Academic literature on the topic 'Hawthorne, Nathaniel, 1804-1864 – Settings'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Hawthorne, Nathaniel, 1804-1864 – Settings.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Hawthorne, Nathaniel, 1804-1864 – Settings"
1
Qiu, Xin. "An Analysis of the Linguistic Features of The Minister’s Black Veil from the Perspective of Literary Pragmatics." Review of Educational Theory 3, no. 4 (November 4, 2020): 44. http://dx.doi.org/10.30564/ret.v3i4.2386.
Full textAbstract:
The Minister’s Black Veil is one of the most classic short stories written by American romantic writer Nathaniel Hawthorne (1804-1864), From the perspective of literary pragmatics, this paper analyzes the language features of the novel, such as words and sentences, grammar, semantic ambiguity, rhetoric and conversational implicature based on cooperative principle, so as to explore the superb writing style and literary art of the novel, better understand and appreciate this literary work, and provide a new perspective and reference for the study of British and American literature Direction.
2
سميرشاكر, زينب, and زينب سميرشاكر. "A Victim of "Love": A Study of Beatrice’s Character in "Rappaccini's Daughter" By Nathanial Hawthorne." Al-Adab Journal 1, no. 121 (December 13, 2018): 27–36. http://dx.doi.org/10.31973/aj.v1i121.267.
Full textAbstract:
Nathaniel Hawthorne (1804-1864) has been widely known for his special interest in the female characters. In many of his novels, he narrates the conditions, values, and the institutions that surround and control the life of women, leading them to be victims.
In “Rappaccini’s Daughter” (1844), the heroine, Beatrice is created to be victimized by her loved ones (her father and lover). This paper focuses on the term “victim,” it shows its aspects through the development of Beatrice’s character. The paper also studies a female character in the male-dominated society, to show the cruelty done to her, and how she is considered to be a second rate person, who is unable to live normally, or at least to save herself from death.
3
Shahabani, Nor Syahiza, and Irma Wahyuny Ibrahim. "ENGLISH GRAMMAR AWARENESS FACILITATES L2 LEARNERS’ WRITING." European Journal of English Language Teaching 6, no. 4 (June 4, 2021). http://dx.doi.org/10.46827/ejel.v6i4.3774.
Full textAbstract:
“Words—so innocent and powerless as they are, as standing in a dictionary, how potent for good and evil they become in the hands of one who knows how to combine them”, Nathaniel Hawthorne (1804-1864). It is true that from just words can become a phrase then a sentence but what we may need to realize is how hard and challenging it is to make the sentence right. To face the real world, writing is the most challenging skill to teach for language teachers mainly because students take time to grasp and digest the knowledge of writing skill. To make matters worse, writing test is also the most popular means of test for placement in entering schools and universities. Due to this reason, L2 learners crave to write clearly and accurately in English. Undeniably, how a person writes with acceptable choice of words and correct grammar represents the L2 learner’s competency in English Language. This study is done to explore the importance of having English grammar awareness to facilitate L2 learners in their writing activities. The study thus aims to determine how grammar awareness amongst the L2 and other support systems such as English classes & facilities help facilitating L2 writing. 84 undergraduate students answered the questionnaire. The quantitative data have been analysed at the end of the research. Some of the findings are 75% of the respondents indicated that they were still unsure on the use of proper grammar in writing despite 94% of the respondents agreed and strongly agreed that they understood when the instructor/teacher taught them English Grammar. The mix-up results in the findings have shown some drawbacks in the teaching and learning practices. Moreover, only 63% of the participants answered agree and strongly agree that their learning institution has an English classroom that is conducive for learning (self-access centre), which can be considered as not satisfactory since English Language is the second language in Malaysia. It is hoped that the government of Malaysia could provide complete conducive learning centre for schools and universities.
<p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0758/a.php" alt="Hit counter" /></p>
Dissertations / Theses on the topic "Hawthorne, Nathaniel, 1804-1864 – Settings"
1
Smith, Grace Elizabeth. "The Opened Letter: Rereading Hawthorne." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278343/.
Full textAbstract:
The recent publication of the bulk of Hawthorne's letters has precipitated this study, which deals with Hawthorne's creative and subversive narration and his synchronic appeal to a variety of readers possessing different tastes. The author initially investigates Hawthorne's religion and demonstrate how he disguised his personal religious convictions, ambiguously using the intellectual categories of Calvinism, Unitarianism, and spiritualism to promote his own humanistic "religion." Hawthorne's appropriation of the jeremiad further illustrates his emphasis on religion and narration. Although his religion remained humanistic, he readily used the old Puritan political sermon to describe and defend his own financial hardships. That jeremiad outlook has significant implications for his art.
2
El, Azhari Fouzia. "Le fantastique et le surnaturel chez nathaniel hawthorne (1804-1864)." Paris 4, 1987. http://www.theses.fr/1987PA040060.
Full textAbstract:
Nathaniel hawthorne, ecrivian americain du 19e siecle a souvent ete considere comme allegoriste, et l'on attribuait a ses oeuvres un caractere essentiellement moralisateur. Dans ce travail, nous avons essaye de demontrer que cet ecrivain se rapprochait beaucoup plus du genre fantastique, par la structure meme de son oeuvre. Plutot que de l'allegorie. C'est du symbolisme dont il se servait. Le but de notre these est d'arriver a prouver que derriere la facade fantastique, hawthorne deployait une connaissance profonde de l'inconscient de l'homme, et que le surnaturel n'est qu'une manifestation superficielle d'une realite plus profondeNathaniel hawthorne, a famous 19th century american writer, was considered as mainly allegory-mad, and his short stories and romances essentially didactic. This work is meant to demonstrate that this writer was nearer to the fantastic genre than any other one, considering the very structure of his works. Rather than allegory, it was symbolism he used. All we aimed at, in this thesis, is to prove that behind the fantastic veil, hawthorne spread a deep knowledfe of the human subconscious. The supernatural is, in fact. A superficial manifestation of a higher truth
3
Traisnel, Antoine. "Nathaniel Hawthorne : l'allégorie critique, ou l'écriture de la crise." Lille 3, 2009. http://www.theses.fr/2009LIL30014.
Full textAbstract:
Ce travail a pour ambition de forger un outil conceptuel - l'allégorie critique - qui rendrait compte de la dynamique propre à l'écriture des quatre romances majeurs de Nathaniel Hawthorne. En ayant recours à l'allégorie à une époque où le romantisme - qui, dans l'Amérique du dix-neuvième siècle, trouve avec le transcendantalisme son expression la plus marquante - avait voué cette figure à l'obolescence, Hawthorne s'expose à être relégué hors du jeu littéraire. Pourtant, il paraît légitime d'interroger l'inclination allégorique de notre auteur. Cette thèse avance que l'allégorie hawthornienne ne postule pas un rapport figé entre le signe et sa signification, selon la définition romantique de l'allégorie. Au contraire, elle fait vaciller ce postulat et, de fait, recèle un potientel critique qui confronte le lecteur à l'expérience inquiétante de l'insensé et de l'infondéThis work posits critical allegory as a conceptual tool for thinking Nathaniel Hawthorne's mode of writing in his four major romances. Resorting to allegory at a time when romanticism (finding in Trancendentalism its most potent expression in nineteenth-century America) had declared the figure obsolete, the author risks marginalization in the realm of literature. What, then, accounts for Hawthorne's allegorical inclination ? This dissertation argues that Hawthorne's allegorical practice does not imply the stable correspondence between the sign and the signified that the detractors of allegory condemned. On the contrary, it challenges this postulate and forces its readers to face the unsettling experience of meaninglessness and groundlessness
4
Folkerth, Wes 1964. "Nathaniel Hawthorne's subversive use of allegorical conventions." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56665.
Full textAbstract:
The literary and socio-political environments of early nineteenth-century America demanded from Hawthorne a new formulation of the allegorical mode, which in turn afforded him means to critique that same historical situation. His metonymic and realistic uses of allegorical techniques invert the emphasis of traditional allegory, permitting him subversively to critique the idealist principles of contemporary historiography and the Transcendentalist movement. Hawthorne's discontent with antebellum historiography's conflation of the Puritan colonists and the Revolutionary fathers, and with Transcendentalism's disregard for the darker side of human nature, led him to critique these idealisms in his fictions. His appropriation of allegorical conventions allowed him to enact this critique subversively, without alienating the increasingly nationalistic American reading public. This subversive program exerts a global influence on Hawthorne's work. The first chapter of this thesis defines my use of the term "allegory." The second situates Hawthorne within the allegorical tradition, the third within the American ideological context. The last two chapters identify and discuss Hawthorne's appropriations of the allegorical conventions of personification and procession as they are found in each of the three forms in which he most commonly wrote: the sketch, the tale, and the historical romance.
5
Francis, Kurt T. "Gothic Elements in Selected Fictional Works by Nathaniel Hawthorne." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc503867/.
Full textAbstract:
Gothicism is the primary feature of Nathaniel Hawthorne's fiction, and it is his skill in elevating Gothicism to the level of high art which makes him a great artist. Gothic elements are divided into six categories: Objects, Beings, Mental States, Practices and Actions, Architecture and Places, and Nature. Some devices from these six categories are documented in three of Hawthorne's stories ("Young Goodman Brown," "The Minister's Black Veil," and "Ethan Brown") and three of his romances (The Scarlet Letter, The House of the Seven Gables, and The Marble Faun). The identification of 142 instances of Hawthorne's use of Gothic elements in the above works demonstrates that Hawthorne is fundamentally a Gothic writer.
6
Poda, Michel. "Vers une théorie de l'inclusion : une approche déconstructive de la fiction de Nathaniel Hawthorne." Montpellier 3, 1995. http://www.theses.fr/1995MON30027.
Full textAbstract:
La fiction de hawthorne, comme on a pu le dire, est ambigue ou deroutante, superpose ou confond sans cesse les categories de sens, les revet de suspicion, porte atteinte aux bonnes moeurs. En d'autres termes, elle entretient plus de doute que de clarite, elle baigne dans une atmosphere d'anormalite plus que dans celle de normalite. Ce que semble resumer herman melville, selon qui elle se presente comme l'expression de "la puissance des tenebres" ("the power of blackness"). En ce jugement melville a sans doute a l'idee que la fiction en question traduit une puissance fascinatrice d'aller en profondeur des choses pour une signification profonde. Cela revient a dire que l'oeuvre de hawthorne se place dans un univers qui deborde les limites de distinction entre une chose et son contraire pour laisser cours a un dynamisme de fusion des categories opposees. Cette fiction, confirme hawthorne, a pour domaine de definition le "terrain neutre". En ce lieu elle a ete concue et c'est encore la qu'il faut la lire. Ce qui nous autorise a dire qu'elle appelle une demarche deconstructive, ou il est question de demanteler le modele de pensee dit metaphsique qui, de facon logocentrique, pretend etablir un ordre rationnel entre les differentes categories de la realite - le demanteler donc en se doutant que c'est peut-etre a cette condition que l'on pourrait parvenir a une signification profonde. Si la verite des choses est dans cette operation de demantellement de cette rationalite, operation mettant en effervescence le pluriel du sens, cela nous oriente enh consequence vers ce qu'il convient d'appler un principe d'inclusion, c'est-a-dire le debordement hors de soi vers soi du sensHawthorne's fiction, as criticics have pointed out, is ambiguous or baffling, endlessly overlaps or mingles the categories of meaning, overshadows them with suspicion, sometimes violates the good mores. In other words, it is filled more with obscurity than clarity, it is surrounded by an atmosphere of abnormality more than by that of normality. Herman melville seems to summarize all this in designantiing it as the expression of "the power of blackness". In his judgement, melville, perhnaps, has in mind that this fiction conveys a fascinating power of going into the depth of things for a deep significance. This is to say that hawthorne's work pertains to a universe which extends beyond the boundaries of the distinction between one thing and its contrary to allow for a fusing dynamism of the opposite categories. According to hawthorne, it has the "neutral territory" for field opf definition. On this ground, it was conceived and it is there again that it needs to be read. On this basis, we can say that it calls for a deconstruvrive approach in wich it is question to dismantle the model of thought calmled metaphysical which; in a logocentered manner, claims to establish a rational order between the different categories of reality - to dismantle it then, hoping that it is perhaps on this condition that a deep significance could be reached. If the truth of things is in the operation of dismantling of this rationality and so, putting into effervescence the plural of meaning - this, as a result leads un towardd what sbould be called an inclusive principle, that is, the overflow of meaning out of itself toward itself
7
Thiel, Janice Cristine. "Alchemical representations of the process of individuation in three tales by Nathaniel Hawthorne." [s.n.], 2010. http://hdl.handle.net/1884/24478.
Full text
8
Sitz, Shirley Ann Ellis. "Children and Childhood in Hawthorne's Fiction." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc279294/.
Full text
9
SHAUGHNESSY, MARY AGNES. "HAWTHORNE'S SENSE OF AN ENDING: THE PROBLEM OF CLOSURE IN THE FRAGMENTS AND THE ROMANCES." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183986.
Full textAbstract:
This dissertation examines the problem of narrative closure in Hawthorne's major romances in the light of the unfinished manuscripts he was working on immediately before his death. Despite the sense of formlessness the mass of material itself sugests, these manuscripts bear striking similarities to his earlier works. The problems of reading and writing, of concealment and revelation, of searching for one's origins and being shaped by one's past, the figure of the storyteller whose manner and difficulties usurp the story itself in importance--these are materials Hawthorne returned to time after time as if unable to locate precisely or exhaust completely their implications. The majority of Hawthorne's tales and romances are fragmentary. For Hawthorne, reality is always beyond man's ability to perceive except as bits and fragments. Throughout his work he asserts his awareness that man can perceive and express only a minuscule part of the immense, inexhaustible reality within and outside of his own mind. Every expression is, therefore, incomplete, and the artistic process becomes one of piecing together, by retelling and reshaping, the fragments of both imagination and perception. To study the problem of closure in narratives that have grown out of this view of the relationship between human experience and its artistic expression is to consider not only the formalistic dimension of the problem (how stories end) but the relationship between the narrative's ending and the ending of human experience in death. It is to consider the relationship between the forms of closure and the formlessness and absence of death. In viewing Hawthorne's romances retrospectively one repeatedly encounters his ironic sense that death both gives meaning to life and renders it ridiculous and that death both generates narrative and demands its ending. Hawthorne's allegory causes him to place himself within his texts in a way that makes them expressive of the design of his own life artistically woven into the texts of his career. By thus inverting the glass and reversing the cycle as suggested in "The Dolliver Romance," the reader effects the reliving of the author's life through art. (Abstract shortened with permission of author.)
10
Tang, Soo Ping. "Hawthorne's Gothic : 'On a Field, Sable, The Letter A, Gules'." Thesis, University of Stirling, 1986. http://hdl.handle.net/1893/26680.
Full textAbstract:
Various characteristics of Gothic fiction are evident in Hawthorne's tales and romances - the interest in man's primitive self, the concern with historical and psychological facts and with imaginative and intuitive experience,' the delineation of the human conflict between spiritual aspirations and sensual needs, the emphasis on the ambiguity of good and evil as moral concepts, and the enactment of horror and terror. For Hawthorne these elements relate to the human struggle between mind and heart, between faith and passion - a struggle which is consonant with his own conflict with his Puritan conscience and his poetic imagination. They focus on the complexity of human feeling, yet help towards a final realization of man's significance and promise. They enable Hawthorne to resolve the eternal conflict between soul and body. The thesis deals with Hawthorne's four romances - The Scarlet letter, The House of the Seven Gables, The Blithedale Romance and The Marble Faun. In the first three, Hawthorne is hampered by his Puritan conscience so that passion is often subjugated by faith. In The Scarlet letter the persecution of .Hester and the ardent life she represents is at least justified in that it mirrors a historical truth. Moreover, Hawthorne achieves a certain ambivalence which, instead of signalling his own uncertainty and feebleness, enhances the complexity and mysteriousness of man's nature and situation. In The House of the Seven Gables and The Blithedale Romance, however, Puritan religiosity predominates and expresses itself in a wholly sentimental and repressive attitude. It is only in The Marble Faun that Hawthorne sees beyond the dilemma of man's dual aspects to realize the mythic and religious significance inherent in his seemingly divided self. While, in doing so, he manifests the typical Gothic idea that primitive man has a certain magnificence, Hawthorne is more interested in the fact that feeling is uplifting and ennobling. Human passion has a spiritual aspect.
Books on the topic "Hawthorne, Nathaniel, 1804-1864 – Settings"
1
Schirmeister, Pamela. The consolations of space: The place of romance in Hawthorne, Melville, and James. Stanford, Calif: Stanford University Press, 1990.
Find full text
2
Nathaniel Hawthorne in his times. Baltimore, Md: Johns Hopkins University Press, 1998.
Find full text
5
Nathaniel Hawthorne: An annotated bibliography of comment and criticism before 1900. Metuchen, N.J: Scarecrow Press, 1988.
Find full text
6
Carton, Evan. The marble faun: Hawthorne's transformations. New York: Twayne Publishers, 1992.
Find full text
7
Morris, Darlene Bennett. CliffsNotes on Hawthorne's The House of the Seven Gables. New York: John Wiley & Sons, Ltd., 2002.
Find full text
8
Garcés, Carmen Valero. Modelo de evaluación de obras literarias traducidas: The Scarlet Letter/La Letra Escarlata de Nathaniel Hawthorn. Bern: Peter Lang, 2007.
Find full text
9
Modelo de evaluación de obras literarias traducidas: The Scarlet Letter/La Letra Escarlata de Nathaniel Hawthorn. Bern: Peter Lang, 2007.
Find full text
10
The entanglements of Nathaniel Hawthorne: Haunted minds and ambiguous approaches. Rochester, NY: Camden House, 2011.
Find full textBook chapters on the topic "Hawthorne, Nathaniel, 1804-1864 – Settings"
1
"Nathaniel Hawthorne (1804–1864)." In “… The Real War Will Never Get in the Books”, edited by Louis P. Masur, 161–80. Oxford University Press, 1995. http://dx.doi.org/10.1093/acprof:oso/9780195098372.003.0009.
Full text