The Scarlet Letter, an Overview . . . Synopsis the Story Takes Place In
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Nathaniel Hawthorne's the Scarlet Letter: Hester Prynne's Counter
1 Universidad de Chile Facultad de Filosofía y Humanidades Departamento de Lingüística Nathaniel Hawthorne’s The Scarlet Letter: Hester Prynne’s counter cultural feminism. Alumna Rayen Vielma Antivil Profesor patrocinante Francisco De Undurraga Santiago de Chile 2019 2 Agradecimientos Ante todo, quisiera agradecer a Catalina, sin quien no podría haber escrito esta tesis, ni luchado a través de mis últimos años dentro de la carrera. Gracias por la fuerza constante. Quisiera agradecer a mi papá por sus consejos, y a mi mamá por la paciencia. Gracias por no rendirse conmigo a lo largo de los años. Por último, me gustaría agradecer a mi mejor amiga, Tiare, por enseñarme que la fortaleza es tan eterna como uno se proponga que sea; y a mi hermano menor, Aarón, quien siempre ha sido mi motor. 3 Index Introduction ................................................................................................................................ 4 Theoretical framework ................................................................................................................ 9 Hester Prynne: a counter cultural feminist ................................................................................. 19 Rejection of Hester: otherness and taboo ................................................................................... 27 Conclusion ................................................................................................................................ 33 Bibliography ............................................................................................................................ -
Hawthorne's Use of Mirror Symbolism in His Writings
The Woman's College of The University of North Carolina LIBRARY CQ COLLEGE COLLECTION Gift of Jane './nicker lie lie tt KSLLSTT, JANS WHICKER. Hawthorne's Use of Mirror Symbolism in His Writings. (1968) Directed by Dr. Robert 0. Steohens. pp. 60 Ihroughout the course of Nathaniel Hawthorne's writin* one notes an extensive use of mirrors and other reflecting objects—brooks, lakes, fountains, pools, suits of armor, soao bubbles, the Duoils of oeople's eyes, and others. Surprisingly enough, few scholars and critics have had much to say about this slgnigiCRnt mirror symbolism; perhaps Hawthorne succeeded so well In concealing; these images that they exoress meaning without directing attention to their Dresence. Nevertheless, they are very much in evidence and for a very definite purpose. Hawthorne, whose works cover the problem of moral growth in man, was attempting to show mankind that only through an intense self-lntrosoectlon and self-examination of the interior of his Innermost bein°:—his heart—would he be able to live in an external world which often apoeared unintelligible to him; and through the utiliza- tion of mirror images., Hawthorne could often reveal truths hidden from the outer eyes of man. Hawthorne's Interest in mirrors is manifest from his earliest attempts in writing; indeed, he spoke of his imaerination as a mirror—it could reflect the fantasies from his haunted mind or the creations from his own heart. More Importantly, the mirror came to be for Hawthorne a kind of "magic" looking glass in which he could deoict settings, portray character, emphasize iraoortant moments, lend an air of the mysterious and the suoernatural, and disclose the meaning beneath the surface. -
I Pledge Allegiance to the Embroidered Scarlet
I PLEDGE ALLEGIANCE TO THE EMBROIDERED SCARLET LETTER AND THE BARBARIC WHITE LEG ____________ A Thesis Presented to the Faculty of California State University Dominguez Hills ____________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Humanities ____________ by Laura J. Ford Spring 2018 ACKNOWLEDGEMENTS I would like to acknowledge the people who encouraged and assisted me as I worked towards completing my master’s thesis. First, I would like to thank Dr. Patricia Cherin, whose optimism, enthusiasm, and vision kept me moving toward a graduation date. Her encouragement as my thesis committee chair inspired me to work diligently towards completion. I am grateful to Abe Ravitz and Benito Gomez for being on my committee. Their thoughts and advice on the topics of American literature and film have been insightful and useful to my research. I would also like to thank my good friend, Caryn Houghton, who inspired me to start working on my master’s degree. Her assistance and encouragement helped me find time to work on my thesis despite overwhelming personal issues. I thank also my siblings, Brad Garren, and Jane Fawcett, who listened, loved and gave me the gift of quality time and encouragement. Other friends that helped me to complete this project in big and small ways include, Jenne Paddock, Lisa Morelock, Michelle Keliikuli, Michelle Blimes, Karma Whiting, Mark Lipset, and Shawn Chang. And, of course, I would like to thank my four beautiful children, Makena, T.K., Emerald, and Summer. They have taught me patience, love, and faith. They give me hope to keep living and keep trying. -
University Micrxxilms International 300 N
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of "sectioning" the material has been followed. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
I Am Adele Bloch-Bauer, I Am Hester Prynne
University of Southern Maine USM Digital Commons All Theses & Dissertations Student Scholarship 2016 I AM ADELE BLOCH-BAUER, I AM HESTER PRYNNE Laurie Lico Albanese MFA University of Southern Maine Follow this and additional works at: https://digitalcommons.usm.maine.edu/etd Part of the Fiction Commons, Literature in English, North America Commons, Nonfiction Commons, and the Women's History Commons Recommended Citation Lico Albanese, Laurie MFA, "I AM ADELE BLOCH-BAUER, I AM HESTER PRYNNE" (2016). All Theses & Dissertations. 279. https://digitalcommons.usm.maine.edu/etd/279 This Open Access Thesis is brought to you for free and open access by the Student Scholarship at USM Digital Commons. It has been accepted for inclusion in All Theses & Dissertations by an authorized administrator of USM Digital Commons. For more information, please contact [email protected]. I AM ADELE BLOCH-BAUER, I AM HESTER PRYNNE ____________ A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS UNIVERSITY OF SOUTHERN MAINE STONECOAST MFA IN CREATIVE WRITING ___________ BY Laurie Lico Albanese June 2016 Abstract I AM ADELE BLOCH-BAUER, I AM HESTER PRYNNE is a compilation of fiction and nonfiction written at Stonecoast. This cross-genre thesis includes two excerpts from historical novels with female protagonists, and an essay on women’s historical fiction. For the study and creation of female-centered historical fiction I researched and wrote in a wide range of areas, both intellectual and temporal. First, I read and traced the emergence of female-focused American historical fiction that began with Nathaniel Hawthrne’s The Scarlet Letter, and continues today with historical fiction based in fact such as Lily King’s Euphoria and Paula McClain’s The Paris Wife and Circling the Sun. -
Nathaniel Hawthorne's “Young Goodman Brown”: a Psychoanalytic
Nathaniel Hawthorne’s “Young Goodman Brown”: A Psychoanalytic Reading Nathaniel Hawthorne’s story “Young Goodman Brown” describes the maturation of its protagonist, Goodman Brown. Through a dream vision, Brown confronts his forefathers, his wife, and authoritative members of his town, and by the end of the story he has established his place in the community as an adult. The events of the dream vision are Brown’s “errand” to a witches’ Sabbath in “the heart of the dark wilderness” and his refusal to take communion from the devil. The psychological significance of the dream vision is less obvious: Through his journey, Brown becomes an adult in his community; though uninitiated at the Sabbath, he is fully initiated socially. This initiation results in a frozen emotional state as the “young” Goodman Brown becomes, overnight, an old and gloomy Goodman Brown, without hope through the end of his days. Ultimately “Young Goodman Brown” can be seen as Hawthorne reaching his own critical understanding of his Puritan ancestors. The conflict that Brown suffers during his journey in the woods is shown to be internal through the number of details that are projections of his unconscious. The devil’s arguments “seemed rather to spring from up in the bosom of his auditor”—that is, Brown himself. When “the echoes of the forest mocked him,” Brown is projecting his emotional state onto the forest. The further Brown sinks into despair, the clearer it becomes that what he sees and hears is to a large extent the product of his fancy. “Once [Brown] fancied that he could distinguish the accents of townspeople of his own,” but “the next moment, so indistinct were the sounds, he doubted whether he had heard aught” until “then came a stronger swell of those familiar tones.” Ultimately Brown himself is the “chief horror of the scene” created by his own mind in conflict. -
The Scarlet Letter
THE SCARLET LETTER Nathaniel Hawthorne WHO WAS NATHANIEL HAWTHORNE? 1804-1864 Born in Salem, Massachusetts only child father died in 1804, while at sea he and his mother moved in with wealthy uncles leg injury kept Nathaniel down for several months, during this time he read as much as possible and decided to become a writer 1821-1825 – attended Bowdoin College met Henry Wadsworth Longfellow Franklin Pierce (14th President) not a great student WHO WAS NATHANIEL HAWTHORNE? Early ancestor, William Hathorne, first came to America in 1630, settled in Salem, Massachusetts, was a judge known for harsh judgements William’s son John, Hathorne was one of the three judges during the Salem Witch Trials in the 1690s Nathaniel added a “w” to his last name to distance himself from that side of the family WHO WAS NATHANIEL HAWTHORNE? Met Sophia Peabody a painter illustrator transcendentalist Spent time at Brook Farm community met Ralph Waldo Emerson and Henry David Thoreau Married Sophia on July 9, 1842 Settled in Concord, Massachusetts 3 Children SETTING Books are like boats on a river… We must look at two parts of the river when learning about the setting of the book. Where the author lives or lived on the river. Where the book takes place along the river. SETTING Transcendentalism was a philosophical movement that was developing by the late 1820s and '30s in the Eastern region of the United States as a protest against the general state of intellectualism and spirituality. The doctrine of the Unitarian church as taught at Harvard Divinity School was of particular concern. -
The Colonizing Force of Hawthorne's the Scarlet Letter
Laura “A” for Atlantic: Doyle The Colonizing Force of Hawthorne’s The Scarlet Letter In The Scarlet Letter, colonization just happens or, more accurately, has just happened. We might recall, by contrast, how Catharine Maria Sedgwick’s novel Hope Leslie elaborately narrates the sociopolitical process of making an Indian village into a native English spot. Hawthorne eclipses this drama of settlement. Although Haw- thorne, like Sedgwick, sets his plot of sexual crisis in the early colo- nial period of Stuart political crisis and English Civil War, he places these events in the distant backdrop, as remote from his seventeenth- century characters as his nineteenth-century readers. Meanwhile, he recasts Sedgwick’s whimsical heroine, Hope Leslie, as a sober, already arrived, and already fallen woman. In beginning from this already fallen moment, Hawthorne keeps off- stage both the “fall” of colonization and its sexual accompaniment. He thereby obscures his relationship to a long Atlantic literary and politi- cal history. But if we attend to the colonizing processes submerged in The Scarlet Letter, we discover the novel’s place in transatlantic his- tory—a history catalyzed by the English Civil War and imbued with that conflict’s rhetoric of native liberty. We see that Hawthorne’s text partakes of an implictly racialized, Atlantic ur-narrative, in which a people’s quest for freedom entails an ocean crossing and a crisis of bodily ruin. That is, The Scarlet Letter fits a formation reaching from Oroonoko, Moll Flanders, Charlotte Temple, and Olaudah -
The Scarlet Letter Summer Reading Questions
THE SCARLET LETTER SUMMER READING QUESTIONS Complete the following questions in order as you read. Questions should not be rewritten. Answers do not have to be in complete sentences. Answers will be due on the first day of class. The purpose of these questions is to help keep you focused on your reading and to prepare you for the test over this text. Answers will be graded. The Scarlet Letter “The Custom-House” This introductory section describes the conditions that led the narrator to write The Scarlet Letter. The narrator, a young man, works in the Boston custom-house, a building that housed government officials in charge of documenting the import and export of goods into and out of the country and taxing those goods. The narrator’s co-workers are mostly old men with whom he has very little in common. One day, the narrator finds a red letter “A” and a manuscript by Jonathan Pue, a former employee of the custom- house, in a stack of old papers. The manuscript is the history of Hester Prynne, and the narrator believes that Pue’s ghost is speaking to him through the ages, exhorting him to write Hester’s story. While working at the custom-house, the narrator finds it difficult to write. However, after losing his job when a new president is elected, the narrator is able to settle down and write his tale. Chapters 1 & 2: “The Prison-Door” and “The Market-Place” 1. What are two of the first things that are built in a new colony? 2. -
Alumni Revue! This Issue Was Created Since It Was Decided to Publish a New Edition Every Other Year Beginning with SP 2017
AAlluummnnii RReevvuuee Ph.D. Program in Theatre The Graduate Center City University of New York Volume XIII (Updated) SP 2016 Welcome to the updated version of the thirteenth edition of our Alumni Revue! This issue was created since it was decided to publish a new edition every other year beginning with SP 2017. It once again expands our numbers and updates existing entries. Thanks to all of you who returned the forms that provided us with this information; please continue to urge your fellow alums to do the same so that the following editions will be even larger and more complete. For copies of the form, Alumni Information Questionnaire, please contact the editor of this revue, Lynette Gibson, Assistant Program Officer/Academic Program Coordinator, Ph.D. Program in Theatre, The Graduate Center, City University of New York, 365 Fifth Avenue, New York, NY 10016-4309. You may also email her at [email protected]. Thank you again for staying in touch with us. We’re always delighted to hear from you! Jean Graham-Jones Executive Officer Hello Everyone: his is the updated version of the thirteenth edition of Alumni Revue. As always, I would like to thank our alumni for taking the time to send me T their updated information. I am, as always, very grateful to the Administrative Assistants, who are responsible for ensuring the entries are correctly edited. The Cover Page was done once again by James Armstrong, maybe he should be named honorary “cover-in-chief”. The photograph shows the exterior of Shakespeare’s Globe in London, England and was taken in August 2012. -
What Literature Knows: Forays Into Literary Knowledge Production
Contributions to English 2 Contributions to English and American Literary Studies 2 and American Literary Studies 2 Antje Kley / Kai Merten (eds.) Antje Kley / Kai Merten (eds.) Kai Merten (eds.) Merten Kai / What Literature Knows This volume sheds light on the nexus between knowledge and literature. Arranged What Literature Knows historically, contributions address both popular and canonical English and Antje Kley US-American writing from the early modern period to the present. They focus on how historically specific texts engage with epistemological questions in relation to Forays into Literary Knowledge Production material and social forms as well as representation. The authors discuss literature as a culturally embedded form of knowledge production in its own right, which deploys narrative and poetic means of exploration to establish an independent and sometimes dissident archive. The worlds that imaginary texts project are shown to open up alternative perspectives to be reckoned with in the academic articulation and public discussion of issues in economics and the sciences, identity formation and wellbeing, legal rationale and political decision-making. What Literature Knows The Editors Antje Kley is professor of American Literary Studies at FAU Erlangen-Nürnberg, Germany. Her research interests focus on aesthetic forms and cultural functions of narrative, both autobiographical and fictional, in changing media environments between the eighteenth century and the present. Kai Merten is professor of British Literature at the University of Erfurt, Germany. His research focuses on contemporary poetry in English, Romantic culture in Britain as well as on questions of mediality in British literature and Postcolonial Studies. He is also the founder of the Erfurt Network on New Materialism. -
Logic Intertextuality in the Works of Siri Hustvedt and Paul Auster
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Reading to you, or the aesthetics of marriage : dia- logic intertextuality in the works of Siri Hustvedt and Paul Auster https://eprints.bbk.ac.uk/id/eprint/40315/ Version: Full Version Citation: Williamson, Alexander (2018) Reading to you, or the aesthet- ics of marriage : dialogic intertextuality in the works of Siri Hustvedt and Paul Auster. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email 1 Reading to You, or the Aesthetics of Marriage Dialogic Intertextuality in the Works of Siri Hustvedt and Paul Auster Alexander Williamson Doctoral thesis submitted in partial completion of a PhD at Birkbeck, University of London July 2017 2 Abstract Using a methodological framework which develops Vera John-Steiner’s identification of a ‘generative dialogue’ within collaborative partnerships, this research offers a new perspective on the bi-directional flow of influence and support between the married authors Siri Hustvedt and Paul Auster. Foregrounding the intertwining of Hustvedt and Auster’s emotional relationship with the embodied process of aesthetic expression, the first chapter traces the development of the authors’ nascent identities through their non-fictional works, focusing upon the autobiographical, genealogical, canonical and interpersonal foundation of formative selfhood. Chapter two examines the influence of postmodernist theory and poststructuralist discourse in shaping Hustvedt and Auster’s early fictional narratives, offering an alternative reading of Auster’s work outside the dominant postmodernist label, and attempting to situate the hybrid spatiality of Hustvedt and Auster’s writing within the ‘after postmodernism’ period.