Nathanial Hawthorne's Twelve Years of Isolation
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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
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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). -
Beyond the American Landscape: Tourism and the Significance of Hawthorne’S Travel Sketches
The Japanese Journal of American Studies, No. 27 (2016) Copyright © 2016 Toshikazu Masunaga. All rights reserved. This work may be used, with this notice included, for noncommercial purposes. No copies of this work may be distributed, electronically or otherwise, in whole or in part, without permission from the author. Beyond the American Landscape: Tourism and the Significance of Hawthorne’s Travel Sketches Toshikazu MASUNAGA* INTRODUCTION: 1832 After graduating from Bowdoin College in 1825, Nathaniel Hawthorne went back to his hometown, Salem, Massachusetts, where he concentrated on writing in order to become a professional writer. His early masterpieces such as “Young Goodman Brown” and “My Kinsman, Major Molineux” were written during the so-called solitary years from 1825 to 1837, and he viewed those Salem years of his literary apprenticeship as “a form of limbo, a long and weary imprisonment” (Mellow 36). But biographers of Hawthorne point out that this self-portrait of a solitary genius was partly invented by his “self-dramatizations” (E. H. Miller 87) to romanticize his younger days. In fact, he maintained social engagements, and his sister Elizabeth testified that “he was always social” (Stewart 38). He was more active and outgoing than his own fabricated self-image, and he even made several trips with his uncle Samuel Manning as well as by himself.1 While strenuously writing tales, he undertook an American grand tour alone, traveling around New England and upstate New York in 1832. He was one of those tourists who rushed to major tourist destinations of the day such as the Hudson Valley, Niagara Falls, and the White Mountains in order *Professor, Kwansei Gakuin University 1 2 TOSHIKAZU MASUNAGA to spend leisure time and to find cultural significance in the scenic beauty of the American natural landscape. -
“Alice Doane's Appeal” and “The Great Carbuncle” in the Token
Hawthorne’s Gifts: Re-reading “Alice Doane’s Appeal” and “The Great Carbuncle” in The Token alexandra urakova AMUEL Griswold Goodrich’s The Token, an annual gift S book in which Nathaniel Hawthorne anonymously pub- lished many of his early tales, has long become the emblem of his “years of obscurity.” Later in his lifetime, Hawthorne would speak about his tales as “rummaged out” “within the shabby morocco-covers of faded Souvenirs.”1 He would de- scribe “musty and mouse-nibbled leaves of old periodicals, transformed, by the magic arts of [his] friendly publishers, into a new book.”2 If the course of Hawthorne’s publication his- tory was culling his fugitive stories from old annuals for the purposes of bringing them together under his own name, I propose to recast these stories back from the “morocco-covers” of The Token and put them alongside neighboring entries to connect them to the broader generic and ideological framework of the volumes and the format of the gift book in general. Since Jane Tompkins’s seminal Sensational Designs (1986), where she touches upon Hawthorne’s publications in The To- ken, we tend to think of classic texts in terms of the cultural I would like to express my deep gratitude to the first reader of this essay, Stephen Rachman, for helping me improve it and generously sharing his ideas. I thank both him and Sonya Isaak for refining the essay’s style. I am grateful to IAS CEU for the opportunity to complete my research for this paper. 1Nathaniel Hawthorne, “Preface to Twice-told Tales,” in Nathaniel Hawthorne, Tales and Sketches (New York: Library of America, 1982), p. -
Hawthorne's Conception of History: a Study of the Author's Response to Alienation from God and Man
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1979 Hawthorne's Conception of History: a Study of the Author's Response to Alienation From God and Man. Lloyd Moore Daigrepont Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Daigrepont, Lloyd Moore, "Hawthorne's Conception of History: a Study of the Author's Response to Alienation From God and Man." (1979). LSU Historical Dissertations and Theses. 3389. https://digitalcommons.lsu.edu/gradschool_disstheses/3389 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand 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 you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. -
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. -
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 Scarlet LETTER
About the Author for THE SCARLET LETTER Nathaniel Hawthorne Growing up Born July 4, 1804, Nathaniel Hathorne was the only son of Captain Nathaniel Hathorne and Elizabeth Clarke Manning Hathorne. (Hawthorne added the “w” to his name after he graduated from college.) Following the death of Captain Hathorne in 1808, Nathaniel, his mother, and his two sisters were forced to move in with Mrs. Hathorne’s relatives, the Mannings. Here Nathaniel Hawthorn grew up in the company of women without a strong male role model; this environment may account for what biographers call his shyness and introverted personality. This period of Hawthorne’s life was mixed with the joys of reading and the resentment of financial dependence. While he studied at an early age with Joseph E. Worcester, a well-known lexicographer, he was not particularly fond of school. An injury allowed him to stay home for a year when he was nine, and his early “friends” were books by Shakespeare, Spenser, Bunyan, and 18th century novelists. During this time Mrs. Hathorne moved her family to land owned by the Mannings near Raymond, Maine. Nathaniel’s fondest memories of these days were when “I ran quite wild, and would, I doubt not, have willingly run wild till this time, fishing all day long, or shooting with an old fowling piece.” This idyllic life in the wilderness exerted its charm on the boy’s imagination but ended in 1819 when he returned to Salem to prepare for two years for college entrance. Education In 1821, Hawthorne entered Bowdoin College in Brunswick, Maine. -
'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. -
Life and Work of Nathaniel Hawthorne
H E S o : = I F E A i D V O R X cf :TATiIA::JEL H7THORN Submitted to the icu1ty of the Ci'EGOI" !LRICJLTURAL COLEG for the degree o BACHELOR OP SCIEICE ft Domestic cierice and Art 'by Redacted for privacy - - 1 June 10, 1911. Redacted fprivacy ........... eartmcnt of English and iterature Redacted for privcy LeanSchoo1aof Domestic science and. Art I. Introduction - Discussion - Biographical Sketch. TT .L.. or.s - The Scarlet .i4etter. The House of Seven Gables. The Blithedale Romance. The Marble Faun. The 77onder Book. The Golden Touch. The Miraculous Pitcher. The Twicetold. Tales. The Minister's Black Veil. Mr. Higginbotham's Catastrophe. The Great Carbuncle. David. Swan. Dr. Heidegger's Experiment. III. Conclusion - TH PERRY PICTURES. BOSTON EDITION. THE PERRY PICTURES. 12. COPYRIGHT, i 898, BY E. A. PERRY. HAWTHORNE'S BIRTHPLACE, SALEM, MASSACHUSETTS. THE PERRY PICTURES. 1 3. COPYRIGHT, 39DB, BY EUGENE A. PERRY. BOSTON EDITION. HAWTHORNE'S HOME, "OLD MANSE," CONCORD, MASSACHUSETTS. THE PERRY PICTURES. 14. COPYRIGHT, 1897, BY E. M. PERRY. HAWTHORNE'S HOME, 'THE WAYSIDE," CONCORD, MASSACHUSETTS. liathanlel Hawthorne w&s born in a1em, iviass. July 4,1804, and died in Plymouth 1.H. May 18, 1864. The family name was spelled Eathorne until the author insert- ed the '7. i:athaniel hawthorne, the father of our author was a solient, reserved, severe man, of athletic build, rather slender, and habitually of a melancholr cast cf thought; became a captain in the merchant marine; the family hay- Ing suffered a decline of fortune, and the male members mostly following the sea. -
Gjjl
A A STUDY OF THE STYLISTIC TECHNIQUE OF NATHANIEL HAWTHORNE IN THE CREATION OP BOMANCE APPROVED: 3or Professor Minor Professor g-s- gJJL Direoto' r of the^Departmena»'iu X"l#Ti'^'< t of English Dean "of ' ith* e J*"Graduat* JSt ~ 4* e gSchoo% «*, 1* j-t l A STUDY OP THE STYLISTIC TECHNIQUE OP NATHANIEL HAWTHORNE IN THE CHEATION OP ROMANCE THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Hequireaents For the Degree of MASTER OP ARTS By Mary Dell MeCrory, B. A, Denton, Texas January, 196? TABLE OF CONTENTS Chapter Page I. INTRODUCTION 1 II. DICTION . 10 III. SYNTAX . 33 IV. FICTIONAL DEVICES FOE PREPARATION OF THE NEUTRAL GROUND . 60 V. IMAGERY AND SYMBOLISM 86 VI. CONCLUSION 103 BIBLIOGRAPHY 107 lil CHAPTER I INTRODUCTION Prefatory to The House of the Seven Gables. Nathaniel Hawthorne writes that a romance differs from a novel In "both i Its fashion and Its material." Critics have long devoted themselves to the material of Hawthornlan romance, but few have given more than perfunctory attention to the way in which that material is fashioned. In the preface, Hawthorne alludes to certain techniques in the creation of romances The point of view in which this tal© comes under the Romantic definition lies in the attempt to connect a by-gone tlae with the very present that is flitting" away from us.' It %a a legend prolonging itself, from an epoch now gray in the distance, down Into our own broad daylight, and bringing along with it some of its legendary mist, which the reader, according to his pleasure,, may either disregard, or allow it to float almost imperceptibly about the characters and events for the sake of a picturesque effect.2 Hawthorne himself evidently understood that romance could be created with mechanical elements of style as well as with the use of "romantic" content; however, students of the romanticist are neglecting one important facet of his work when they 1 Nathaniel Hawthorne, The Complete Works of Nathaniel Hawthorne * Vol, III of 15 vols.