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1
Smith, Grace Elizabeth. "The Opened Letter: Rereading Hawthorne." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278343/.
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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.
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El, Azhari Fouzia. "Le fantastique et le surnaturel chez nathaniel hawthorne (1804-1864)." Paris 4, 1987. http://www.theses.fr/1987PA040060.
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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
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Traisnel, Antoine. "Nathaniel Hawthorne : l'allégorie critique, ou l'écriture de la crise." Lille 3, 2009. http://www.theses.fr/2009LIL30014.
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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
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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.
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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.
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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/.
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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.
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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.
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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
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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.
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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/.
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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.
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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.)
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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.
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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.
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Kobler, Sheila F. (Sheila Frazier). "Postmodern Narrative Techniques in the Works of Nathaniel Hawthorne: Metafiction, Fabulation, and Hermeneutical Semiosis." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc279048/.
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El, Haddad Hassane. "Le pouvoir de l'intellect dans la fiction de Hawthorne." Paris 4, 1996. http://www.theses.fr/1995PA040293.
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L'attitude ambivalente de Hawthorne envers l'intellect se résume dans ses points de vue positif and négatif envers ce dernier. Hawthorne considère la "tête" comme un moyen de comprendre l'expérience et comme un contrôle sur le "cœur" envers lequel il manifeste une vive méfiance. Il critique l'impulsion et la démence et sollicite la raison et la compréhension claire. Il doute des tendances analytiques dans la nature humaine et considère que le développement intellectuel émousse la vie émotionnelle. Il favorise parfois l'intuition sur la raison et préfère quelquefois l'obscurité à la clarté. En outre, nous avons tenté de rétablir l'image de Hawthorne en tant que défenseur de l'équilibre entre la "tête" et le "cœur". En ce qui concerne le processus artistique, Hawthorne affirme sa croyance en la supériorité de l'art non prémédité sur l'art conscientHawthorne's ambivalent attitude towards intellect was embodied in his positive and negative views of the latter. Hawthorne considers the "head" as a mean of understanding experience and as a control over the "heart" towards which he displays an acute distrust. He criticizes impulsion and insanity, and courts reason and clear understanding. He suspects the analytical tendencies in human nature and considers that intellectual growth often blunts emotional life. He sometimes favours intuition over reason and he prefers at times obscurity to clarity. Besides, we have attempted to reassess the picture of Hawthorne as an advocate of balance between "head" and "heart". In regard to the artistic process, he displays a belief in the superiority of unpremeditated art to conscious artistry
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Carrez, Stéphanie. "L’œuvre au rouge : alchimie de la création dans la fiction de Nathaniel Hawthorne." Le Mans, 2010. http://cyberdoc.univ-lemans.fr/theses/2010/2010LEMA3005.pdf.
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Voir ses caractères d’imprimerie en plomb se transformer en or sur la page du livre, tel est le rêve exprimé par le narrateur dans la préface de The Scarlet Letter, l’œuvre la plus emblématique de Nathaniel Hawthorne. Ce détail constitue le point de départ d’un travail visant à démontrer que la référence à l’alchimie n’est pas simplement anecdotique, mais représente au contraire un motif essentiel dans un très grand nombre de textes de Nathaniel Hawthorne. Ce motif se déploie d’abord à partir de sources variées dont l’influence est indéniable et dont Nathaniel Hawthorne propose une synthèse idiosyncrasique. L’étude des personnages se rattachant à cette thématique permet de montrer comment le motif rayonne à partir d’un centre pour baigner finalement l’ensemble du corpus dans une lumière alchimique, dépassant largement les limites thématiques qui lui sont habituellement attribuées. Ce travail pose la thèse selon laquelle l’importance de ce motif dans les œuvres fictionnelles de Nathaniel Hawthorne a pour corollaire la relation qui se tisse entre alchimie et création artistique, voire littéraire, à travers les liens qui unissent personnages d’alchimistes, d’artistes et de narrateurs. La référence à l’alchimie sert de support à l’expression métaphorique du mystère de la création artistique et le symbole lui-même devient alchimique dans des textes pourtant profondément marqués par l’héritage de l’herméneutique puritaine, entraînant alors la mise en œuvre de modalités de lecture elles aussi alchimiquesThe narrator mentions in the introductory text of The Scarlet Letter that he dreams of seeing the lead characters of his fiction turn to gold on the page. This reference to alchemy in Nathaniel Hawthorne’s writings is not merely anecdotal and should on the contrary be considered as a major motif in many of his writings. The alchemical theme in Hawthorne’s works is shaped by references to various sources but also by a personal synthesis of these influences. The study of the numerous characters related to alchemy in his works demonstrates that an alchemical light radiates from a critically identified centre but illuminates the entire fiction and extends largely beyond the thematic limits within which it is usually kept. This study aims at demonstrating that the pervasiveness of the alchemical motif and its many intersections with the theme of artistic creation point to the metaphorical expression of the alchemical mystery of literary creation. The Hawthornian symbol itself becomes alchemical; though the Puritan hermeneutic method remains a major inheritance, it thereby entails an alchemical form of reading
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Simonson, Patricia. "L'ambivalence de la prise de parole dans l'écriture de Nathaniel Hawthorne : le dilemme de Jonas." Paris 3, 1998. http://www.theses.fr/1998PA030160.
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Cette etude se propose d'analyser comment une certaine ecriture romanesque, celle de nathaniel hawthorne (1804-64), s'est forgee dans un dialogue permanent avec les autres discours constitutifs de sa societe, dans un contexte politique et culturel qui fait de cette epoque l'une des plus importantes pour la litterature et la pensee nord-americaines. Hawthome se constitue romancier a la fois avec et contre son epoque, avec laquelle il entretient une relation situee quelque part entre la seduction et la polemique. L'auteur est visiblement partage entre la fascination et la mefiance a l'egard du discours public comme instrument de pouvoir et de consensus ; en meme temps, il se reconnait a beaucoup d'egards dans l'effervescence d'une societe en cours de creation, situee au confluent de plusieurs traditions culturelles, et portee par un dynamisme collectif extraordinaire. L'oeuvre de hawthome peut se lire comme l'+ autofiction ; ambigue d'un dissident malgre lui, dont la carriere sera une longue tentative pour preserver sa position intermediaire. Le dynamisme particulier que cette position donne a ses oeuvres suscitera chez le critique deux approches complementaires : la premiere s'interessera a la forte dimension intertextuelle de l'ecriture hawthornienne (j'etudie par exemple la maniere dont elle integre, sur le mode ironique, l'historiographie puritaine et jacksonienne, ou encore le bildungroman romantique) ; la seconde eclaire la modernite du dialogue actif que l'ecriture de hawthome instaure avec ses lecteursMy analysis addresses the way in which a certain kind of fiction-the tales and novels of nathaniel hawthorne-grew out of a continuous interaction with the other discourses which made up his society, at a period which is an essential one for the understanding of american literature and thought. Hawthorne became a writer both within this period and against it, establishing a relationship partly seductive, partly antagonistic with his society. Visibly torn between attraction and distrust for public discourse as a means of power and a source of consensus, he is also in many ways a part of the extraordinary dynamism of his age. This gives his writing a productive ambi valence which calls for two complementary perspectives. The first would highlight the essentially intertextual dimension of his work (my study examines more particularly his ironic relationship to puritan and jacksonian historiography, as well as to the romantic bildungsroman). The second would discuss the particularly modern quality of the interaction which his writing establishes with its readers
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Williamson, Richard Joseph 1962. "Friendship, Politics, and the Literary Imagination: the Impact of Franklin Pierce on Hawthorne's Works." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277669/.
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This dissertation attempts to demonstrate how Nathaniel Hawthorne's lifelong friendship with Franklin Pierce influenced the author's literary imagination, often prompting him to transform Pierce from his historical personage into a romanticized figure of notably Jacksonian qualities. It is also an assessment of how Hawthorne's friendship with Pierce profoundly influenced a wide range of his work, from his first novel, Fanshawe (1828), to the Life of Franklin Pierce (1852) and such later works as the unfinished Septimius romances and the dedicatory materials in Our Old Home (1863). This dissertation shows how Pierce became for Hawthorne a literary device—an icon of Jacksonian virtue, a token of the Democratic party, and an emblem of steadfastness, military heroism, and integrity, all three of which were often at odds with Pierce's historical character. Chapter 1 provides an overview of the Hawthorne-Pierce friendship. The chapter also assesses biographical reconstructions of Pierce's character and life. Chapter 2 addresses Hawthorne's years at Bowdoin College, his introduction to Pierce, and his early socialization. Chapter 3 demonstrates how Hawthorne transformed his Bowdoin experience into formulaic Gothic narrative in his first novel, Fanshawe. Chapter 4 discusses the influence of the Hawthorne-Pierce friendship on the Life of Franklin Pierce, Hawthorne's campaign biography of his friend. The friendship, the chapter concludes, was not only a context, or backdrop to the work, but it was also a factor that affected the text significantly. Chapter 5 treats the influence of Hawthorne's camaraderie with Pierce on the author's later works, the Septimius romances and the dedicatory materials in Our Old Home. Chapter 6 illustrates how Hawthorne's continuing friendship with the controversial Pierce distanced him from many of the prominent and influential thinkers and writers of the day, including Ralph Waldo Emerson and Elizabeth Palmer Peabody. Chapter 7 offers a final summation of the influence of Pierce on Hawthorne's art and Hawthorne's often tenuous role as political artist. Finally, the chapter shows how an understanding of Hawthorne's relationship with Pierce enhances our perceptions of Hawthorne as writer.
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Arsenault, Camus Julie. "The Scarlet Letter de Nathaniel Hawthorne traduit dans l’espace culturel de langue française (1850-1979)." Paris 3, 2007. http://www.theses.fr/2007PA030108.
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Cette étude vise à analyser la façon dont l’illusio puritaine, telle qu’illustrée par Nathaniel Hawthorne dans The Scarlet Letter, est rendue dans les onze traductions en français du roman. L’approche adoptée est celle de la théorie sociologique de Pierre Bourdieu adaptée à la traduction. Cette approche comporte l’avantage majeur de fournir un cadre théorique qui permet non seulement une analyse externe, mais une analyse interne des conditions dans lesquelles le texte source et les textes cibles ont été produits et d’ainsi réunir l’approche sourcière et l’approche cibliste. L’analyse externe repose sur l’étude des espaces littéraires source et cible et du champ littéraire cible, de l’habitus de l’auteur et des traducteurs, des pratiques des éditeurs ; une étude qui implique des recherches sur le terrain. Quant à l’analyse interne, elle est établie à partir d’une analyse contrastive de chacune des traductions qui vise à définir dans quelle mesure l’illusio puritaine est re-contextualisée et ré-historicisée dans les textes cibles. Cette analyse repose sur le relevé des « tendances déformantes » d’Antoine Berman qui ont été constatées dans les cinquante extraits sélectionnés et qui sont principalement étudiées à partir d’une analyse lexicale. L’analyse des textes est systémique puisqu’elle tient compte des liens entre les différents textes cibles et le texte source ainsi que de ceux qui existent entre les différents textes cibles. Les recherches effectuées dans les domaines de la traductologie et de l’histoire du livre et de l’édition ainsi que la critique littéraire hawthornienne viennent appuyer et compléter l’étudeThis study aims to analyze the manner in which the puritan illusio, as illustrated by Nathaniel Hawthorne in The Scarlet Letter, is conveyed in the eleven French translations of the novel. The adopted approach is Pierre Bourdieu’s sociological theory adapted to translation. The approach offers the significant advantage of providing a theoretical framework that allows not only an external analysis, but also an internal analysis of the conditions in which the source text and the target texts were produced and therefore combine the source approach with the target approach. The external analysis lies on the study of the source and the target literary spaces as well as the target literary field, the author and the translators’ habitus, the publishers’ practices; a study that involves field work. As for the internal analysis, it is established from a contrastive analysis of each translation that aims to establish the extent to which the puritan illusio is re-contextualized and re-historicized in the target texts. This analysis is based on the list of Antoine Berman’s “deforming tendencies” that were observed in the fifty selected excerpts and that are mainly studied through a lexical analysis. The text analysis is systemic since it takes into account the links between the different target texts and the source text as well as those that exist between the various target texts. Researches carried out in the fields of translation studies and the history of book publishing as well as the critical discourse on Hawthorne support and complete this study
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Serrano, Gabriela. "The Feminine Ancestral Footsteps: Symbolic Language Between Women in The Scarlet Letter and The House of the Seven Gables." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5434/.
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This study examines Hawthorne's use of symbols, particularly flowers, in The Scarlet Letter and The House of the Seven Gables. Romantic ideals stressed the full development of the self¬reliant individual, and romantic writers such as Hawthorne believed the individual would fully develop not only spiritually, but also intellectually by taking instruction from the natural world. Hawthorne's heroines reach their full potential as independent women in two steps: they first work together to defeat powerful patriarchies, and they then learn to read natural symbols to cultivate their artistic sensibilities which lead them to a full development of their intellect and spirituality. The focus of this study is Hawthorne's narrative strategy; how the author uses symbols as a language his heroines use to communicate from one generation to the next. In The Scarlet Letter, for instance, the symbol of a rose connects three generations of feminine reformers, Ann Hutchinson, Hester Prynne, and Pearl. By the end of the novel, Pearl interprets a rose as a symbol of her maternal line, which links her back to Ann Hutchinson. Similarly in The House of the Seven Gables Alice, Hepzibah, and Phoebe Pyncheon are part of a family line of women who work together to overthrow the Pyncheon patriarchy. The youngest heroine, Phoebe, comes to an understanding of her great, great aunt Alice's message from the posies her feminine ancestor plants in the Pyncheon garden. Through Phoebe's interpretation of the flowers, she deciphers how the cultivation of a sense of artistic appreciation is essential to the progress of American culture.
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Lorrain, Stéphanie. "Espace privé et espace public dans le récit longs de Nathaniel Hawthorne." Metz, 2006. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/2007/Lorrain.Stephanie.LMZ0615.pdf.
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Cette analyse recherche la trace de la construction de l’identité culturelle, politique, et sociale des Etats-Unis dans les récits longs de Nathaniel Hawthorne. Elle tente de repérer les discours publics (de la famille, de l’éducation, de la philanthropie, de religion, de l'économie, de la médecine) dans l'œuvre de l'auteur. Pour ce faire, nous essayons de saisir les processus qui contribuèrent à l'élaboration des structures de la société américaine. Celles-ci se présentent comme des cadres essentiels au fonctionnement de la société et à l'articulation du rapport entre l’individu et le groupe. Nous essayons de comprendre comment Nathaniel Hawthorne percevait les changements politiques, économiques et sociaux engendrés par la modernisation de son pays. En d’autres termes, nous souhaitons montrer comment il percevait l’espace privé et l’espace public, notions que nous prenons soin de définir au début de cette thèse. Nous tentons également de cerner comment l'auteur se représentait la relation entre l'individu et le groupe. Les quatre récits longs de Hawthorne constituent le corpus d’étude : The Scarlet Letter (1850), The House of the Seven Gables (1851), The Blithedale Romance (1852) et The Marble Faun (1860). Les contes et les nouvelles ont été exclus du corpus de par leur brièvetéIn the nineteenth-century American society was undergoing major social and economic changes aimed at forging a political as well as a cultural identity for the United States. The purpose of this analysis is to understand how Nathaniel Hawthorne perceived these changes. We examine the role and the impact of the nineteenth-century public discourses (those on childhood education, philanthropy, religion, and economics) not only on the individual, but also on the general functioning of society. These discourses were indeed central to the construction of the social structures organizing public and private life. What did public and private space represent in Nathaniel Hawthorne's time? To what extent were these two spheres related to each other? What were the role and the place of the individual in American society? What was Nathaniel Hawthorne’s attitude toward this new social situation? Did it coincide with his ideal vision of society? All these questions are dealt with in the light of the four novels published by the author: The Scarlet Letter (1850), The House of the Seven Gables (1851), The Blithedale Romance (1852) and The Marble Faun (1860). Due to their brevity, his tales and sketches have not been used
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Ah-Tune, Hélène. "L'écriture rouge dans "The masque of the red death" de Edgar Allan Poe et dans The scarlet letter, A romance de Nathaniel Hawthorne." Paris 8, 1998. http://www.theses.fr/1998PA081484.
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A travers ces deux textes litteraires du milieu du dix-neuvieme siecle, l'etude du langage des couleurs -notamment de la couleur rouge a demontre combien il se relie au probleme de l'identite americaine qui demeure ici inseparable du mythe de l'amerique percu comme un nouveau monde au sens d'une re-creation du monde, donc d'une nouvelle cosmogonie. Chez poe comme chez hawthome,la couleur rouge reste associee au langage. Dans "the masque of the red death", la couleur rouge constitue la couleur-pivot autour de laquelle tout s'articule. Elle ne peut etre separee de l'or, de la couleur noire, de l'alchimie, des elements. Ses relations des plus subtiles et des plus complexes qu'elle entretient avec les nombres, les lettres, les formes de lettres et la musique demontrent son lien avec l'ecriture. Un jeu de permutation de lettres opere sur la couleur rouge a amene a conclure que la mort rouge s'identifierait entre autres a dionysos -symbolisant a la fois la vie, la fecondite et le desordre. Il representerait une mort revelatrice et initiatique conduisant a une renaissance. L'intrigue se devant en ce cas etre comprise a l'inverse du texte en surface, la couleur rouge participerait de la symbolique de la vie mais non de la mort. Dans the scarlet letter, la couleur fonctionne comme un signe linguistique. Couleur et langage s'averent confondus. La lettre ecarlate se presente comme un signe sacre dote d'une couleur, plus precisement d'une langue inconnue ("a tongue unknown") quoique "scarlet" evoque la prostituee de babylone explicitement mentionnee dans le texte. Elle appartient a l'origine des temps et sa signification ressort de l'enigme. En tant qu'embleme, elle suggere l'hieroglyphe ou 'image sacree' difficile a dechiffrer. Le rouge present dans "scarlet" se relie au script c'est-a-dire au signe ou a la lettre et d'autre part au livre (volume) en tant que sphere mythiqueThe study of the language of colors - notably the color red in "the masque of the red death" and in the scarlet letter has shown how it is linked with the problem of american identity. It is also centered around the myth of america being as a new world, or even as a new cosmogony. In these two mid-nineteenth century literary texts, the color red is linked with language. In "the masque of the red death", the red color is the pivot around which everything revolves. It cannot be separated from gold, the color black, alchemy or the elements. The subtle and complicated relationship between color and number, letters, the form of those letters and music show the way color is linked with writing. The "masque" would conceal the primal identity of america or the language of origin which the color red represents. A game of permutation of letters carried out on the color red, brings us to conclude that the red death could be identified among others to dionysos - symbol of life and disorder. Therefore death could represent a doorway to knowledge and rebirth. The plot must be understood, therefore, as the reverse of the surface text. In the scarlet letter, color works as a linguistic sign. Color and language become interchangeable. The scarlet letter appears as a sacred sign, colored, more precisely as a sign of "a tongue unknown", even if "scarlet" evokes the "scarlet whore of babylon", explicitely mentioned in the text. It belongs to an abolished past, to the origin of time and its meaning comes from the enigma, from mystery itself. As an emblem, the letter suggests the hieroglyphic. The color red present in "scarlet" is linked to the script that is to say, to the sign or the letter and to the book (volume) as a mythic sphere
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Romero, Karlsson Gabriel. "A contrastive study of the female portrait in some of Nathaniel Hawthorn’s and Edgar Allan Poe’s short stories." Tesis, Universidad de Chile, 2008. http://repositorio.uchile.cl/handle/2250/109762.
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The object of this research project is to carry out a literary analysis of the contrast and similarities between the treatment of female portraits presented in some of Edgar Allan Poe’s and Nathaniel Hawthorne’s short stories, and further to illustrate the effect this treatment has on the whole thematic and socio-cultural articulation of these narratives. For this purpose the following short stories have been chosen: by Edgar Allan Poe; “Morella” (1835), “Eleonora” (1841), and “Ligeia” (1838), by Nathaniel Hawthorne; “Mrs Bullfrog” (1837) “The Wedding Knell” (1836), and “The Birthmark” (1843). Each of the selected stories has been a contribution to better understand the socio-cultural situation women during the time they were composed.
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Barral, David. "Emerson chez Hawthorne : renaissances américaines." Paris 7, 2009. http://www.theses.fr/2009PA070097.
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Ce travail se propose de faire dialoguer les textes de deux auteurs américains majeurs du XIXe siècle, le romancier Nathaniel Hawthorne et le penseur Ralph Waldo Emerson. Plutôt que d'un strict dialogue, il s'agit de montrer que l'oeuvre de Hawthorne, contrairement à ce qu'en dit la tradition critique, répond non seulement aux écrits du philosophe, qui constituent un appel à une Renaissance américaine. La possibilité d'une telle Renaissance, chez l'un comme chez l'autre, se fonde dans l'individu et son engagement éthiqueThis study aims at creating a dialogical space between the works of two major American authors, writer Nathaniel Hawthorne and thinker Ralph Waldo Emerson. More precisely, it is an attempt to recognize the extent to which Hawthorne's work is an answer to Emerson's, and beyond, to Emerson's call for an American Renaissance. The basis of this Renaissance, in the work of both writers, is the individual, and his/her capacity for an ethical life
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Sahmadi, Linda. "L’émergence d’un discours féministe dans la fiction courte de Nathaniel Hawthorne (1832-1844) : l’écriture du devenir-femme." Thesis, Clermont-Ferrand 2, 2015. http://www.theses.fr/2015CLF20024/document.
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L’élaboration de portraits féminins reflète la fascination de Hawthorne pour cette créature complexe, un attrait nourri par l’omniprésence des femmes dans son entourage. L’influence de ces dernières est indéniable, et semble être à l’origine du féminisme ambigu de l’écrivain, partagé entre, d’un côté, l’héritage puritain des Manning et Hawthorne, et, de l’autre, les convictions féministes émergentes de sa belle-famille, les Peabody. Les portraits de femmes de la fiction hawthornienne se caractérisent donc par un binarisme essentialisme-différentialisme qui émane de la vision étroite des protagonistes masculins, et que l’auteur tente de dépasser. Les concepts deleuziens du « mineur » et du « devenir-femme » nous seront d’une grande utilité pour comprendre comment la femme essentialisée des Puritains, ce que nous pouvons aussi appeler la femme-image, au sens lacanien du terme, est en réalité une femme minorée car amputée de son esprit et de son rôle social. Hawthorne témoigne ainsi d’un féminisme équivoque, une voix qu’il a du mal, par moments, à assumer et affirmer complètementFemale portraits are abundant in Nathaniel Hawthorne’s fiction, short stories and novels alike. The influence of the women evolving in his private sphere may be at the origin of his ambiguous feminist vision, as his allegiance was divided between his Puritan inheritance (both the Mannings and the Hawthornes) on the one hand, and, on the other, the emerging feminist convictions of his in-laws (the Peabodys). Hawthorne’s female portraits are thus characterized by a tendency to binarism as they pit an essentialist view of women against a differentialist one. This binarist perspective reflects the narrow-mindedness of the patriarcal system which the male heroes try to defend and maintain. Deleuze and Guatarri’s concepts of “minor literature” and “becoming-woman” will help us understand how the woman-image of the Puritans is a minored woman in the realm both of the social order and the symbolic order. Hawthorne’s feminist voice is an equivocal one as his text is undergoing a subterranean process of “becoming-woman.”
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Sandoval, Muñoz Catalina. "The Inaugural Status of Nathaniel Hawthorne’s 1852 The Blithedale Romance and Herman Melville’s 1853 “Bartleby, the Scrivener” in the development of the Topic of Alienation in American Literature: A Study of its Representations and a Comparison with its Treatment in Ernest Hemingway’s 1926 The Sun Also Rises." Tesis, Universidad de Chile, 2009. http://repositorio.uchile.cl/handle/2250/109903.
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Rioton, Coralie. "L'image de la femme maléfique dans "The Scarlet Letter", "Madame Bovary" et "Drammi intimi" chez Hawthorne, Flaubert et Verga." Nice, 2001. http://www.theses.fr/2001NICE2010.
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Le discours médical, idéologique et bourgeois du XIXe siècle répand l'idée d'une féminité ancrée dans un destin biologique. La femme est présentée uniquement comme un instrument de reproduction. "Féminité" est synonyme d'inexistence, de silence, d'effacement et de nullité. Etudions l'antithèse, le contre-modèle, l'image de la femme maléfique. Elle bouleverse le schémas habituel imposé par les hommes, dérange et franchit les limites interdites. Fille de Satan, femme d'ombre, elle incarne le mal. Elle s'offre comme une créature impudique, un élément perturbateur, un être démoniaque : elle véhicule le mahleur universel. Instrument de damnation, vagin castrateur, gouffre infernal, elle terrifie l'homme. Elle engendre le désastre et la destruction. L'optique masculine témoigne. Dans cette société patriarcale, elle représente le mâle manqué ; atteinte du complexe de virilité, elle exagère son attitude virile; Elle se sent enchaînée ; elle conteste sa position, se révolte et revendique des droits nouveaux : naissance d'une femme nouvelle.
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Petit, Marie-Hélène. "Hawthorne et l'héritage de la romance dans la fiction contemporaine : paul Auster, Russel Banks, et Steven Millhauser." Thesis, Nancy 2, 2010. http://www.theses.fr/2010NAN21025.
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Long, Kim Martin. "The American Eve: Gender, Tragedy, and the American Dream." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277633/.
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America has adopted as its own the Eden myth, which has provided the mythology of the American dream. This New Garden of America, consequently, has been a masculine garden because of its dependence on the myth of the Fall. Implied in the American dream is the idea of a garden without Eve, or at least without Eve's sin, traditionally associated with sexuality. Our canonical literature has reflected these attitudes of devaluing feminine power or making it a negative force: The Scarlet Letter, Moby-Dick, Adventures of Huckleberry Finn, The Great Gatsby, and The Sound and the Fury. To recreate the Garden myth, Americans have had to reimagine Eve as the idealized virgin, earth mother and life-giver, or as Adam's loyal helpmeet, the silent figurehead. But Eve resists her new roles: Hester Prynne embellishes her scarlet letter and does not leave Boston; the feminine forces in Moby-Dick defeat the monomaniacal masculinity of Ahab; Miss Watson, the Widow Douglas, and Aunt Sally's threat of civilization chase Huck off to the territory despite the beckoning of the feminine river; Daisy retreats unscathed into her "white palace" after Gatsby's death; and Caddy tours Europe on the arm of a Nazi officer long after Quentin's suicide, Benjy's betrayal, and Jason's condemnation. Each of these male writers--Hawthorne, Melville, Twain, Fitzgerald, and Faulkner--deals with the American dream differently; however, in each case the dream fails because Eve will not go away, refusing to be the Other, the scapegoat, or the muse to man's dreams. These works all deal in some way with the notion of the masculine American dream of perfection in the Garden at the expense of a fully realized feminine presence. This failure of the American dream accounts for the decidedly tragic tone of these culturally significant American novels.
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Adams, Dana W. (Dana Wills). "Female Inheritors of Hawthorne's New England Literary Tradition." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279406/.
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Nineteenth-century women were a mainstay in the New England literary tradition, both as readers and authors. Indeed, women were a large part of a growing reading public, a public that distanced itself from Puritanism and developed an appetite for novels and magazine short stories. It was a culture that survived in spite of patriarchal domination of the female in social and literary status. This dissertation is a study of selected works from Nathaniel Hawthorne, Sarah Orne Jewett, and Mary E. Wilkins Freeman that show their fiction as a protest against a patriarchal society. The premise of this study is based on analyzing these works from a protest (not necessarily a feminist) view, which leads to these conclusions: rejection of the male suitor and of marriage was a protest against patriarchal institutions that purposely restricted females from realizing their potential. Furthermore, it is often the case that industrialism and abuses of male authority in selected works by Jewett and Freeman are symbols of male-driven forces that oppose the autonomy of the female. Thus my argument is that protest fiction of the nineteenth century quietly promulgates an agenda of independence for the female. It is an agenda that encourages the woman to operate beyond standard stereotypes furthered by patriarchal attitudes. I assert that Jewett and Freeman are, in fact, inheritors of Hawthorne's literary tradition, which spawned the first fully-developed, independent American heroine: Hester Prynne.
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Cohen, Hazel Ann. "'Times portraiture' : the temporal design of hawthorne's shorter fiction." Thesis, 2015. http://hdl.handle.net/10539/16952.
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A study of the shorter fiction of Nathaniel Hawthorne reveals a rich
experimentation with narrative techniques, all working towards what
Edgar Allan Poe, Hawthorne's first critic, called a 'certain unique
or single effect'. The aim of this dissertation is to show how
Hawthorne's concern with the complex nature of man's temporal existence
governs both the theme and structure of his fiction. Time implies
both change and flux, and is inextricable from the historical, social
and psychological evolution of Hawthorne's characters. As theme,
time is used to disclose patterns of withdrawal and return, the problem
of the individual alienated from his society, and the tension between
the realm of art and the world of actuality. As structure, time is
used in various ways to govern the pace of a particular story and, most
certainly, to govern the unfolding sequence of events. Hawthorne
consciously experiments with different generic modes, with a diversity
of beginnings and endings, in order to explore the inexhaustible
manifestations of human time.
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White, Andrew. "Counterfeit arcadias : Nathaniel Hawthorne's materialist response to the culture of reform." Thesis, 1999. http://hdl.handle.net/1957/33693.
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Nathaniel Hawthorne lived and wrote in an age of reform efforts, and the progressive movement with which he was most familiar was Transcendentalism. However, he was not sympathetic with Emerson's idealism, a sentiment which comes out in his fiction in way of critique. Throughout Hawthorne's work there is an emphasis on human limitation, in stark contrast to the optimism that characterized his time a "materialist" response to idealism (as defined by Emerson in "The Transcendentalist"). And one important vehicle of this critique of human possibility is his shrewd use of biblical motif particularly the tropes of Eden and the Promised Land, which were adopted by the Transcendentalists. Although these allusions can be traced through much of Hawthorne's work, they are especially apparent in two novels: The Blithedale Romance (1852) and The Scarlet Letter (1850). Hawthorne exposes the irony behind the use of these biblical motifs by the Blithedale community (in their effort to create a utopian society) and the Puritan community, which looked to its religious leaders as the embodiment of its ideals.Graduation date: 1999