca
http://oac.cdlib.org/findaid/ark:/13030/tf358002w4 No online items Guide to the Hawthorne Family Papers, [ca. 1834-1932] Processed by The Bancroft Library staff The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu © 1996 The Regents of the University of California. All rights reserved. Note Arts and Humanities --Literature --American Literature Guide to the Hawthorne Family BANC MSS 72/236 z 1 Papers, [ca. 1834-1932] Guide to the Hawthorne Family Papers, [ca. 1834-1932] Collection number: BANC MSS 72/236 z The Bancroft Library University of California, Berkeley Berkeley, California Contact Information: The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu Processed by: The Bancroft Library staff Date Completed: ca. 1972 Encoded by: Xiuzhi Zhou © 1996 The Regents of the University of California. All rights reserved. Collection Summary Collection Title: Hawthorne Family Papers, Date (inclusive): [ca. 1834-1932] Collection Number: BANC MSS 72/236 z Creator: Hawthorne family Extent: Number of containers: 2 cartons, 6 boxes, 4 volumes and 1 oversize folder. Repository: The Bancroft Library Berkeley, California 94720-6000 Physical Location: For current information on the location of these materials, please consult the Library's online catalog. Abstract: Primarily papers of Julian Hawthorne (correspondence, MSS of his writings and his poetry, journals and notebooks, scrapbooks, clippings, etc.), with a few papers also of his first wife, Minnie (Amelung) Hawthorne, and his second, Edith (Garrigues) Hawthorne.