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Journal articles on the topic 'Hawthorne'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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1

Rachman, Stephen. "“White Sleep”: Hawthorne’s Thoreau, Thoreau’s Hawthorne." Studia Litterarum 2, no. 2 (2017): 64–79. http://dx.doi.org/10.22455/2500-4247-2017-2-2-64-79.

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2

Wang, Yueming. "Misogyny or Feminism? A Probe into Hawthorne and His The Scarlet Letter." English Language and Literature Studies 7, no. 2 (May 30, 2017): 139. http://dx.doi.org/10.5539/ells.v7n2p139.

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Nathaniel Hawthorne’s The Scarlet Letter has been focused onby critics from different aspects due to his ambiguity used in the novel. Hawthorne himself has been doubted as to whether he is a misogynist or a feminist when describing the female character, Hester Prynne. This article supports the idea that Hawthorne holds the idea offeminism in his work The Scarlet Letter. A writer who mirrors Hester’s life as his own cannot be a misogynist; a writer who honors a woman’s rebelling against patriarchy cannot be a misogynist; a writer who has a beloved wife and mother cannot be a misogynist. Harmonic family relationships, sympathetic character descriptions, and mild demonstrations against patriarchy all prove that Hawthorne is not a misogynist, but a feminist. Hawthorne depicts through four aspects on Hester’s life, Hester’s rebel, Hawthorne’s own family relationship to advocate feminism in his novel.
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3

Singer, Erin C. "Gossip as Contagion in Hawthorne's “The Minister's Black Veil” and The Scarlet Letter." Nathaniel Hawthorne Review 47, no. 1 (May 1, 2021): 26–43. http://dx.doi.org/10.5325/nathhawtrevi.47.1.0026.

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Abstract The coronavirus pandemic in some ways returned us to a more nineteenth-century outlook on contagion. In the early months before the public had a clear understanding of how this coronavirus spread, everything and everyone became subject to politicized suspicion. Nathaniel Hawthorne was perhaps preoccupied with the same questions that current scholars and the general public have faced since the beginning of the pandemic: Who can we trust among ourselves, our communities, and our institutions? How do we know what information is true? Hawthorne's Puritan stories “The Minister's Black Veil” and The Scarlet Letter feature the interdisciplinary concept of social contagion as a major driving force. A focus on similarities between Hawthorne's literary world and the coronavirus pandemic brings to the fore a Hawthornean epistemology of contagion, or what may be called pandemic thinking. In considering how social contagion theory brings together themes of community and gossip in Hawthorne's works, we see that gossip is both a mode of transmission of ideological contagion and the method by which social order is articulated in those works. Finally, we perceive that Hawthorne uses gossip not only to reify but also to challenge the social order in his imagined New England towns.
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4

Stefko, Katherine. "Hath or Hath Not: A Reexamination of Nathaniel Hawthorne’s Bowdoin College Silhouette." Nathaniel Hawthorne Review 49, no. 1 (May 2023): 124–38. http://dx.doi.org/10.5325/nathhawtrevi.49.1.0124.

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ABSTRACT Closely comparing two copies of the earliest image of Nathaniel Hawthorne, a silhouette purportedly cut while he was a student at Bowdoin College in Maine, this article considers the production, history, and authenticity of the image. In particular, the author examines the silhouettes’ watermarks, signatures, context, and provenance to reconcile remembrances of Hawthorne’s classmates, especially those of Horatio Bridge, who recorded that Hawthorne did not have his profile cut at Bowdoin, with the countervailing physical evidence that the silhouettes themselves present, concluding that the two silhouettes—one held by Bowdoin College for over a century and one newly acquired from the descendants of Hawthorne’s classmate Jonathan Cilley—are almost certainly genuine depictions of Hawthorne created in 1823.
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5

Fredner, Erik. "A Meaning Apart from Its Indistinguishable Words." Nathaniel Hawthorne Review 48, no. 1 (May 1, 2022): 82–98. http://dx.doi.org/10.5325/nathhawtrevi.48.1.0082.

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ABSTRACT What difference did Hawthorne make in nineteenth-century US fiction? An unanswerable question, yet one that we can begin to address in a surprisingly literal way by using word embeddings to analyze the large corpora of nineteenth-century US fiction now available. To specify this question, how does a corpus of nineteenth-century US fiction including Hawthorne differ from one wherein his work is experimentally excluded? Using this approach, I show how Hawthorne’s work changed the vector semantics of US fiction. Readers of Hawthorne will be pleased if unsurprised to find his characteristic ambivalence reaffirmed by quantitative methods. More novel is the new evidence this method provides for measuring the ways in which Hawthorne distinctively differs from his peers. Because the model reveals which words Hawthorne embedded most similarly and most dissimilarly from his contemporaries, we can take these quantitative and qualitative differences in word usage as starting-points from which to address the question that began this abstract. The article concludes with a reading of Hawthorne’s distinctive use of the word “likewise,” focusing on how it advances the satire of “The Procession of Life.”
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6

Fredner, Erik. "A Meaning Apart from Its Indistinguishable Words." Nathaniel Hawthorne Review 48, no. 1 (May 1, 2022): 82–98. http://dx.doi.org/10.5325/nathhawtrevi.48.1.0082.

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ABSTRACT What difference did Hawthorne make in nineteenth-century US fiction? An unanswerable question, yet one that we can begin to address in a surprisingly literal way by using word embeddings to analyze the large corpora of nineteenth-century US fiction now available. To specify this question, how does a corpus of nineteenth-century US fiction including Hawthorne differ from one wherein his work is experimentally excluded? Using this approach, I show how Hawthorne’s work changed the vector semantics of US fiction. Readers of Hawthorne will be pleased if unsurprised to find his characteristic ambivalence reaffirmed by quantitative methods. More novel is the new evidence this method provides for measuring the ways in which Hawthorne distinctively differs from his peers. Because the model reveals which words Hawthorne embedded most similarly and most dissimilarly from his contemporaries, we can take these quantitative and qualitative differences in word usage as starting-points from which to address the question that began this abstract. The article concludes with a reading of Hawthorne’s distinctive use of the word “likewise,” focusing on how it advances the satire of “The Procession of Life.”
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7

Sharma, Vipin K. "Hawthorne’s The Scarlet Letter, A Product of Puritanism or a Reaction Against It: A 21st-Century Critical Perspective." World Journal of English Language 13, no. 5 (April 24, 2023): 475. http://dx.doi.org/10.5430/wjel.v13n5p475.

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The paper examines ‘The Scarlet Letter’ to determine whether Hawthorne critiques Puritan society’s stringent regulations or supports it in its genuine sense. The article first determines whether Hawthorne agrees with the Puritan concept of sin by examining his perspective on sin. We examined varied past studies using survey method to carry out a descriptive analysis of the author’s justification for Hester’s belief that she is a sinner for the Puritans. Moreover, Hawthorne psychologically analyzes the struggle that exists in the thoughts of the characters as sinners that provokes an endless debate but remains unsolved. Besides, the study explores Hawthorne’s views on Puritanism, which raises a question for academics who are unsure of just how Hawthorne opposes the quintessence of the Puritan way of life. We find that the readers get confused by Hawthorne’s devotion to the novel as they read it and wonder if he was both a Puritanism product and a reaction against it; however, the study finds that Hawthorne was a blend of both of them. The study ends with broader implications about how Hester’s personality influences women’s lives in contemporary society in the twenty-first century.
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8

Yin, Tingting, and Chi Huang. "On Hawthorne's Self-contradiction and Self-redemption." International Journal of Education and Humanities 15, no. 1 (July 7, 2024): 346–49. http://dx.doi.org/10.54097/2qyg9n28.

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Nathaniel Hawthorne, an acclaimed figure in American literature, skillfully shapes the principal characters of The Scarlet Letter-Hester, Dimmesdale, and Chillingworth-drawing from historical contexts and his personal experiences. The complex tensions these characters represent somewhat mirror Hawthorne's own inner conflicts. Hawthorne infused his writings with his ideological struggles, actively seeking ways to reconcile these internal conflicts and achieve personal redemption. As a Romantic writer, his narratives deeply resonate with an understanding and empathy for human nature. Hawthorne believed in the intrinsic kindness and goodness of individuals, who, despite errors or societal judgment, could seek self-redemption through various ways. This belief forms the crux of Hawthorne's concept of redemption. This paper aims to collate and analyze existing research on Hawthorne, integrating it with details of his personal life and the historical backdrop of his era, to thoroughly examine the prominent themes of conflict and redemption in his works, and to explore how these themes manifest in his literary output.
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9

Manzanetti, Evan. "A Somewhat Wilder Grace: Hawthorne, Humboldt, and Withstanding the Collapse of Nature into Symbol in The House of the Seven Gables." Nathaniel Hawthorne Review 47, no. 2 (December 1, 2021): 210–30. http://dx.doi.org/10.5325/nathhawtrevi.47.2.0210.

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ABSTRACT The first members of the Pyncheon family Nathaniel Hawthorne names in The House of the Seven Gables include no humans, but “the old Pyncheon-house” and “the Pyncheon-elm” (5). I argue that Hawthorne’s representation of nature produces a cultural–natural place-sense in which environment acts both as cultural symbol and endemic nature separate from human conceptions. By reading Hawthorne via Lawrence Buell’s “place-sense,” I argue for doubled existences of Hawthorne’s environment and position Hawthorne in dialogue with Alexander von Humboldt. Hawthorne’s depiction of nature that displays the “external world and our ideas and feelings melt[ing] into each other” both demonstrates a Humboldtian response to a common division between pre reason and experience in natural philosophy up through the nineteenth-century and also resonates with Donna Haraway’s call for “ongoing multispecies stories and practices of becoming-with” that defy preexisting anthropocentric models (Humboldt 1:64; Trouble 55). This consideration of Hawthorne alongside Humboldt invites interplay between nineteenth-century American literature and nascent nineteenth-century ecological philosophies, reading both in a cultural–natural framework engaging across multiple disciplines and foregrounds the opportunities to reexamine representations of nature in American literature considering nature’s difference from and dependence upon cultural conceptions.
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10

Rheingold, Hugh M. "Possibilities Lost: Transcendental Declarations of Independence in Hawthorne's The Blithedale Romance." Prospects 26 (October 2001): 61–89. http://dx.doi.org/10.1017/s0361233300000879.

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The Blithedale Romance occupies a unique position in the Haw-thorneian corpus for at least two reasons: Hawthorne's use of a first-person narrator and his decision to base, albeit loosely, the fictional Blithedale on his experiences as a resident at Brook Farm, an actual Utopian community founded by the transcendentalist minister George Ripley in 1841. If The Blithedale Romance constitutes a new point of departure for Hawthorne's fictional project, it is nevertheless a point of departure that Hawthorne, in particular in his prefaces, had contemplated all along. Hawthorne's fidelity to a new kind of fiction that more closely approximates lived experience would seem to be a betrayal of his notion of romance, which does not, like the novel, aim to be faithful to “the probable and ordinary course of man's experience,” but it is part and parcel of Hawthorne's anxieties about the transgressions of representation, transgressions peculiar to the kind of fictional project Hawthorne attempts to prosecute (Seven Gables, 1). While Hawthorne's preface to The Blithedale Romance celebrates his romances as “a theatre, a little removed from the highway of ordinary travel, where the creatures of his brain may play their phan-tasmagorical antics (38), his preface to The House of the Seven Gables warns that romance runs the risk of sinning unpardonably; that it commits, in other words, a “literary crime” (1). Our concern with Hawthorne as a writer seems all the more urgent, indeed necessary, given the connections Hawthorne seeks to establish between himself and his self-confessed minor poet and alter ego Miles Coverdale.
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11

McBride, Mark. "SENSITIVITY AND CLOSURE." Episteme 11, no. 2 (March 27, 2014): 181–97. http://dx.doi.org/10.1017/epi.2014.5.

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AbstractJohn Hawthorne has two forceful arguments in favour of:Single-Premise Closure (SPC) Necessarily, if S knows p, competently deduces q from p, and thereby comes to believe q, while retaining knowledge of p throughout, then S knows q.Each of Hawthorne's arguments rests on an intuitively appealing principle which Hawthorne calls the Equivalence Principle. I show, however, that the opponents of SPC with whom he's engaging - namely Fred Dretske and Robert Nozick - have independent reason to reject this principle, and resultantly conclude that Hawthorne's arguments in favour of SPC are not knock-down.
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12

Kalac, Nail. "Individuality as a Force for Destruction in Nathaniel Hawthorne's ''The Ambitious Guest''." Journal of English Language and Literature 9, no. 1 (February 28, 2018): 778–82. http://dx.doi.org/10.17722/jell.v9i1.352.

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Nathaniel Hawthorne’s short story “The Ambitious Guest” has been regarded by various readers as a tale of natural sublimity and a defeat of humankind under crushing forces of Nature. However, Hawthorne’s captivating writing leaves space for multiple interpretations, and bearing in mind that Hawthorne belongs to Dark Romanticism this short story can be regarded as a defeat of individual heart against collective mind. In this story, Hawthorne, a great symbolist of his time, carefully developed the plot and the characters in order to portray how individual striving for progress and betterment can destroy a harmonious family that is in peace with natural order. Hawthorne uses a complete stranger and turns him into a force for destruction, as the character deeply disturbs the philosophy of each family member and changes the close-knit structure of the family into a scattered group of unsatisfied individuals who yearn for change, which results in a natural catastrophe. “The Ambitious Guest” represents Hawthorne’s warning against individualism and yearning for progress, and it praises the institution of family as a building block upon which humankind is built.
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13

Guo, Ziyi. "Appeal for a Harmonious Relationship between Man and Nature." International Journal of Education and Humanities 14, no. 2 (May 30, 2024): 18–22. http://dx.doi.org/10.54097/eh4aps68.

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Nathaniel Hawthorne is an influential novelist in American literature in 19th century. Most of his works are set in New England during the American colonial period, reflecting the social reality at that time. His masterpiece The Scarlet Letter ensures Hawthorne as the leading American native novelist in literature. Hawthorne exposes in his novels the immense destruction and ecological crisis caused by human civilization. Based on a close reading of his works, this thesis aims to study Nathaniel Hawthorne’s novels from the perspective of ecocriticism. In the thesis, the crisis of natural ecology is analyzed. At the same time, the thesis explores the relationship between human beings and nature. Hawthorne suggests that human beings should integrate into nature and maintain a harmonious relationship with nature, which is the primary concern of ecocriticism.
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14

Milder, Robert. "The Other Hawthorne." New England Quarterly 81, no. 4 (December 2008): 559–95. http://dx.doi.org/10.1162/tneq.2008.81.4.559.

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With their fluent colloquial prose and curiosity about life's spectacle, Hawthorne's voluminous notebooks belie the common notion that temperament and talent led him to write works of allegorical romance rather than realism. The essay argues that Hawthorne cultivated romance not because he believed in its idealizing vision but rather because, extrapolating from his experience of “the real,” he didn't.
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15

Rabinovich, Irina. "Hawthorne’s Rome – A city of evil, political and religious corruption and violence." Ars Aeterna 9, no. 1 (June 27, 2017): 1–6. http://dx.doi.org/10.1515/aa-2017-0001.

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Abstract Hawthorne’s Rome is the home of dark and evil catacombs. It is a city haunted by evil spirits from the past that actively shape the romance’s plot. Rome’s dark gardens, endless staircases, hidden corners and vast catacombs, as well as the malodorous Jewish ghetto, affect Donatello’s and Miriam’s judgment, almost forcing them to get rid of the Model, Miriam’s persecutor. Hawthorne’s narrator’s shockingly violent, harsh and seemingly anti-Semitic description of the ghetto in Rome is just one among many similarly ruthless, and at times offensive, accounts of the city wherein Hawthorne situates his last completed romance, The Marble Faun. Hawthorne’s two-year stay in Rome in 1858-59 sets the scene for his conception of The Marble Faun. In addition to providing Hawthorne with the extensive contact with art and artists that undoubtedly affected the choice of his protagonists (Kenyon, a sculptor; Hilda and Miriam, painters), Italy exposed Hawthorne to Jewish traditions and history, as well as to the life of Jews in the Roman ghetto. Most probably it also aroused his interest in some of the political affairs in which Italian Jews were involved in the 1840s and 50s. This historical background, especially the well-publicized abduction and conversion of a Jewish child, Edgardo Mortara, in 1858 provides important political and cultural background for Hawthorne’s portrayal of Miriam in The Marble Faun.
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16

Fujimura, Nozomi. "Beyond Two Endings: The “Septimius” Manuscripts and Hawthorne’s Perspective of Civil War America." Nathaniel Hawthorne Review 49, no. 2 (December 1, 2023): 200–219. http://dx.doi.org/10.5325/nathhawtrevi.49.2.0200.

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ABSTRACT This article reconsiders the two endings of the “Septimius” manuscripts and reevaluates the potential of Hawthorne’s romance in his final years. Although the complexity of Hawthorne’s later works and his perspective on the Civil War have gained significant scholarly attention, earlier scholarship generally assumes that the two “Septimius” manuscripts, “Septimius Felton” and “Septimius Norton,” would have had the same ending if only Hawthorne had completed them. Challenging this assumption, this article argues that the two manuscripts are more different than understood heretofore and that it was imperative for Hawthorne to retain two versions of the story. By reexamining Hawthorne’s complex writing process and the recurring themes in his later works, this article illuminates Hawthorne’s exploration of the significance of America in the transnational history of civil wars and highlights his critique not only of the American Civil War but also of America’s history of civil wars.
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17

MADSEN, DEBORAH L. "Hawthorne's Puritans: From Fact to Fiction." Journal of American Studies 33, no. 3 (December 1999): 509–17. http://dx.doi.org/10.1017/s0021875899006222.

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Nathaniel Hawthorne's view of his first American ancestors as belonging to a grim and gloomy race, impatient with human weaknesses and merciless towards transgressors, reflects a wide-spread popular attitude towards the Massachusetts Bay colonists. Indeed, Hawthorne's contribution to the construction and perpetuation of this view is not inconsiderable. Hawthorne frankly confesses to his own family descent from one of the “hanging judges” of the Salem witchcraft trials, and he does not spare any instance of persecution, obsession, or cruelty regarding the community led by his paternal ancestors. But Hawthorne does not stop at indicting his own family history; in a famous exchange with the president of Hartford College, Thomas Ruggles Pynchon, shortly after the publication of The House of the Seven Gables (1851) Hawthorne is accused of blackening the reputation of another of New England's great colonial families. Hawthorne denied any knowledge of a “real” Pynchon family, let alone one with living (and litigious) descendants. He apologized for his mistake and offered to write an explanatory preface (which never appeared) for the second edition. Historical evidence suggests that Hawthorne, in fact, knew the history of the Pyncheon family, in particular William Pyncheon and his son John, of Springfield, who shared political and business connections throughout the mid-seventeenth century with William Hathorne of Salem. William Hathorne was a notorious persecutor of Quakers and his son John was the “hanging judge” of the witchcraft trials; William Pyncheon was a prominent fur-trader and founder of several towns along the Connecticut River who left the colony abruptly in circa 1651 accused of heresy. Given this history, a more likely model for the grim Colonel Pyncheon of Nathaniel Hawthorne's novel is rather a composite of John and William Hathorne than William Pynchon. So why should Nathaniel, who had already in his fiction revealed his family skeletons, choose to displace his own family history on to the Pyncheon family, with all the trouble that then ensued?
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18

Oatis, Amy. "“The Safe Secrecy of the Confessional” Catholic Sacramentals and Performativity in Hawthorne’s Writings." Nathaniel Hawthorne Review 48, no. 2 (December 2022): 151–74. http://dx.doi.org/10.5325/nathhawtrevi.48.2.0151.

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ABSTRACT This essay explores how Hawthorne’s exploration of Catholic sacramentals, documented in The French and Italian Notebooks, built upon his long-held interests in the intersections of sin, secrets, and confession. Hawthorne drew on these notebooks to construct the confessional scene in The Marble Faun, which reflects his speculation on how the performance of confession could impact a person’s identity. Using “The Custom-House” sketch in The Scarlet Letter to connect his American writings on confession with his European writings on confession, this essay demonstrates that Hawthorne’s writings served as his own performative acts of confession, though his obstructed observations of Catholic confessionals in Europe prevented Hawthorne from fulfilling the spiritual yearnings that he somewhat secretly confessed in his French and Italian Notebooks.
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19

Mei, Xiaohan. "Beyond Nature and Subjectivity——The Issues of Space in Nathaniel Hawthorne' s The Scarlet Letter." International Journal of Social Science Studies 7, no. 4 (June 24, 2019): 13. http://dx.doi.org/10.11114/ijsss.v7i4.4337.

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In Nathaniel Hawthorne' s literary creation, the usages of space are usually highlighted by Hawthorne' s arrangement of the settings, scenes and social background. In The Scarlet Letter, according to the spatial turn in 20th spatial theories—especially the spatial theory of Lefebvre, Nathaniel Hawthorne constructed three spaces in this romance novel: the material space, spiritual space and social space. These three kinds of space are not simply juxtaposed, but are intervening, intermingling, superimposing each other, and sometimes even contradicting each other. It is through the construction of space that Hawthorne combines serious moral content with excellent artistic expressions, giving The Scarlet Letter its powerful vitality and enduring charm. It is also through the construction of space that the theme and meaning of the novel about the human spiritual ecological crisis is better manifested, and shows Hawthorne's contemplation and transcendence of the real world. In the process of interpreting the space construction of The Scarlet Letter, readers can appreciate the narrative techniques and artistic effects of the text, and then examine the social reality that the novel should express.
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20

CODY, DAVID C. "Revisiting the “Hawthorne Problem”." Resources for American Literary Study 36 (January 1, 2011): 287–94. http://dx.doi.org/10.5325/resoamerlitestud.36.2011.0287.

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Abstract Samuel Chase Coale's The Entanglements of Nathaniel Hawthorne: Haunted Minds and Ambiguous Approaches is a well-written and wide-ranging survey (intended for a broad audience) of what is now more than a century's worth of literary criticism and formal literary scholarship relating to the works of Nathaniel Hawthorne, still perhaps the most insistently canonical of all American authors. For Coale, “entanglement” (a term borrowed from the lexicon of quantum physics) goes far to explain both the richness and the confused (and often confusing) nature of the received scholarly tradition, since Hawthorne's intertwined and interpenetrating allegories, dualities, and polarities help to account for the “complicated and labyrinthine” nature both of the work itself and of the many scholarly responses that it has engendered.
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21

Moore, Thomas R. ""A Thick and Darksome Veil": The Rhetoric of Hawthorne's Sketches." Nineteenth-Century Literature 48, no. 3 (December 1, 1993): 310–25. http://dx.doi.org/10.2307/2933650.

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Hawthorne's discourse reflected a blend the unadorned and the elegant, a skeptical attitude toward High Blair's admonition in Lectures on Rhetoric and Bells Lettres that simplicity is "essential to all true ornament." By analyzing representative sentences from several of Hawthorne's sketches and tale, this essay demonstrates that Hawthorne's apparent stylistic simplicity is a veil, that his outward adherence to Blair's rules for "Structure of Sentences" masks a socially and culturally variant subtext that undercuts the contemporary critical principles articulated by William Charvat in The Origins of American Critical Thought, 1810-1835. Hawthorne's hypotactic, periodic sentences reflect his characteristic tentativeness with their modals and multiple subordinate clauses. Hawthorne was drawn to an evasive style that underscores his noncommital narrative stance, and the tentativeness and uncertainty is a conscious rhetorical pose, an element the author added while shaping the notebook entries into the sketches. For Hawthorne the act of creation, with its source deep in the recesses of the human imagination, must be veiled-guarded by metaphor, analogy, and layers of protective clauses.
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22

Kopley, Richard. "Hawthorne at the Peabody Essex Museum." Nathaniel Hawthorne Review 46, no. 1 (October 2020): 87–91. http://dx.doi.org/10.5325/nathhawtrevi.46.1.0087.

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ABSTRACT The Peabody Essex Museum features much for the Hawthornean, including not only two paintings by Sophia for Nathaniel and a painting of Nathaniel but also curator Catherine Robertson's exhibit The Creative Legacy of Nathaniel Hawthorne, which includes Mindy Belloff's wonderful book A Golden Thread: The Minotaur A Contemporary Illumination.
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23

Albanese, Laurie Lico. "Note: The 1832 Cholera Epidemic and the Book Nathaniel Hawthorne Never Wrote." Nathaniel Hawthorne Review 47, no. 1 (May 1, 2021): 167–70. http://dx.doi.org/10.5325/nathhawtrevi.47.1.0167.

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Abstract On June 28, 1832, Nathaniel Hawthorne penned a letter to Franklin Pierce describing plans for a Northern tour through New York into Canada, a trip that he was forced to postpone due to the 1832 cholera outbreak in Montreal. Hawthorne intended to gather tales for The Story Teller on this ill-timed trip, but the trip was never made and the collection of interlinked traveling tales never published. The author of this note paper considers the cholera epidemic's impact on Hawthorne's writing life and how it reverberates through her own writing of historical fiction during the 2020 coronavirus pandemic.
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Brickhouse, Anna. "Hawthorne in the Americas: Frances Calderón de la Barca, Octavio Paz, and the Mexican Genealogy of “Rappaccini's Daughter”." PMLA/Publications of the Modern Language Association of America 113, no. 2 (March 1998): 227–42. http://dx.doi.org/10.2307/463362.

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“Rappaccini's Daughter” (1844) is one of Nathaniel Hawthorne's most famous and most frequently taught short fictions. In it Hawthorne distances himself from what he earlier called “the tottering infancy of our literature”; he boldly attaches his tale instead to the venerable scene of European literary history. Yet despite the numerous references in “Rappaccini's Daughter” to a European literary genealogy, Hawthorne makes no such self-conscious allusion to a crucial source, Frances Calderón de la Barca's Life in Mexico, a work mired in specifically American controversies over colonialism, race, and slavery. This essay examines Hawthorne's literary relation to the Americas by investigating what I call the Mexican genealogy of “Rappaccini's Daughter”: both the story's immediate predecessor, Life in Mexico, and its afterlife in Octavio Paz's La hija de Rappaccini, a dramatic revision that I read as an allegory of Mexican colonial history.
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Yang, Xiaomei. "Value Conflict and Personal Choice in The Scarlet Letter from the Perspective of Ethical Literary Criticism." Education, Language and Sociology Research 5, no. 1 (March 10, 2024): p132. http://dx.doi.org/10.22158/elsr.v5n1p132.

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Nathaniel Hawthorne was the preeminent American Romantic writer of the 19th century. The Scarlet Letter, as Hawthorne’s classic work, has been praised by most critics. Hawthorne paid attention to the ethical problems of Hester and Dimmesdale and gave a comprehensive depiction of their ethical choices after they had violated the Puritan ethical norms. This paper intends to use ethical literary criticism proposed by Professor Nie Zhenzhao, based on ethical dilemma and ethical choice, within the ethical backdrop of New England, to analyze ethical conflicts and ethical choices of the protagonists in the novel. Ultimately, it seeks to warn people the importance of complying with the ethical norms of the society. Exploring the ethical and moral values embedded in The Scarlet Letter will enhance the domestic study of Hawthorne’s works and better realize the didactic function of literature.
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Basdeo, Stephen. "The First British Edition of Nathaniel Hawthorne's “Feathertop” in Home Circle (1852)." Nathaniel Hawthorne Review 46, no. 2 (December 1, 2020): 207–12. http://dx.doi.org/10.5325/nathhawtrevi.46.2.207.

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Abstract This article is an introduction to the publication of the first British edition of Nathaniel Hawthorne's “Feathertop” in Home Circle in 1852. Hawthorne scholars have previously been unaware of the appearance of “Feathertop” in this magazine. However, a commentary on the appearance of Hawthorne's work in this little-known periodical reveals, even though no correspondence survives, Hawthorne's hitherto-unknown connections to the world of nineteenth-century British popular fiction.
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Suhadi, Agung. "Female Resistance on Domestic Violence in Nathaniel Hawthorne’s Wakefield." Teaching English and Language Learning English Journal 3, no. 1 (July 31, 2023): 72–81. http://dx.doi.org/10.36085/telle.v3i1.5584.

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This research presents the study of female resistance on domestic violence in Nathaniel Hawthorne’s Wakefield. In this story, Hawthorne plays the female character who undergoes the form of domestic abuse within the family institution. His voice visible misogynistically, the female-oppressed is not only for keeping an authority, but also due to the failure to manage his marriage. In this study, the textual analysis is employed to explore the forms of domestic abuse by conducting close-reading (in-depth), identifying, grouping, and interpreting the related-words/clues/quotation of domestic violence on female. The results of analysis demonstrate that self-reliance of female character as vividly described by Hawthorne becomes a way of his female to fight against the domestic violence by male. In shorts, through his story, Hawthorne boldly enforces his female character triumphant as a way for resistance toward violence around her life. Keywords: violence, domestic, self-reliance, female, short story
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Sivils, Matthew Wynn. "“Some Dark Imagined Sculptor”: Hawthorne’s Ecogothic Rocks." Nathaniel Hawthorne Review 49, no. 1 (May 2023): 25–42. http://dx.doi.org/10.5325/nathhawtrevi.49.1.0025.

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ABSTRACT Employing an ecogothic approach, this article examines how Nathaniel Hawthorne, in “Roger Malvin’s Burial” and “The Man of Adamant,” portrays an American Gothic landscape scattered with stones that function as agentic entities charged with uncanny purpose. Hawthorne engages in a compelling gothic geology, one in which literal and figurative rocks, as well as a host of other instances of lithic imagery, figure not as static scenery but as dynamic and deeply meaningful participants in the tale. In these and other of Hawthorne’s ecogothic stories, stones variously merge with and emerge from the characters themselves, who become absorbed, at times literally, into the wilderness. Ultimately, the author analyzes Hawthorne’s portrayal of the often intimate and profound relationship between stone and humanity, paying special attention to formulations in which characters not only obsess over stones and what they represent but also come to absorb, mirror, and intersect with their materiality.
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Rattner, Ashley. "“No Such Faery Land, So Like the Real World”: Miles Coverdale’s Performance of the Utopian Spectacle." Nathaniel Hawthorne Review 47, no. 2 (December 1, 2021): 231–49. http://dx.doi.org/10.5325/nathhawtrevi.47.2.0231.

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ABSTRACT Ticknor and Fields advertised The Blithedale Romance as a glimpse into Hawthorne’s six-month participation in George Ripley’s Brook Farm experiment. While Brook Farm had been largely forgotten by 1852, the novel’s appeal lay in its connection to its author, a sudden celebrity in the wake of The Scarlet Letter’s commercial success in 1850. As his novels attracted a growing fanbase, readers sought out Blithedale for the purpose of learning about Hawthorne’s past. Ticknor and Fields’s marketing efforts had expanded their print sphere beyond the immediate locality to address a national audience, thrusting fame and recognition on authors to a degree that could not have been previously imagined. Vexed that American readers had not critically examined the ramifications of this expanding print sphere, Hawthorne composes Blithedale to correct the equation of a fictional narrator with a novel’s author, a product of the evolving culture of literary celebrity. Insisting his text be classified as a romance, Hawthorne subverts any recognizable feature of the genre to elicit feelings of disorientation, frustration, and disappointment in readers expecting to access the author’s biographical feelings and impressions of the defunct transcendentalist commune. By situating his romance within a chapter from his own life and then failing to provide any insight as to his biographical experience, Hawthorne invites the reader to consider the changing dynamics of the relationship between author and audience.
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Fruzińska, Justyna. "Becoming Real to Oneself: Emerson, Thoreau, Hawthorne." Polish Journal for American Studies, no. 16 (2022) (December 22, 2022): 61–69. http://dx.doi.org/10.7311/pjas.16/2022.05.

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This paper focuses on three American Romantic writers: Emerson, Thoreau, and Hawthorne, examining the problem of ghostliness or life not fully lived present in their works. The point of departure for the present discussion is Arnold Weinstein\’s analysis of Hawthorne’s short story “Wakefield,” suggesting that the main goal of its protagonist is an attempt to become real to himself. This paper finds similar issues to the ones tackled by Hawthorne in the essays by R.W. Emerson and H.D. Thoreau, and argues that the method applied by Wakefield, which is looking at one’s life from a distance, is also present in the two Transcendentalists’ writings, though often as a danger rather than a wished-for solution of the problem.
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Mullen, Lawrence Lorraine. "The Ecogothic in Mosses from an Old Manse: Cultivating (Poisonous) Gardens at the Old Manse." Nathaniel Hawthorne Review 49, no. 1 (May 2023): 83–102. http://dx.doi.org/10.5325/nathhawtrevi.49.1.0083.

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ABSTRACT Between 1842 and 1845, Nathanial Hawthorne and Sophia Peabody Hawthorne called Old Manse home as they began their newly wedded life in Concord, Massachusetts; the stories Hawthorne would then publish in Mosses from an Old Manse and Other Stories (1846), consist of tales written and edited within the walls of Old Manse, therefore impressing the architecture of the structure—and its gardens—on to the collected short stories. Looking to tales like “Rappaccini’s Daughter” and “The Birthmark,” I intend to triangulate these ecogothic narratives with the physical built form of Old Manse and its gardens, along with the social function and domestic space(s) within both fictional narratives and Old Manse’s rooms and outdoor spaces. If gardening aids the newlyweds in defining domesticity and home in Concord, then how does the ecogothic present an alternative form of domesticity—of cultivating dangerous and poisonous gardens? As previous scholars have posited landscape itself as being a cultural artifact worthy of interrogation, I aim to provide an additional archival consideration of the Hawthornes’ material, lived interaction with Old Manse as creating both current and counter-current narratives of the environment and ecology within Mosses from an Old Manse and Other Stories.
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Millington, Richard H. "Reading The House of the Seven Gables: Narrative as a Cultural System." Prospects 15 (October 1990): 39–90. http://dx.doi.org/10.1017/s0361233300005858.

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As the scarlet letter ends, Hawthorne offers us a glimpse of Hester Prynne's future. We are to imagine her as a figure of wisdom, offering counsel to a community of perplexed and sorrowful women, the casualties of love. Her bitter experience has at last become a source of authority; the marginal has become central. This vision of Hester anticipates Hawthorne's transformation of his fiction as he moved from The Scarlet Letter to The House of the Seven Gables. The “hell-fired” intensity of the former book generated in Hawthorne the wish to write something more genial, less gloomy, “a more natural and healthy product of my mind,” a work he could feel less “reluctance” about publishing. The lure of the central hinted at in Hester's reward and Hawthorne's remarks is at the heart of The House of the Seven Gables's way of claiming authority, its attempt to reinvent and perform the work of the novelist.
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Williams, Zachary. "Slowing Down the War: The Sauntering Gaze of Hawthorne's Peaceable Man." Nathaniel Hawthorne Review 45, no. 2 (December 2019): 152–70. http://dx.doi.org/10.5325/nathhawtrevi.45.2.0152.

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ABSTRACT This article challenges the assumption that Nathaniel Hawthorne's “Chiefly About War Matters” literally expresses the political beliefs of its author in a work of nonfictional journalism. It shows instead how, in this text, Hawthorne adopted Washington Irving's formulation of the literary sketch and its narrative perspective of the “sauntering gaze” as an aesthetic response to the temporal acceleration of the Civil War. With his fictional sketch narrator, “a Peaceable Man” whose meandering portraits of political and military leaders, modernized warfare, and militarized landscapes unfold to no unified end, Hawthorne experimented with the slow time of Irving's genre to counter the speed of war and weaken the appeal of quickly formed political convictions.
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Birk, John F. "Hawthorne's Mister Hooper: The Veil of Ham?" Prospects 21 (October 1996): 1–11. http://dx.doi.org/10.1017/s0361233300006463.

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Scholars now generally acknowledge that Nathaniel Hawthorne was no deeply secluded artist, but a man and citizen keenly aware of contemporary social and political issues. Over three decades ago, Arlin Turner maintained that Hawthorne wrote in response not only to his extensive reading in American history but to the burgeoning nationalism of the 1820s and 1830s. We cannot fail to note the growing ascendancy during this period of that one moral issue which would soon come to eclipse all others and draw the nation into its bloodiest conflict — that of slavery. Moreover, the very seedbed of the antislavery movement in these 1830s, the home and headquarters of its fiery central leader, lay but a few miles from Hawthorne's doorstep.
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Lee, Jong-moon. "[Book Review] Exploration of Human Nature and Social Bonds: Nathaniel Hawthorne's “Wakefield”." Consilience Humanities Society 2, no. 2 (August 31, 2023): 53–62. http://dx.doi.org/10.59227/ch.2023.2.2.53.

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Nathaniel Hawthorne's “Wakefield” is a psychologically explorative short story that delves into the human desire to break away from mundane routines and observe one's life and influence from an outsider's perspective. Wakefield makes a selfish and arrogant decision driven by a morbid vanity, curious about the impact of his absence on his wife and home. Hawthorne illustrates how Wakefield's self-centered choice leads from voluntary exile to social isolation, warning about the consequences of irresponsible actions on oneself and those around him. Through this unique and imaginative narrative, Hawthorne emphasizes not only the impermanence of human position, but also the importance of social bonds, even suggesting the potential for one to become an outcast of the universe.
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BROEK, MICHAEL. "Hawthorne, Madonna, and Lady Gaga: The Marble Faun's Transgressive Miriam." Journal of American Studies 46, no. 3 (March 12, 2012): 625–40. http://dx.doi.org/10.1017/s0021875812000047.

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AbstractMost criticism of Nathaniel Hawthorne's Novel The Marble Faun has focussed on its many images of domestic containment, its supposed argument in favor of Christian idealism, as well as Hawthorne's apparent “castration” of the American sculptor Kenyon – just another in a long list of the author's male protagonists who succumb to a mixture of self-doubt (Dimmesdale, in The Scarlet Letter), narcissism (Coverdale, in The Blithedale Romance), and the allure of the chaste virgin (Holgrave, in The House of the Seven Gables). This essay, however, argues that Miriam, the novel's chief female protagonist, actually completes a complicated “liberation” from the proscriptions (as Hawthorne envisioned them) of her gender, enacted by her embrace of multiple, ancient, and organic symbols. Through a simultaneous analysis of the American music icons Madonna and Lady Gaga, we find that Hawthorne engages a complex set of ideational forces – misogyny, Catholicism, and female eros – as Miriam emerges, like these famous pop stars, as an independent artist, a position that not one of the author's male protagomists is able to attain. In this sense, Miriam may be reconsidered Hawthorne's internationalized Hester, or, more aptly, his mature Pearl.
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Griffis, Rachel B. "Critiquing Society from a Distance: Solitude in Hawthorne's and Thoreau's Sabbath Writings." Nathaniel Hawthorne Review 47, no. 1 (May 1, 2021): 84–100. http://dx.doi.org/10.5325/nathhawtrevi.47.1.0084.

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Abstract Nathaniel Hawthorne's “Sunday at Home” and Henry David Thoreau's A Week on the Concord and Merrimack Rivers provide two different models for distanced cultural engagement that nevertheless spring from similar philosophical assumptions. The narrator of “Sunday at Home” finds that watching the ritual of church alone from his bedroom window inspires his imagination and bolsters his faith. In the “Sunday” section of A Week, Thoreau criticizes organized religion, through which he champions the virtues of self-reliance and internal freedom. Hawthorne and Thoreau thus each represent public worship as a ritual that threatens to eclipse the otherwise spiritually fruitful opportunities offered by the prohibitions of the Sabbath. Despite their philosophical consensus regarding the dangers of capitulating to social and religious custom, Hawthorne nevertheless indicates his characteristic moderate stance regarding solitude and social distance, a stance that tempers Thoreau's idealistic extremes. As a result, Hawthorne's Sabbath writings offer possibilities for internalizing and thereby modifying Thoreau's demanding principles. In doing so, Hawthorne's work conveys his paradoxical insight that solitude protects one's independence but that distanced cultural engagement catalyzes the imagination and intellect, which, in turn, makes independence enjoyable and life-giving.
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Roggenkamp, Karen. "Hawthorne." American Literary Scholarship 2020, no. 1 (September 1, 2022): 27–36. http://dx.doi.org/10.1215/00659142-9750594.

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Roggenkamp, Karen. "Hawthorne." American Literary Scholarship 2019, no. 1 (September 1, 2021): 25–31. http://dx.doi.org/10.1215/00659142-8928445.

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Parsons, H. McIlvaine. "Hawthorne:." Journal of Organizational Behavior Management 12, no. 1 (January 25, 1991): 27–43. http://dx.doi.org/10.1300/j075v12n01_03.

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Smith, A. M., and E. J. Wright. "Hawthorne." American Literary Scholarship 2009, no. 1 (January 1, 2011): 31–43. http://dx.doi.org/10.1215/00659142-1264778.

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Smith, A. M., and E. J. Wright. "Hawthorne." American Literary Scholarship 2010, no. 1 (January 1, 2012): 37–51. http://dx.doi.org/10.1215/00659142-1589036.

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Roggenkamp, K. "Hawthorne." American Literary Scholarship 2011, no. 1 (January 1, 2013): 23–34. http://dx.doi.org/10.1215/00659142-1965532.

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Wineapple, Brenda. "Hawthorne." American Literary Scholarship 1998, no. 1 (September 1, 2000): 29–44. http://dx.doi.org/10.1215/00659142-1998-1-29.

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Wineapple, B. "Hawthorne." American Literary Scholarship 1999, no. 1 (January 1, 2001): 33–52. http://dx.doi.org/10.1215/00659142-1999-1-33.

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Wineapple, B. "Hawthorne." American Literary Scholarship 2000, no. 1 (January 1, 2002): 29–43. http://dx.doi.org/10.1215/00659142-2000-1-29.

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Wineapple, B. "Hawthorne." American Literary Scholarship 2001, no. 1 (January 1, 2003): 27–48. http://dx.doi.org/10.1215/00659142-2001-1-27.

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Mitchell, T. R. "Hawthorne." American Literary Scholarship 2002, no. 1 (January 1, 2004): 25–38. http://dx.doi.org/10.1215/00659142-2002-1-25.

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Mitchell, T. R. "Hawthorne." American Literary Scholarship 2003, no. 1 (January 1, 2005): 33–45. http://dx.doi.org/10.1215/00659142-2003-1-33.

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Mitchell, T. R. "Hawthorne." American Literary Scholarship 2004, no. 1 (January 1, 2006): 31–49. http://dx.doi.org/10.1215/00659142-2005-015.

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