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Relevant bibliographies by topics / Sophia peabody

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Academic literature on the topic 'Sophia peabody'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 March 2023

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Journal articles on the topic "Sophia peabody"

1

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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Gollin, Rita K. "Sophia Peabody Hawthorne: A Life, Volume 2, 1848–1871." Nathaniel Hawthorne Review 42, no. 1 (April 1, 2016): 120–25. http://dx.doi.org/10.5325/nathhawtrevi.42.1.0120.

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Culkin, Kate. "Sophia Peabody Hawthorne, A Life, Volume 2, 1848-1871." New England Quarterly 90, no. 3 (September 2017): 480–82. http://dx.doi.org/10.1162/tneq_r_00631.

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Mahini, Ramtin Noor-Tehrani (Noor), and Erin Barth. "The Scarlet Letter: Embroidering Transcendentalism and Anti-transcendentalism Thread for an Early American World." Journal of Language Teaching and Research 9, no. 3 (May 1, 2018): 474. http://dx.doi.org/10.17507/jltr.0903.04.

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Published in 1850 by Nathaniel Hawthorne, the dark romantic story of The Scarlet Letter was immediately met with success, and Hawthorne was recognized as the first fictional writer to truly represent American perspective and experience. At the time when most novelists focused on portraying the outside world, Hawthorne dwelled deeply in the innermost, hidden emotional and mental psyches of his characters. Despite being acquainted to both famed transcendentalists Ralph Waldo Emerson and Henry David Thoreau and married to the transcendentalist painter Sophia Peabody, Hawthorne was often referred to as anti-transcendentalist or dark romantic writer in The Scarlet Letter. Is he also influenced by the transcendentalist movement in his famed novel? Evidence shows that he is more transcendentalist than anti-transcendentalist in The Scarlet Letter.

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Lucinda Damon-Bach. "Sophia Peabody Hawthorne: A Life, Volume I, 1809–1847, and: The Peabody Sisters: Three Women Who Ignited American Romanticism, and: Reinventing the Peabody Sisters (review)." Legacy 25, no. 2 (2008): 327–31. http://dx.doi.org/10.1353/leg.0.0038.

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"Sophia Peabody Hawthorne, a life: v.1: 1809-1847." Choice Reviews Online 42, no. 04 (December 1, 2004): 42–2082. http://dx.doi.org/10.5860/choice.42-2082.

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Dissertations / Theses on the topic "Sophia peabody"

1

Fedalto, Elisabetta. "The American artist Sophia Amelia Peabody Hawthorne." Doctoral thesis, Università Ca' Foscari Venezia, 2000. http://hdl.handle.net/10579/438.

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L argomento della mia tesi di dottorato, come suggerisce il titolo stesso, riguarda la figura di Sophia Amelia Peabody Hawthorne. Sophia viene di solito ricordata e considerata come la moglie di Nathaniel Hawthorne, la madre dei suoi figli, la più giovane delle famose sorelle Peabody di Salem, la sorella invalida della transcendentalista Elizabeth Palmer Peabody. Molto è stato scritto su Nathaniel Hawthorne dai figli, Julian e Rose, dagli amici e dai critici letterari. Tuttavia, dalla morte di Sophia avvenuta nel 1871, nessun libro è stato scritto su di lei, ad eccezione di alcune tesi non pubblicate, nessuna biografia è apparsa, eccetto quella di Louise Hall Tharp, nessuno ha raccolto i suoi disegni e dipinti. L obiettivo principale della mia tesi consiste nello studio di questa figura interessante: la cronologia introduce la vita e le opere di Sophia, mentre nei capitoli seguenti Sophia viene analizzata nel suo contesto culturale attraverso le fonti primarie e secondarie. Si sono rivelati molto utili le lettere e i diari di Sophia, nonché le lettere e i diari di Nathaniel Hawthorne. Nei primi tre capitoli ho sottolineato l importanza dell arte per Sophia e di Sophia come artista. Ho esplorato il suo background culturale e pittorico facendo riferimento al mondo delle arti in America, nel diciottesimo e diciannovesimo secolo, alla sua istruzione, ed all ambiente culturale in cui visse. Ho illustrato, inoltre, il rapporto tra Sophia e gli artisti del suo tempo in America ed in Italia. Ho rilevato l influenza di Francis Graeter, Thomas Doughty, Chester Harding, Washington Allston, George Whiting Flagg, Shobal Vail Clevenger e dei Vecchi Maestri. Ho menzionato e commentato i quadri e le sculture che l affascinarono durante il suo viaggio in Italia. Ho lasciato molto spazio alla reale voce della protagonista, di suo marito e dei loro figli per spiegare le loro opinioni artistiche. Ho commentato il talento di Sophia come artista, il suo gusto artistico nell arredamento della casa, la sua influenza sulle opinioni di Hawthorne sulle opere d arte, e sui suoi figli quando insegnava loro a disegnare o dipingeva insieme a loro. Sono riuscita a raccogliere dei disegni e dei dipinti di Sophia per mostrare la sua abilità artistica. Infine, ho descritto alcune opere d arte di Sophia e ne ho redatto una lista: alcune si possono vedere in vari istituti americani, altre non si sa dove si trovino. Nel quarto ed ultimo capitolo ho analizzato la figura di Sophia da un diverso punto di vista, come scrittrice di lettere, diari, appunti di viaggio e poesie, e come curatrice e censuratrice dei diari di Hawthorne. Ho concluso la mia tesi dimostrando che Sophia non fu, come viene spesso ricordata dai critici, una donna fragile, ma visse con energia ed entusiasmo, superò la morte di Hawthorne, lottò fino al suo spegnimento per i suoi figli. Sophia Amelia Peabody Hawthorne non dev essere ricordata soltanto come la moglie brillante di Nathaniel Hawthorne, ma come una donna colta e raffinata, con uno spirito forte ed entusiasta, un acuta sensibilità verso la bellezza, una sete illimitata d arte e di cultura, un artista americana con un interessante capacità di copiare, disegnare e dipingere nella società di Salem, Boston e Concord del suo tempo.

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2

Hurst, Nancy Luanne Jenkins. "Selected literary letters of Sophia Peabody Hawthorne 1842-1853 /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487778663286098.

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3

Stevens, Helen Christine. "Paradise closed : energy, inspiration and making art in Rome in the works of Harriet Hosmer, William Wetmore Story, Elizabeth Barrett Browning, Nathaniel Hawthorne, Sophia Peabody Hawthorne, Elizabeth Gaskell and Henry James, 1847-1903." Thesis, King's College London (University of London), 2018. https://kclpure.kcl.ac.uk/portal/en/theses/paradise-closed(6b475ebf-a604-4db4-8283-889a1a290871).html.

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This thesis examines the ways in which the artistic practice of key members the expatriate community in mid- to late nineteenth-century Rome related to contemporary ideas of energy and inspiration. William Wetmore Story, a central figure in the expatriate community, arrived in Rome in 1847. Between 1847 and 1859, the number of American artists living in Rome grew from four to 400; these American arrivals joined the British community of artists already established in the city. Rome, for all these expatriate artists, acted as a creative force field: it was experienced as a source of artistic energy, the conception of which was informed by contemporary scientific theories of energy and entropy viewed through the filter of the Romantic notion of Rome as a site that enabled ‘spontaneous creation’. William Wetmore Story, Nathaniel Hawthorne, Sophia Peabody Hawthorne, Elizabeth Barrett Browning, Elizabeth Gaskell and Harriet Hosmer explored ways in which Roman artistic energy could be accessed and repurposed in their own work. This recycling of Roman artistic energy was an attempt to navigate the paradox of a city that was considered both ‘eternal’ and ruined. These artists formulated an idea of Roman artistic energy that could be separated from the art object and transferred between artworks that therefore acted as storage for that energy. Artists thus participated in the recycling of Rome’s artistic energy from old to new art, a practice that worked to counteract prevailing fears inspired both by the entropy of the city of Rome, and the entropy of universal energy, of which Rome’s ruins were evocative. The publication of Henry James’ group biography of the community, William Wetmore Story and His Friends, in 1903 provides the end date for this study. In the biography, James identified Rome as a ‘Paradise Closed’: a city that simultaneously figured as a closed system in which energy could be endlessly recycled, and one that was out of reach, no longer accessible. This thesis engages with critical debate in thing theory about the psychological and narrative elements of things, and relates this debate to the way developments in physics and ideas regarding the circulation and preservation of energy permeated nineteenth-century thinking about art and time. It also seeks to complicate a view of ‘transatlantic’ literature in the mid- to late nineteenth century by presenting Rome as a triangulating point of encounter between British and American artists and writers that produced its own distinctive art. Rome’s mobile, transferrable artistic energy bridged the divide between old and new things, between living and dead artists in Rome, between the members of its nineteenth-century expatriate community, and between the old and new worlds of Europe and America.

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Books on the topic "Sophia peabody"

1

Valenti, Patricia Dunlavy. Sophia Peabody Hawthorne: A life / Patricia Dunlavy Valenti. Columbia: University of Missouri Press, 2004.

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2

Valenti, Patricia Dunlavy. Sophia Peabody Hawthorne, a life. Vol. 1, 1809-1847 / Patricia Dunlavy Valenti. Columbia, MO: University of Missouri Press, 2004.

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3

Tharp, Louise Hall. The Peabody sisters of Salem. Boston: Little, Brown, 1988.

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4

Marshall, Megan. The Peabody sisters: Three women who ignited American romanticism. Boston, MA: Houghton Mifflin, 2004.

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5

The Peabody sisters: Three women who ignited American romanticism. Boston: Houghton Mifflin, 2005.

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6

Dearest beloved: The Hawthornes and the making of the middle-class family. Berkeley: University of California Press, 1993.

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7

Valenti, Patricia Dunlavy. Sophia Peabody Hawthorne: A Life, Volume 2, 1848-1871. University of Missouri Press, 2014.

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Valenti, Patricia Dunlavy. Sophia Peabody Hawthorne: A Life, Volume 2, 1848-1871. University of Missouri Press, 2015.

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9

Hall, Julie E., Katharine Rodier, and Monika M. Elbert. Reinventing the Peabody Sisters. University of Iowa Press, 2006.

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10

Marshall, Megan. Peabody Sisters: Three Women Who Ignited American Romanticism. Houghton Mifflin Harcourt Trade & Reference Publishers, 2006.

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Book chapters on the topic "Sophia peabody"

1

"From Sophia Peabody Hawthorne 26 January 1851 · Lenox." In The Writings of Herman Melville: The Northwestern-Newberry Edition, Vol. 14: Correspondence, edited by Lynn Horth. Northwestern University Press, 1993. http://dx.doi.org/10.1093/oseo/instance.00217991.

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Boyden, Michael. "Mysterious Connections." In Climate and the Picturesque in the American Tropics, 115–41. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192868305.003.0006.

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Abstract This chapter reads Nathaniel Hawthorne’s Legends of the Province House (1838) in conjunction with a series of letters that his later wife Sophia Peabody wrote during her residence as a health tourist on a Cuban plantation during the early 1830s. While Legends has been read primarily through the lens of New England history, Sophia’s reflections on the Cuban scene indirectly informed Hawthorne’s story cycle. Hawthorne’s thematization of the smallpox epidemic of the 1720s resonates with the cholera pandemic of the early 1830s as described by Sophia. The trajectory of the cholera outbreak during the 1830s challenged the assumed tropical origins of this disease and thus upended established etiologies based on climate. The chapter shows how the stories register this transition from climate-based to vector-based etiologies of epidemic diseases and more generally the turn toward a more global and disembodied climate imaginary.

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Melville, Herman. "To Sophia Peabody Hawthorne 8 January 1852 · New York." In The Writings of Herman Melville: The Northwestern-Newberry Edition, Vol. 14: Correspondence, edited by Lynn Horth, 219–20. Northwestern University Press, 1993. http://dx.doi.org/10.1093/oseo/instance.00217464.

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"From Sophia Peabody Hawthorne 29 December 1851 · West Newton." In The Writings of Herman Melville: The Northwestern-Newberry Edition, Vol. 14: Correspondence, edited by Lynn Horth. Northwestern University Press, 1993. http://dx.doi.org/10.1093/oseo/instance.00218007.

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5

"From Nathaniel Hawthorne and Sophia Peabody Hawthorne 27 March 1851 · Lenox." In The Writings of Herman Melville: The Northwestern-Newberry Edition, Vol. 14: Correspondence, edited by Lynn Horth, 607–9. Northwestern University Press, 1993. http://dx.doi.org/10.1093/oseo/instance.00217993.

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