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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. -
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. -
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. -
F, Sr.Auifuvi
NATHANIEL HAWTHORNE' S USE OF WITCH AND DEVIL LORE APPROVED: Major Professor Consulting Professor Iinor Professor f, sr. auifUvi Chairman of" the Department of English Dean of the Graduate School Robb, Kathleen A., Nathaniel Hawthorne;s Fictional Use of Witch and Devil Lore. Master of Arts (English), December, - v 1970, 119 pp., bibliography, 19 titles. Nathaniel Hawthorne's personal family history, his boy- hood in the Salem area of New England, and his reading of works about New England's Puritan era influenced his choice of witch and Devil lore as fictional material. The witch- ci"aft trials in Salem were evidence (in Hawthorne's inter- pretation) of the errors of judgment and popular belief which are ever-present in the human race. He considered the witch and Devil doctrine of the seventeenth century to be indicative of the superstition, fear, and hatred which governs the lives of men even in later centuries. From the excesses of the witch-hunt period of New England history Hawthorne felt moral lessons could be derived. The historical background of witch and Devil lore, while helpful in illustrating moral lessons, is used by Hawthorne to accomplish other purposes. The paraphernalia of witchcraft with its emphasis on terrible and awesome ceremonies or practices such as Black Sabbaths, Devil compacts, image-magic, spells and curses, the Black Man in'the forest, spectral shapes, and familiar spirits is used by Hawthorne to add atmospheric qualities to his fiction. Use of the diabolic creates the effects of horror, suspense, and mystery. Furthermore, such 2 elements of witch and Devil doctrine (when introduced in The Scarlet Letter, short stories, and historical sketches) also provide an aura of historical authenticity, thus adding a v dimension of reality and concreteness to the author's fiction. -
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. -
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. -
Cotton Mathers's Wonders of the Invisible World: an Authoritative Edition
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English 1-12-2005 Cotton Mathers's Wonders of the Invisible World: An Authoritative Edition Paul Melvin Wise Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Wise, Paul Melvin, "Cotton Mathers's Wonders of the Invisible World: An Authoritative Edition." Dissertation, Georgia State University, 2005. https://scholarworks.gsu.edu/english_diss/5 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. COTTON MATHER’S WONDERS OF THE INVISIBLE WORLD: AN AUTHORITATIVE EDITION by PAUL M. WISE Under the direction of Reiner Smolinski ABSTRACT In Wonders of the Invisible World, Cotton Mather applies both his views on witchcraft and his millennial calculations to events at Salem in 1692. Although this infamous treatise served as the official chronicle and apologia of the 1692 witch trials, and excerpts from Wonders of the Invisible World are widely anthologized, no annotated critical edition of the entire work has appeared since the nineteenth century. This present edition seeks to remedy this lacuna in modern scholarship, presenting Mather’s seventeenth-century text next to an integrated theory of the natural causes of the Salem witch panic. The likely causes of Salem’s bewitchment, viewed alongside Mather’s implausible explanations, expose his disingenuousness in writing about Salem. Chapter one of my introduction posits the probability that a group of conspirators, led by the Rev. -
Veils of Hawthorne Ash Farrer Ouachita Baptist University
Ouachita Baptist University Scholarly Commons @ Ouachita English Class Publications Department of English 11-11-2015 Veils of Hawthorne Ash Farrer Ouachita Baptist University Follow this and additional works at: http://scholarlycommons.obu.edu/english_class_publications Recommended Citation Farrer, Ash, "Veils of Hawthorne" (2015). English Class Publications. Paper 15. http://scholarlycommons.obu.edu/english_class_publications/15 This Class Paper is brought to you for free and open access by the Department of English at Scholarly Commons @ Ouachita. It has been accepted for inclusion in English Class Publications by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Farrer 1 Ash Farrer Prof. Jennifer Pittman ENGL 3103 11/11/2015 Veils of Hawthorne Biographical Information It would be a stretch to call Nathaniel Hawthorne an isolationist1, and instead we could call him, and many do, a private man. As I read through bits of Hawthorne's biography, I am coming to think, more and more, to think his life seeped into his works more than many people think. It reminds me of Mr. Hooper's "simple piece of crape,” the crape being the veil in question in the story "The Minister's Black Veil" (Hawthorne 410). The image of a lifelong veil worn about ones face in real life would be striking, but because it mirrors what he may have felt at the time for Hawthorne. What is meant by this is that if we consider his history alongside, to include his is it would be much more difficult to understand his work, and therefore it should be considered when reading stories similar to “My Kinsman, Major Molineux.” The Colombia Literary History of the United States refers to Hawthorne much, at one point saying he "attempts to place himself in a world he felt congenial and often felt bizarre" (Elliott 208). -
'Troubled Joy' : the Paradox of the Female Figure in Nathaniel Hawthorne's Fiction
'TROUBLED JOY' : THE PARADOX OF THE FEMALE FIGURE IN NATHANIEL HAWTHORNE'S FICTION by Sciretk ROSEMARY GABY B.A. Hons. Submitted in fulfilment of the requirements for the degree of Master of Arts UNIVERSITY OF TASMANIA NOVEMBER 1984 TABLE OF CONTENTS Page Prefatory Note i Abstract .. ii Introduction .. 1 Background: The Figure of Woman in Nineteenth Century America 5 II Woman's Fatal Flaw: The Tales 25 III Hester Prynne 57 IV Zenobia and Priscilla 77 V Miriam and Hilda .. 96 Conclusion • • 115 Bibliography . 121 PREFATORY NOTE This thesis contains no material which has been accepted for the award of any other higher degree or graduate diploma in any university. To the best of my knowledge and belief the thesis contains no material previously published or written by another person, except when due reference is made in the text of the thesis. (k9)9Acs-\ The style of presentation is primarily in accordance with the MLA Handbook (New York: Modern Language Association, 1977), but some features of style, notably the use of single quotation marks for quotations of words, phrases or short prose passages, have been determined by the Style Sheet of the Depart- ment of English, University of Tasmania. ABSTRACT The figure of woman is of central importance to the whole pre- sentation of meaning in Nathaniel Hawthorne's fiction. In comparison to other writers of the nineteenth century, and especially his male compatriots, Hawthorne grants the female figure a remarkable degree of prominence and significance in his works. His presentation of woman is noteworthy not only for the depth and subtlety with which his female characters are portrayed but also for the unique way in which he mani- pulates the standard female stereotypes to explore through symbolic suggestion the whole purpose of woman's existence and the foundations of her relations with man. -
The Destruction of Model and the Lost Story in the Marble Faun
九州大学学術情報リポジトリ Kyushu University Institutional Repository The Destruction of Model and the Lost Story in The Marble Faun Yamaguchi, Shimpei 九州大学大学院 : 修士課程 https://doi.org/10.15017/4377721 出版情報:九大英文学. 60, pp.71-79, 2018-03-31. The Society of English Literature and Linguistics, Kyushu University バージョン: 権利関係: The Destruction of Model and the Lost Story in The Marble Faun Shimpei Yamaguchi The Marble Faun was published by Nathaniel Hawthorne in 1860. It is his last major work. He attempted some works after The Marble Faun, but he could not complete them in his life. His other three major works, The Scarlet Letter (1850), The House of the Seven Gables (1851 ), The Blithedale Romance (1852), were successively published, while it took seven years for him to write The Marble Faun. Hawthorne was appointed as an American consul in Liverpool in 1853 and spent his life in Europe studying art until The Marble Faun was published, so that this work is different from the other three. It is more novelistic and mysterious. The Marble Faun has been accepted by many readers and criticized by many critics at the same time. Takaaki Niwa says in his book, The Dread Self-Portrait: Hawthorne and 'the Unpardonable Sin,' that the plot of The Marble Faun is inconsistent, and that it does not reveal enough mysteries. According to Randall Stewart; There had been, however, one persistent objection in the critical reception of the book- namely, that the author had not told with sufficient explicitness what actually happened in the story- and this objection Hawthorne good-naturedly took cognizance of in a short epilogue written in March and appended the second edition. -
Of Nathaniel Hawthorne
N9 se, ?69 THE FUNCTION OF THE PIVOT IN THE FICTION OF NATHANIEL HAWTHORNE 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 Paula Traynham Ricco, B. A. Denton, Texas May, 1980 Ricco, Paula Traynham, The Function of the Pivot in the Fiction of Nathaniel Hawthorne. Master of Arts (Eng- lish), May, 1980, 144 pp., bibliography, 66 titles. In traditional romance, the hero takes a mythical journey into the underworLd where he meets and overcomes evil antagonists. Hawthorne has transferred much of that hero's role to a pivotal character whose paradoxical func- tion is to cause the central conflict in the tale or novel while remaining almost entirely passive himself. The movement of the tale or novel depends on the pivot's humanization, that is, his return to and integration within society. Works treated are "Alice Doane's Appeal," "Peter Goldthwaite's Treasure," "Roger Malvin's Burial," "Rap- paccini' s Daughter," "Lady Eleanore's Mantle," "The Minister's Black Veil," "The Antique Ring," "The Gentle Boy," Fanshawe, The Scarlet Letter, The House of the Seven Gables, The Blithedale Romance, and The Marble Faun. TABLE OF CONTENTS Page Chapter I. INTRODUCTION ... ...... ...... 1 II. THE SHORTER WORKS.. ...... ... 11 III. FANSHAWE... ........ ......... 36 IV. THE SCARLET LETTER ..... ......... 48 V. THE HOUSE OF THE SEVEN GABLES. ...... 65 VI. THE BLITHEDALE ROMANCE. ..... ..... 85 VII. THE MARBLE FAUN: OR, THE ROMANCE OF MONTE BENI ............... ....... 105 VIII. CONCLUSION.... ... ........ 127 BIBLIOGRAPHY . .......... ......... 139 Some of these mountains, that looked at no such mighty distance, were at least forty or fifty miles off, and appeared as if they were near neighbors and friends of other mountains, from which they were still farther removed. -
The Marble Faun: a Case Study of the Extra-Illustrated Volumes of the Marble Faun Published by Tauchnitz
The Transformation of The Marble Faun: A case study of the extra-illustrated volumes of The Marble Faun published by Tauchnitz by Andreane Balconi A thesis presented to Ryerson University and George Eastman House International Museum of Photography and Film in partial fulfillment of the requirements of the degree of Master of Arts in the program of Photographic Preservation and Collections Management Toronto, Ontario, Canada, 2011 ©Andreane Balconi Declarations I hereby declare that I am the sole author of this thesis or dissertation. I authorize Ryerson University to lend this thesis or dissertation to other institutions or individuals for the purpose of scholarly research. iii t·· .- I further authorize Ryerson University to reproduce this thesis or dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I 11 Abstract This thesis explores the use and development of the photographically illustrated novel from a souvenir to a mass-market publication. An examination of three volumes of the Tauchnitz printing of Nathaniel Hawthorne's The Marble Faun details how tourists and booksellers adapted the novel through the addition of albumen prints to create a unique souvenir. By 1889, the technological advances in the printing process, the demands of tourism and the photographic selections from the Tauchnitz volumes made it possible for Houghton, Mifflin and Company to publish an illustrated copy of The Marble Faun containing photogravure prints. Like the European title of the book - Transformation or , the Romance ofMonte Beni - this paper demonstrates how the Tauchnitz tourist produced souvenir copies of the novel evolved into a mass-market product.