Hawthorne Centenary Essays
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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. -
Information to Users
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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. -
Lehigh Preserve Institutional Repository
Lehigh Preserve Institutional Repository Nathaniel Hawthorne : an existential interpretation of the journey motif in selected short fiction Collins, Dennis C. 1974 Find more at https://preserve.lib.lehigh.edu/ This document is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. NATHANIEL HAWTHORNE1 AN EXISTENTIAL INTERPRETATION OF THE JOURNEY MOTIF IN SELECTED SHORT FICTION by Dennis C, Collins A Thesis Presented to the Graduate Committee of Lehigh University in Candidacy for the Degree of Master of Arts in English Lehigh University 1974 (9/10/74) This thesis is accepted and approved in partial fulfillment of the requirements for the degree of Masters of Arts. ( at ) ii ACKNOWLEDGEMENTS I submit this thesis in warmest gratitude to the following people• to Professor Carl F, Strauch for the thorough background he presented in his Hawthorne seminar, out of which grew my thesis topic; to Professor Edward G, Gallagher, my thesis advisor, for offering me his valuable time, his patience, and his insightful suggestions; and to Jenny Saloky who unselfishly gave her time and typing skill, iii TABLE OF CONTENTS Title Page i Certificate of Approval ii Acknowledgments iii Table of Contents iv Abstract 1 Chapter Onea "The Hollow of Three Hills" 3 Notes 18 Chapter Two 1 "My Kinsman, Major Molineux" 22 Notes 40 Chapter Three 1 "Young Goodman Brown" 44 Notes 58 Chapter Four 1 "Ethan Brand" 61 Notes 75 Bibliography -
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. -
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. -
“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. -
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. -
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. -
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 Humanities and Posthumanism
english edition 1 2015 The Humanities and Posthumanism issue editor GRZEGORZ GROCHOWSKI MICHAł PAWEł MARKOWSKI Humanities: an Unfinished Project E WA DOMAńSKA Ecological Humanities R YSZARD NYCZ Towards Innovative Humanities: The Text as a Laboratory. Traditions, Hypotheses, Ideas O LGA CIELEMęCKA Angelus Novus Looks to the Future. On the Anti-Humanism Which Overcomes Nothingness SYZ MON WRÓBEL Domesticating Animals: A Description of a Certain Disturbance teksty drugie · Institute of Literary Research Polish Academy of Science index 337412 · pl issn 0867-0633 EDITORIAL BOARD Agata Bielik-Robson (uk), Włodzimierz Bolecki, Maria Delaperrière (France), Ewa Domańska, Grzegorz Grochowski, Zdzisław Łapiński, Michał Paweł Markowski (usa), Maciej Maryl, Jakub Momro, Anna Nasiłowska (Deputy Editor-in-Chief), Leonard Neuger (Sweden), Ryszard Nycz (Editor-in-Chief), Bożena Shallcross (usa), Marta Zielińska, Tul’si Bhambry (English Translator and Language Consultant), Justyna Tabaszewska, Marta Bukowiecka (Managing Editor) ADVISORY BOARD Edward Balcerzan, Stanisław Barańczak (usa) , Małgorzata Czermińska, Paweł Dybel, Knut Andreas Grimstad (Norway), Jerzy Jarzębski, Bożena Karwowska (Canada), Krzysztof Kłosiński, Dorota Krawczyńska, Vladimir Krysinski (Canada), Luigi Marinelli (Italy ), Arent van Nieukerken (Holland), Ewa Rewers, German Ritz (Switzerland), Henryk Siewierski (Brasil), Janusz Sławiński , Ewa Thompson (usa), Joanna Tokarska-Bakir, Tamara Trojanowska (Canada), Alois Woldan (Austria), Anna Zeidler-Janiszewska ADDRESS Nowy Świat 72, room.