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Buchanan, Mark Aldham. ""Intact and infrangible as metal, and like metal dead" patterns of faith and forgetfulness in three John Updike novels with special reference to Nathaniel Hawthorne's The scarlet letter /." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.
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Pisano, Linda M. "The scarlet letter: a costume design process for a production of Phyllis Nagy's adaption of the Nathaniel Hawthorne novel." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299258046.
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Jessee, Margaret Jay. "Narrative, Gender, and Masquerade in the American Novel, 1853-1920." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/222893.
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Narrative, Gender, and Masquerade tracks the way the American novel of manners structures itself on representations of a pair of purportedly opposite and opposing women, the fair, innocent girl and the dark, tempting seductress. This opposition increasingly merges into sameness even as the novel in which it appears labors to keep the two characters separate in order to stabilize its textual architecture of thematic and formal binaries. Presenting itself as a text closely related to a social reality, the American novel of manners is structured as a masquerade: purporting to reveal as it conceals, conjuring readerly doubt as to the nature of both mask and reality. There are two main theoretical traditions in the study of masquerade. The first, the anthropologically-inflected cultural and literary historical approach to masks and masquerade, typically is applied to literary texts to explain religious and political historical exigencies as reflected in a given work of literature. The second, the psychoanalically-based theory of femininity as a masquerade, is most often deployed to use the text as a means of explaining the male gaze, desire, and gender performance. My reading of the American novel as gendered rests on dissolving the disciplinary borders between the two, thereby focusing reading on the form of the novel as well as its relation to its cultural, historical, and literary context. The novels I analyze situate women into stereotypical binary roles of the virgin and the seductress. These narratives register a duality between reality and representation that is analogous to the gender masking the novels take as their theme.
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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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Williams, Rita. "The nature of his engagement Nathaniel Hawthorne, the trans-Atlantic imaginary, and the politics of reform /." Click here for download, 2006. http://proquest.umi.com/pqdweb?did=1182283551&sid=3&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Loman, Andrew. ""Somewhat on the community-system" : Fourierism in the works of nathaniel Hawthorne /." New York : Routledge, 2005. http://catalogue.bnf.fr/ark:/12148/cb40191997f.
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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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Iyengar, Kalpana Mukunda. "Empirical search and self-discovery in Nathaniel Hawthorne's short fiction." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1997. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 1997.<br>Typescript. Abstract precedes thesis as 1 preliminary leaf. Source: Masters Abstracts International, Volume: 45-06, page: 2832. Includes bibliographical references (leaves 73-77).
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Pierce, Ashley Mansfield Joan. ""RAPPACCINI'S DAUGHTER" BY NATHANIEL HAWTHORNE: A VISUAL INTERPRETATION." [Greenville, N.C.] : East Carolina University, 2010. http://hdl.handle.net/10342/2802.
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Holman, Rupert. "Memorializing, allegory and the rewriting of Nathaniel Hawthorne." Thesis, University of Nottingham, 1998. http://eprints.nottingham.ac.uk/11056/.
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The thesis uses Hawthorne's interest in a scene of filial ambiguity, namely Samuel Johnson's penance to argue that Hawthorne's (re-) writing is characterised by a subversion of origins (both metaphysical and cultural). Complementing this argument, the thesis also attempts to show, with reference to texts by J. Hillis Miller, Jean-Francois Lyotard, Paul de Man and Maurice Blanchot, how deconstruction can offer new and important insights into Hawthorne's writing. Having outlined other important critical approaches (New Critical and New Historical) the thesis claims that, with its heightened sensitivity to the use of tropes, deconstruction is a particularly useful critical tool when it comes to reading Hawthorne. The thesis pays particularly close attention to two theoretical texts: Miller's Hawthorne and History: Defacing It and Lyotard's `Rewriting Modernity' and attempts to extend Miller's analysis (the only deconstructive text which refers directly to Hawthorne). This involves two movements. Firstly the thesis extends Miller's analysis by showing how it is echoed in the writings of de Man, Blanchot, and Lyotard. Secondly, the thesis refers to a wider selection of writings from Hawthorne's corpus (including writings from Twice-told Tales, Mosses From An Old Manse, The Snow-Image, `Alice Doane's Appeal', The Scarlet Letter, The Marble Faun, Our Old Home, the final `unfinished' manuscripts and diary and notebook entries). Using insights from these texts the thesis argues that Hawthorne rejects the idea that history involves the storing up of facts for future retrieval (a project which is aligned with memorialising). Hawthorne, it is argued, subverts this sense of memorialising by repeatedly drawing attention to an instability that contaminates each and every historical happening.
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Dreyer, Eileen Marieclaude. "Roman Catholicism in the writings of Nathaniel Hawthorne." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358628.
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Wilson, Kevin. "Transatlantic ruin in the writing of Nathaniel Hawthorne." Thesis, University of Strathclyde, 2015. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=25974.
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This thesis will examine images and ideas of decay and ruin in the writing of Nathaniel Hawthorne within a transatlantic context. In doing so, it will address the ways in which the time Hawthorne spent in Europe in the 1850s altered how decay and ruin figure within his writing. In nineteenth century American culture and politics, the idea of ruin is significant for the way in which it relates to particular myths of American nationhood. In my first three chapters, looking at "The Custom-House," The Scarlet Letter (1850) and The House of the Seven Gables (1851), I will demonstrate how Hawthorne's American romances challenge myths of American exceptionalism in which a decaying Old World stands in contrast to an innocent and ruin-free New World. I will argue that ruin is an essential quality of Hawthorne's specific brand of romance and that decay and ruin within these texts, far from situating America in opposition to Europe, in fact suggests a complex system of transatlantic influence and awareness. The fourth and fifth chapter of this thesis will examine Hawthorne's European writing - first The English Notebooks (1870), followed by a final chapter on both The French and Italian Notebooks (1883) and The Marble Faun (1860). I will argue that Hawthorne's personal encounters with and responses to the ancient material decay of Europe altered the way in which he viewed and wrote about ruin. I will then build upon my analysis of his responses to European ruins described in his notebooks as I examine his final romance The Marble Faun. I will argue in this chapter that while the relationship between ruin and romance remains fundamental to The Marble Faun, Hawthorne's encounters with European decay, along with the impending American Civil War, profoundly altered his attitude towards American ruin.
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Ullén, Magnus. "The half-vanished structure : Hawthorne's allegorical dialectics /." Uppsala : [Uppsala universitet], 2001. http://catalogue.bnf.fr/ark:/12148/cb392291809.
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Silva, Carla Sofia Freitas Pereira da. "Os prefácios de Nathaniel Hawthorne : uma retórica da Ocultação." Dissertação, Porto : [s.n.], 1995. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000046062.
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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'infondé<br>This 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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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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Silva, Carla Sofia Freitas Pereira da. "Os prefácios de Nathaniel Hawthorne : uma retórica da Ocultação." Master's thesis, Porto : [s.n.], 1995. http://hdl.handle.net/10216/22282.
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Garibotto, Becky. "Atoning for the past, writing for the future an analysis of Nathaniel Hawthorne's The scarlet letter /." Diss., Connect to the thesis, 2009. http://hdl.handle.net/10066/3704.
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Wallace, Jeffery Scott. "A literary attempt to reform the Puritan tradition an examination of the writings of Nathaniel Hawthorne /." Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
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Nobre, Carla Helena Henrique Candeias de Teles Ravasco. "O fantástico e o conto : uma leitura de Nathaniel Hawthorne." Dissertação, Porto : Faculdade de Letras, 1997. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000064640.
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O fantástico é uma forma de tratamento de aspectos da vida humana. O fantástico permite abordar de forma ambígua temas considerados sobrenaturais ou irracionais. Nathaniel Hawthorne, nos contos "Rappaccini's Daughter", "The Birth-Mark", "Young Goodman Brown", "The Hollow of the Three Hills", "The Snow-Image" e "My Kinsman, Major Molineux", aproveita o fantástico para abordar questões relacionadas com o progresso científico, a bruxaria, a oposição sonho/realidade.
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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 profonde<br>Nathaniel 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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Nobre, Carla Helena Henrique Candeias de Teles Ravasco. "O fantástico e o conto : uma leitura de Nathaniel Hawthorne." Master's thesis, Porto : Faculdade de Letras, 1997. http://hdl.handle.net/10216/15236.
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O fantástico é uma forma de tratamento de aspectos da vida humana. O fantástico permite abordar de forma ambígua temas considerados sobrenaturais ou irracionais. Nathaniel Hawthorne, nos contos "Rappaccini's Daughter", "The Birth-Mark", "Young Goodman Brown", "The Hollow of the Three Hills", "The Snow-Image" e "My Kinsman, Major Molineux", aproveita o fantástico para abordar questões relacionadas com o progresso científico, a bruxaria, a oposição sonho/realidade.
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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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Oliveira, Selma Fonseca de. "The theme of the child in the fiction of Nathaniel Hawthorne." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106114.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1980.<br>Made available in DSpace on 2013-12-05T19:17:58Z (GMT). No. of bitstreams: 1
321765.pdf: 2679514 bytes, checksum: 972f22ecd9c9566e2a80f2ecb9a055bb (MD5)
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MET, PIERRE. "Recherches en psychanalyse de la litterature sur l'oeuvre de nathaniel hawthorne." Paris 7, 1997. http://www.theses.fr/1997PA070021.
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La presente recherche en psychanalyse de la litterature sur l'oeuvre de hawthorne comprend quatre parties respectivement consacrees a l'interpretation de la lettre ecarlate, la maison aux sept pignons, valjoie, et le faune de marbre. On trouvera en annexe l'analyse de deux contes, "le chemin de fer celeste" et "maitre brown fils", presentes par l'auteur comme pouvant etre le recit de reves. J'ai choisi de mettre en lumiere comment les noyaux obsessionnels sont travailles afin de produire un discours, comment le fils coupable, identifie a l'objet perdu imagine que s'il retrouvait le tombeau de son pere il pourrait savoir qui est ce pere qu'il constitue comme son ideal<br>Using the concepts of psychoanalysis, the present research is an attempt at interpreting the scarlet letter, the house of the seven gables, the blithedale romance, the marble faun and two tales, "the celestial railroad" and "young goodman brown", the plots of which are in fact based on a dream as reported by the dreamer. The study of the text as a discourse of an unconscious subject, will demonstrate how the manifest purpose of hawthorne's works is the representation of an unconscious desire : the seach of the absent father
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Margutti, Vivian Bernardes. "Peregrinos em busca: alegoria, utopia e distopia em Paul Auster, Nathaniel Hawthorne e John Bunyan: alegoria; utopia e distopia em Paul Auster; Nathaniel Hawthorne e John Bunyan." Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/ECAP-89JQTD.
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No presente estudo, investiga-se o caráter alegórico do romance No país das últimas coisas (1987), de Paul Auster, tanto através de suas ligações intertextuais com a paródia 'A estrada de ferro celestial' (1843), de Nathaniel Hawthorne, e com o texto alegórico O peregrino (1678), de John Bunyan, como a partir da noção de alegoria presente no pensamento de Walter Benjamin. Faz-se um histórico do uso da alegoria na tradição literária, com o intuito de vislumbrar a possibilidade de uma reavaliação, na modernidade, dessa figura de linguagem. As três obras em questão são analisadas a partir de diferentes níveis interpretativos, percorrendo os sentidos metalinguístico e figurado. A metalinguagem está presente em todos os textos estudados e se liga ao trajeto da alegoria e do romance na literatura ocidental, em um cenário amplo que vai desde a época medieval, passando pelos períodos do Barroco e do Romantismo, e chegando aos dias atuais. O sentido figurado das obras apresenta um viés que é associado à crítica social e às noções de utopia e distopia. Leva-se em consideração o pensamento de Lewis Mumford no que diz respeito à utopia e seu papel na história. Destaca-se também a tendência contemporânea à produção de uma literatura distópica. Através da viagem de aprendizado e crescimento espiritual de cada um dos protagonistas, o sentido figurado indica, ainda, três formas diferentes de peregrinar: a primeira, pela graça divina, a segunda, pela modernidade liberal, e a terceira, pela exposição exacerbada da fragilidade humana.
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Kardas, Janine M. "Selective methods of teaching secondary English--The Scarlet Letter : a study and application of the collaborative and mastery learning methods /." View online, 1990. http://repository.eiu.edu/theses/docs/32211998880359.pdf.
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Lorrain, Stéphanie Birat Kathie. "Espace privé et espace public dans le récit longs de Nathaniel Hawthorne." [S.l.] : [s.n.], 2006. ftp://ftp.scd.univ-metz.fr/pub/Theses/2007/Lorrain.Stephanie.LMZ0615.pdf.
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Sanders, Luise. "Nationales Selbstverständnis in Historiographie und literarischer Fiktion : Nathaniel Hawthorne und das amerikanische Geschichtsbild seiner Zeit /." Giessen : Hoffmann Verl, 1990. http://catalogue.bnf.fr/ark:/12148/cb35559473f.
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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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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 brièveté<br>In 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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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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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 alchimiques<br>The 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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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 conscient<br>Hawthorne'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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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 sens<br>Hawthorne'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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Allison, Vanessa L. "Phantasies of a fractured identity unconscious resistance in committing to a pluralized identity in Nathanial [i.e.] Nathaniel Hawthorne's Blithedale romance and Chuck Palahniuk's Fight club /." View electronic thesis (PDF), 2009. http://dl.uncw.edu/etd/2009-1/allisonv/vanessaallison.pdf.
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Slakey, Mark. "Calvin's hermeneutics in the American Renaissance." Thesis, Bangor University, 2001. https://research.bangor.ac.uk/portal/en/theses/calvins-hermeneutics-in-the-american-renaissance(08fc0c82-19b4-4b77-bd93-5a13be8b1c33).html.
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This thesis traces the development of Calvinist hermeneutic practices and their implications for social order as they relate to the writings of Ralph Waldo Emerson and Nathaniel Hawthorne. The tension in Calvinist reform between its liberating, individualistic piety and its strict, pure social order carried over into hermeneutic practice, resulting in three distinct hermeneutic traditions: the dogmatism upheld by the ecclesiastical and political elite; the subjective dogmatism of "inspired" radicals; and an open hermeneutics which emphasized receptivity to new meaning but recognized the importance of community and community of meaning and aspired to a progressive harmony of ideas. Through Puritan covenant theology, Calvinist dogmatism was transformed into American nationalism, a mode of thought with protean powers of co-opting dissent. Calvinist subjective dogmatism influenced American radicalism through Puritan antinomians. While Calvin's open hermeneutics had some influence on the Puritans, it was especially important in the writing of Emerson and Hawthorne, who were especially influenced by its development in the work of seventeenth-century English divines and of Samuel Taylor Coleridge. This development, paralleled in American thinkers such as Edwards, divorced dogmatic, traditional "Calvinism" from the Calvin who inspired personal experience and symbolic knowledge. In response to the authoritarian dogmatism of American nationalism, both Emerson and Hawthorne turned to the Calvinist tradition of openness to new meaning. For Emerson, this meant a continual quest for authenticity and the consequent rejection of comforting structures and habitual modes of thought. Such hermeneutics led Emerson toward relativism and pragmatism. Hawthorne too recognized in the dominant ideology a threat to the integrity of the individual, as evidenced in his early "rites of passage" stories. In The Scarlet Letter, Hawthorne suggested the need for community as a support of meaning and a foundation for the individual in a process of long-term change.
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Boren, Holly Lynn. "The American claimant theme in the works of Nathaniel Hawthorne, Henry James and Mark Twain." Thesis, University College London (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286386.
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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’étude<br>This 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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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 lecteurs<br>My 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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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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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 éthique<br>This 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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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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Shiffner, Daniel L. "Canons, Culture Wars and History : A Case Study of Canonicity Through the Lens ofThe Blithedale Romance." Oberlin College Honors Theses / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1411392112.
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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 complètement<br>Female 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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Vincent, Renee Michele. "The Great Radical Dualism: Locating Margaret Fuller’s Feminism in Nathaniel Hawthorne’s Fiction." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/honors_theses/82.
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The purpose of this thesis is to establish a foundation built on the congruencies between Margaret Fuller’s feminist theory and Nathaniel Hawthorne’s fiction, with the aim of addressing two major points: first, the implications of universalizing gender in the context of identity politics; and second, to show how gender universality is challenged within Hawthorne’s fiction and Fuller’s prose. Given that Nathaniel Hawthorne’s characters depict a range of personal variability, the act of synthesizing Margaret Fuller’s feminist theory with Hawthorne’s fiction functions to link the personal with the political. The overall goal of this study is to substantiate both writers within a feminist discourse and further, as contributory in the fight for gender equality.
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Almansour, Ahmed Nidal. "The Middle East in Antebellum America: the cases of Ralph Waldo Emerson, Nathaniel Hawthorne, and Edgar Allan Poe." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1133283136.
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Sougstad, Timothy J. "Iconoclastic tradition in American literature /." free to MU campus, to others for purchase, 2001. http://wwwlib.umi.com/cr/mo/fullcit?p3036857.
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