Dissertations / Theses: 'The Scarlet Letter'

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Pinto, Humberto Pessoa. "Allegory and Symbolism in the Scarlet Letter." reponame:Repositório Institucional da UFSC, 1992. https://repositorio.ufsc.br/xmlui/handle/123456789/157759.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina. Centro de Comunicação e Expressão
Made available in DSpace on 2016-01-08T17:46:09Z (GMT). No. of bitstreams: 1 88275.pdf: 2798721 bytes, checksum: 9b178bc7b48636b0812ba36775d946d9 (MD5) Previous issue date: 1992
Este trabalho tem por objetivo descrever as causas subjacentes ao complexo sentido do romance the Scarlet Letter, de Hawthorne. Tenta mostrar que este sentido é produzido pela tensão não resolvida entre duas forças contraditórias - alegoria e simbolismo. A alegoria é um dispositivo retórico tradicional que reduz toda a realidade a noções claras e unilaterais. Ela tende assim, a concentrar o sentido num único enunciado.

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Shannon, Tracy E. "Clinical Implications of Wearing a Scarlet Letter: Sex Offender Public Policy." Antioch University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1347995906.

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Casanova, Nora Celina. "Hell, Heaven and Alchemy in Hawthorne’s “Scarlet Letter" according to Gnosticism." Bachelor's thesis, Universidad Nacional de Cuyo. Facultad de Filosofía y Letras, 2013. http://bdigital.uncu.edu.ar/5148.

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According to Gnosticism, the original sin which prompted man to be expelled from Heaven was the sin against the Holy Spirit. This offence would be strictly connected to sexuality, consisting mainly on fornication and adultery. The disobedient behavior towards the Lord’s Laws, then, made God banish sinners to a place where they should suffer until they could be redeemed by their own good deeds and saintly conduct. In The Scarlet Letter, by Nathaniel Hawthorne, the main characters have to suffer the consequences of their sin and struggle against their own nature to achieve redemption and be purified.
Fil: Casanova, Nora Celina. Universidad Nacional de Cuyo. Facultad de Filosofía y Letras.

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Baudot, Amanda D. "Vampirism in Hawthorne’s “The Birthmark,” The Scarlet Letter, and “The Minister’s Black Veil”." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1711.

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Erik Butler’s predicates for vampirism apply in some degree to Nathaniel Hawthorne’s male protagonists who skulk in the margins of “The Birthmark,” The Scarlet Letter, and “The Minister’s Black Veil.” As metaphoric vampires who seek weak prey in order to manipulate power structures, these monomaniacal parasites assume paternalistic positions in order to control and manipulate their victims, and they disguise their exploitive and egotistic sides with idealistic and altruistic passions for science and religion. This thesis explores how Hawthorne’s protagonists’ corrupt and consuming spirits echo traditional vampiristic characteristics.

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Cutler, Sylvia. "Salem Belles, Succubi, and The Scarlet Letter: Transatlantic Witchcraft and Gothic Erotic Affect." BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/8583.

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In order to reconcile the absence of sexually deviant witch figures (succubae, demonic women, etc.) within the formation of American national literature in the nineteenth century with the fantastic elements found in European variations on the gothic, my thesis aims to demonstrate transatlantic variants of erotic signifiers attached to witch figures in nineteenth-century gothic fiction and mediums across national traditions. I will begin by tracing the transatlantic and historical impact of Heinrich Kramer and Jacob Sprenger’s Malleus Maleficarum—an early modern handbook of sorts used widely in witchcraft inquisitions—on Early American witch trials, specifically where its influence deviates from a sexualized conception of the witch and where a different prosopography of the historical witch emerges. Next, I will assess a short sample of nineteenth-century American pulp fiction to demonstrate the historical impact of America’s erotically decoded witch type on fictionalized versions or caricatures of the witch. In doing so I hope to create a reading that informs a more transatlantically complex representation of The Scarlet Letter. Finally, in order to underscore the significance of these national and historical departures of The Scarlet Letter as a gothic novel, I will contrast Hawthorne’s novel with a selective reading of nineteenth-century gothic texts from England and France that employ the witch or demonic feminine motif in an erotically codified and fantastic setting, namely using Old World magic and history that draws from French and English traditions.To demonstrate the significance of erotically coded witches in the British tradition, I will briefly examine Samuel Taylor Coleridge’s “Christabel” as a gothic text that relies heavily on the erotic affect encoded in the figure of Geraldine. I will also touch on Prosper Mérimée’s “La Vénus d’Ille” and Théophile Gautier’s “La Morte Amoreuse,” two remarkable short stories that highlight the sublime terror of sexually deviant, occult female figures. Through such a collection of readings of witches and erotic, occult women I hope to amplify a more latent theme underlying The Scarlet Letter and America’s conflicted relationship with the gothic tradition: namely its crucial lack of erotic enchantment as a channel for the experience of gothic affect, the fantastic, and even sublime terror.

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Horton, Tonia Lanette. "The Freedom of a Broken Law: The Liminal World of Nathaniel Hawthorne's "The Scarlet Letter"." W&M ScholarWorks, 1985. https://scholarworks.wm.edu/etd/1539625290.

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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
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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Johansson, Sandra. "Spineless Men and Irrepressible Women? : Gender Norm Destabilizing Performances in The Scarlet Letter and My Ántonia." Thesis, Umeå universitet, Institutionen för språkstudier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-104363.

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Both The Scarlet Letter by Nathaniel Hawthorne and My Ántonia by Willa Cather depict characters that perform non-traditional gender roles. In these novels, there are expectations about how women and men should act. The purpose of this comparative study is to look at how the female and male protagonists’ actions correspond to, or differ from, these expectations and if they do so in similar ways. The analytical approach is based on Judith Butler’s theory of gender performance. This study also examines in what ways the characters’ actions conflict with, or conform to, social norms of the time by investigating the social expectations for women in the Puritan society and in the late nineteenth century. Even though the settings are separated by two hundred years, this study shows that the protagonists challenge traditional gender role norms in similar ways and that both female protagonists show a feminist desire to exist outside the binary understanding of gender.

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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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Kleine, Karsten D. "Comparing moral values in Gotthold Ephraim Lessing's Miss Sara Sampson and Nathaniel Hawthorne's The scarlet letter." Morgantown, W. Va. : [West Virginia University Libraries], 1999. http://etd.wvu.edu/templates/showETD.cfm?recnum=1137.

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Fortes, Rafael Adelino. "Entre a virtude e o vício : figurações pecaminosas e diabólicas em Moll Flanders e The scarlet letter." Universidade Estadual de Londrina. Centro de Letras e Ciências Humanas. Programa de Pós-Graduação em Letras, 2015. http://www.bibliotecadigital.uel.br/document/?code=vtls000201013.

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A pesquisa em questão tem por objetivo realizar um estudo comparativo das personagens Moll Flanders, de Daniel Defoe, e Hester Prynne, de Nathaniel Hawthorne, a partir dos conceitos sobre o pecado e o Diabo. Apesar de o gênero romance apresentar inúmeras mudanças estéticas e temáticas no decorrer dos tempos, em muitos casos, a ideologia dominante permanece a mesma, como é o caso de Moll Flanders e The Scarlet Letter, afinal suas protagonistas são submetidas a uma sociedade patriarcal e falocêntrica. O objetivo desta pesquisa é descrever o perfil dessas mulheres e como a ideologia dominante as moldou, ora como fruto de um destino incerto, ora como instrumento do Diabo, as quais cederam seus corpos ao tentador e este as usou como instrumento de seu domínio para corromper os planos divinos para com a humanidade. Moll Flanders narra a história de uma menina que nasceu pobre e por não se contentar com sua classe social, luta contra o seu destino, torna-se prostituta e realiza inúmeras peripécias. The Scarlet Letter, de Nathaniel Hawthorne, é um romance histórico ambientado no século XVII que narra o amor proibido de Hester Prynne, a mulher casada que foi abandonada e, por tentação, tem um caso amoroso com o pastor de sua comunidade. Ao propor o estudo do pecado e do Diabo nas obras em questão, pensou-se em demonstrar como esses dois elementos foram apresentados à sociedade no decorrer dos séculos, como as pessoas lidam com a questão da culpa frente à moral cristã e como essa moral vai adquirindo novas formas, novos conceitos no decorrer da existência humana.
The research in question aims to conduct a comparative study of characters Moll Flanders by Daniel Defoe, and Hester Prynne, by Nathaniel Hawthorne, from the concepts of sin and the Devil. Although the novel genre to present innumerable aesthetic and thematic changes over time, in many cases, the dominant ideology remains the same, such as Moll Flanders and The Scarlet Letter, after their protagonists are subjected to a patriarchal and phallocentric society. The objective of this research is to describe the profile of these women and how the dominant ideology molded, sometimes as the result of an uncertain destiny, sometimes as a tool of the Devil, which gave their bodies to this tempting and he used them as an instrument of your domain to corrupt the divine plan for humanity. Moll Flanders narrates the story of a girl who was born poor and not be content with their social class, fights against her destiny, she becomes a prostitute and performs innumerable adventures. The Scarlet Letter, by Nathaniel Hawthorne, is a historical novel set in the seventeenth century, which chronicles the forbidden love of Hester Prynne, a married woman who has been abandoned, and by temptation, has an affair with the pastor in her community. In proposing the study of sin and the Devil in the writings in question, it was thought to demonstrate how these two elements were presented to society over the centuries, how people deal with the issue of guilt forward to Christian morality and how will this moral assuming new forms, new concepts in the course of human existence.

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Mise, Carmen. "Counter-monumentalism in the Search for American Identity in Hawthorne's The Scarlet Letter & The Marble Faun." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/2186.

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This study examines the crisis of identity the United States was experiencing in the nineteenth-century through two of the major literary works of Nathaniel Hawthorne, The Scarlet Letter and The Marble Faun. Hawthorne, who lived through this crucial and important developmental period, was concerned as to what this identity would be, how the United States would shape and define itself, and what its future would be if this identity was malformed. In addition, this study will look at counter-monuments as argued by James E. Young in his essay “The Counter-Monument: Memory against Itself in Germany Today” to expand on these issues of identity. If according to Young, the ideal goal of the counter-monument is “not to remain fixed but to change,” one can conclude that Hawthorne understood that national identity must be fluid; otherwise, the nation would crumble under the pressure and force of change.

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O'Key, Jeffrey Lee. "Facing into the wind: The Kierkegaardian turn in Hester's return to Boston at the end of "The Scarlet Letter"." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/284311.

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Hester returns to Boston at the end of The Scarlet Letter out of love for Dimmesdale--a love transformed by the very "Thou shalt not" she transgresses at the beginning of The Scarlet Letter. This transformation hinges on her transformed relationship to God ("Heaven's will"). Her love, transformed into a duty (through a mechanism explained by Soren Kierkegaard in Works of Love catapults her out of history (spiritually speaking) into a parallel existence, paralleling the two-fold structure of The Scarlet Letter . Deploying itself between two acts of hesitation, The Scarlet Letter is, ironically, not about hesitancy, but about an end to hesitancy in the leap (what I call "the turn," "willing the eternal" and "recollecting the future"). In returning to Boston, Hester turns the clock back to when Dimmesdale still lived, and as the Christian, by faith, looks forward to the imminent return of Jesus Christ, so Hester, at the end of The Scarlet Letter looks forward to the return of Dimmesdale to her side. Hawthorne indicates this fidelity and this expectation indirectly, by reflecting Kierkegaardian repetition in grammatical and rhetorical repetition--and in the manner in which he misappropriates the last line of Marvell's "The Unfortunate Lover." The gap that exists between the narrative level of The Scarlet Letter and its ironic level (in which the humorist in Hawthorne operates) is but one of numerous gaps in the text, recreating the precondition of the turn, as well as reflecting the founding moment in American history: the Pilgrims' fiducial crossing of the Atlantic to begin a new nation. In this sense, The Scarlet Letter is quintessentially American, since its essential, like Huckleberry Finn is quintessentially American, since its essential theme is the flight to the frontier (in this case, from history to eternity). Hester's return is not so much an "exemplum of historical continuity" (Bercovitch's position in The Office of The Scarlet Letter) as an example of the radical discontinuity that installs itself in a believer's heart when he or she embraces eternity in the face of logic and history's resistance to the miraculous. This embracing is rather like a dance. At the end of The Scarlet Letter Hester (all unseen and unguessed) dances her faith, and faithfully dances, her love for Arthur Dimmesdale, repudiating logic, repudiating history, repudiating her former inconstancy.

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Hallenbeck, Kathy H. "Completing the Circle: A Study of the Archetypal Male and Female in Nathaniel Hawthorne's The Scarlet Letter." [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0327102-160947/unrestricted/hallenbeckK042302A.PDF.

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Rioton, Coralie. "L'image de la femme maléfique dans "The Scarlet Letter", "Madame Bovary" et "Drammi intimi" chez Hawthorne, Flaubert et Verga." Nice, 2001. http://www.theses.fr/2001NICE2010.

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Le discours médical, idéologique et bourgeois du XIXe siècle répand l'idée d'une féminité ancrée dans un destin biologique. La femme est présentée uniquement comme un instrument de reproduction. "Féminité" est synonyme d'inexistence, de silence, d'effacement et de nullité. Etudions l'antithèse, le contre-modèle, l'image de la femme maléfique. Elle bouleverse le schémas habituel imposé par les hommes, dérange et franchit les limites interdites. Fille de Satan, femme d'ombre, elle incarne le mal. Elle s'offre comme une créature impudique, un élément perturbateur, un être démoniaque : elle véhicule le mahleur universel. Instrument de damnation, vagin castrateur, gouffre infernal, elle terrifie l'homme. Elle engendre le désastre et la destruction. L'optique masculine témoigne. Dans cette société patriarcale, elle représente le mâle manqué ; atteinte du complexe de virilité, elle exagère son attitude virile; Elle se sent enchaînée ; elle conteste sa position, se révolte et revendique des droits nouveaux : naissance d'une femme nouvelle.

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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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Serrano, Gabriela. "The Feminine Ancestral Footsteps: Symbolic Language Between Women in The Scarlet Letter and The House of the Seven Gables." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5434/.

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This study examines Hawthorne's use of symbols, particularly flowers, in The Scarlet Letter and The House of the Seven Gables. Romantic ideals stressed the full development of the self¬reliant individual, and romantic writers such as Hawthorne believed the individual would fully develop not only spiritually, but also intellectually by taking instruction from the natural world. Hawthorne's heroines reach their full potential as independent women in two steps: they first work together to defeat powerful patriarchies, and they then learn to read natural symbols to cultivate their artistic sensibilities which lead them to a full development of their intellect and spirituality. The focus of this study is Hawthorne's narrative strategy; how the author uses symbols as a language his heroines use to communicate from one generation to the next. In The Scarlet Letter, for instance, the symbol of a rose connects three generations of feminine reformers, Ann Hutchinson, Hester Prynne, and Pearl. By the end of the novel, Pearl interprets a rose as a symbol of her maternal line, which links her back to Ann Hutchinson. Similarly in The House of the Seven Gables Alice, Hepzibah, and Phoebe Pyncheon are part of a family line of women who work together to overthrow the Pyncheon patriarchy. The youngest heroine, Phoebe, comes to an understanding of her great, great aunt Alice's message from the posies her feminine ancestor plants in the Pyncheon garden. Through Phoebe's interpretation of the flowers, she deciphers how the cultivation of a sense of artistic appreciation is essential to the progress of American culture.

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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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Sjödin, Jakobsson Alexandra. "The liberation of Hester Prynne : How wearing the symbol of The Scarlet Letter releases Hester into a new kind of womanhood." Thesis, Högskolan Dalarna, Engelska, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-24433.

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Sjödin, Jakobsson Alexandra. "The liberation of Hester Prynne : How wearing the symbol of The Scarlet Letter releases Hester into a new kind of womanhood." Thesis, Högskolan Dalarna, Engelska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-25408.

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Ah-Tune, Hélène. "L'écriture rouge dans "The masque of the red death" de Edgar Allan Poe et dans The scarlet letter, A romance de Nathaniel Hawthorne." Paris 8, 1998. http://www.theses.fr/1998PA081484.

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A travers ces deux textes litteraires du milieu du dix-neuvieme siecle, l'etude du langage des couleurs -notamment de la couleur rouge a demontre combien il se relie au probleme de l'identite americaine qui demeure ici inseparable du mythe de l'amerique percu comme un nouveau monde au sens d'une re-creation du monde, donc d'une nouvelle cosmogonie. Chez poe comme chez hawthome,la couleur rouge reste associee au langage. Dans "the masque of the red death", la couleur rouge constitue la couleur-pivot autour de laquelle tout s'articule. Elle ne peut etre separee de l'or, de la couleur noire, de l'alchimie, des elements. Ses relations des plus subtiles et des plus complexes qu'elle entretient avec les nombres, les lettres, les formes de lettres et la musique demontrent son lien avec l'ecriture. Un jeu de permutation de lettres opere sur la couleur rouge a amene a conclure que la mort rouge s'identifierait entre autres a dionysos -symbolisant a la fois la vie, la fecondite et le desordre. Il representerait une mort revelatrice et initiatique conduisant a une renaissance. L'intrigue se devant en ce cas etre comprise a l'inverse du texte en surface, la couleur rouge participerait de la symbolique de la vie mais non de la mort. Dans the scarlet letter, la couleur fonctionne comme un signe linguistique. Couleur et langage s'averent confondus. La lettre ecarlate se presente comme un signe sacre dote d'une couleur, plus precisement d'une langue inconnue ("a tongue unknown") quoique "scarlet" evoque la prostituee de babylone explicitement mentionnee dans le texte. Elle appartient a l'origine des temps et sa signification ressort de l'enigme. En tant qu'embleme, elle suggere l'hieroglyphe ou 'image sacree' difficile a dechiffrer. Le rouge present dans "scarlet" se relie au script c'est-a-dire au signe ou a la lettre et d'autre part au livre (volume) en tant que sphere mythique
The study of the language of colors - notably the color red in "the masque of the red death" and in the scarlet letter has shown how it is linked with the problem of american identity. It is also centered around the myth of america being as a new world, or even as a new cosmogony. In these two mid-nineteenth century literary texts, the color red is linked with language. In "the masque of the red death", the red color is the pivot around which everything revolves. It cannot be separated from gold, the color black, alchemy or the elements. The subtle and complicated relationship between color and number, letters, the form of those letters and music show the way color is linked with writing. The "masque" would conceal the primal identity of america or the language of origin which the color red represents. A game of permutation of letters carried out on the color red, brings us to conclude that the red death could be identified among others to dionysos - symbol of life and disorder. Therefore death could represent a doorway to knowledge and rebirth. The plot must be understood, therefore, as the reverse of the surface text. In the scarlet letter, color works as a linguistic sign. Color and language become interchangeable. The scarlet letter appears as a sacred sign, colored, more precisely as a sign of "a tongue unknown", even if "scarlet" evokes the "scarlet whore of babylon", explicitely mentioned in the text. It belongs to an abolished past, to the origin of time and its meaning comes from the enigma, from mystery itself. As an emblem, the letter suggests the hieroglyphic. The color red present in "scarlet" is linked to the script that is to say, to the sign or the letter and to the book (volume) as a mythic sphere

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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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McKnight, Elizabeth Simpson. "Beyond fig leaves and scarlet letters women voicing themselves in diaries and blogs /." Thesis, [Tuscaloosa, Ala. : University of Alabama Libraries], 2009. http://purl.lib.ua.edu/71.

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Alves, Marcia. "Scarlet letters read and responded : the question of truth in Hawthorne and Updike." reponame:Repositório Institucional da UFSC, 1991. https://repositorio.ufsc.br/xmlui/handle/123456789/157670.

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Dissertação (mestrado) Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão
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Objetivo de investigar a questão da verdade nas versões de Nathaniel Hawthorne e John Updike para o episódio "the scarllet letter" supondo-se que de Hawthorne a Updike houve uma evolução no conceito de verdade a qual pode ser vista como conseqüência de uma mudança no conceito de leitor decidiu-se concentrar especial atenção na atitude dos leitores em relação à verdade em cada um dos romances. Os capítulos que se seguem, apresentam os narradores de Hawthorne e Updike como leitores narradores semi criativos e criativos, respectivamente em Hawthorne os leitores apresentam-se compromentidos com a verdade e acreditam que podem alcançá-la, em Updike a situação é oposta.

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Godwin, Scott Douglas. "Gender issues, core curriculum, and statewide content standards." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2100.

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Long, Kim Martin. "The American Eve: Gender, Tragedy, and the American Dream." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277633/.

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America has adopted as its own the Eden myth, which has provided the mythology of the American dream. This New Garden of America, consequently, has been a masculine garden because of its dependence on the myth of the Fall. Implied in the American dream is the idea of a garden without Eve, or at least without Eve's sin, traditionally associated with sexuality. Our canonical literature has reflected these attitudes of devaluing feminine power or making it a negative force: The Scarlet Letter, Moby-Dick, Adventures of Huckleberry Finn, The Great Gatsby, and The Sound and the Fury. To recreate the Garden myth, Americans have had to reimagine Eve as the idealized virgin, earth mother and life-giver, or as Adam's loyal helpmeet, the silent figurehead. But Eve resists her new roles: Hester Prynne embellishes her scarlet letter and does not leave Boston; the feminine forces in Moby-Dick defeat the monomaniacal masculinity of Ahab; Miss Watson, the Widow Douglas, and Aunt Sally's threat of civilization chase Huck off to the territory despite the beckoning of the feminine river; Daisy retreats unscathed into her "white palace" after Gatsby's death; and Caddy tours Europe on the arm of a Nazi officer long after Quentin's suicide, Benjy's betrayal, and Jason's condemnation. Each of these male writers--Hawthorne, Melville, Twain, Fitzgerald, and Faulkner--deals with the American dream differently; however, in each case the dream fails because Eve will not go away, refusing to be the Other, the scapegoat, or the muse to man's dreams. These works all deal in some way with the notion of the masculine American dream of perfection in the Garden at the expense of a fully realized feminine presence. This failure of the American dream accounts for the decidedly tragic tone of these culturally significant American novels.

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Yeh, Shu-ping, and 葉書蘋. "Nathaniel Hawthorne’s The Scarlet Letter:." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/79025521374061256725.

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碩士
淡江大學
西洋語文研究所
89
Abstract: Nathaniel Hawthorne’s The Scarlet Letter has undoubtedly been considered as his masterpiece for there exists some strangeness that is named as ambiguity or paradox, Hawthorne’s “headachy” technique, in it. The objective of this thesis is to examine the strangeness of Hawthorne’s writing strategies of The Scarlet Letter by associating with Derrida’s idea of différance. For Derrida, whenever writing begins, the meaning is endlessly relayed and never comes to a conceptual closure; the signifier is always in search of its signified through the mediation of other signifiers. The thesis is led to a post-structuralist approach, addressing Hawthorne’s incapability of fully controlling the language while writing the novel. To analyze such a complicated phenomenon, except Derrida’s theory, Roland Barthes’, Lacan’s and Julia Kristeva’s have applied to serve some possible explanations. The main body of this thesis is divided into three parts, separately discussing différance practiced on the arrangement of settings, characterization and the development of A-sign in The Scarlet Letter. After this analysis, we may find that Hawthorne, as a writer, has gradually lost his overwhelming power over the text; instead, the text becomes a playground where the free play of signs is made possible. Finally, as différance commences, the “ultimate truth”　of scarlet letter A is doomed to be un-searchable─the meaning is forever differed and deffered.

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GUO, FENG-JI, and 郭鳳姬. "Hester's psychological dialectics in the Scarlet Letter." Thesis, 1990. http://ndltd.ncl.edu.tw/handle/01693504589895884856.

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Cheng-chih, Huang, and 黃正智. "Sin and Humanity in The Scarlet Letter." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/05238865427860406534.

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碩士
政治作戰學校
外國語文學系
86
In this thesis,I propose to individually discuss the three sinners--Hester, Dimmesdale and Chillingworth. In chapter 1, I will introduce my writing motivation, approach and purpose; in addition, I will describe the symbol "The Custom House"and the Puritan background. In chapter 2, I will try to discuss Hester's psychological struggle and the naturaltransformation from "Adultery" to "Angel" and "Able." In chapter 3, I intend to seek Dimmesdale's dilemma between confession and concealment;standing on the scaffold, he undergoes three process of a sinner's pilgrimage--"sin, punishment, and redemption." In chapter 4, Chillingworthbeing regarded as the worst sinner in Hawthorne's view, I will describe his role between doctor and devil and the process of his retaliation to Dimmesdale and Hester. In chapter 5, I will compare alienation and confessionamong Hester, Dimmesdale, and Chillingworth; discuss the sumbol of theforest; and contrast the three protagonists' "sin and humanity."

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Chen, Ching-yuan, and 陳敬元. "The Rose：Woman Consciousness in Hawthorne’s The Scarlet Letter." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/57945150580315003981.

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碩士
立德大學
應用英語研究所
98
The Scarlet Letter, set in the seventeenth-century Puritan society, is one of Nathaniel Hawthorne’s best-known novels. Hester Prynne, the protagonist, is sentenced to wear a scarlet “A” signifying adultery as a mark of her sin. Living all alone with her daughter far from the town, but during the difficult period of her life, she still helps those people who despise her at first, but in the long run, she gains their respect. At the same time, the scarlet “A” implying a negative meaning has also changed into positive meaning, such as “able”, “angel, and so forth. For this reason, many scholars and critics would generally acknowledge that The Scarlet Letter is a work about probing into the psychoanalysis of sin and morality and salvation. They think that Hester atones for her crime of adultery by her benevolent actions. But, it is more noteworthy that the roses springing up under the footsteps of Ann Hutchinson are compared to the awaking of woman consciousness sprouting under the restrictions of the patriarchal Puritan community. Hence, this thesis aims to explore the transformation and embodiment of woman consciousness based on the theory of feminism. There are five chapters in this thesis. The introduction presents Hawthorne’s perspective about men and women in the patriarchal Puritan society. Hawthorne skillfully divides the characters in this work into two opposite groups such as male and female, high authority and low people, hypocrisy and enthusiasm, and darkness and brightness. In the second chapter, I would like to examine the restrictions and repressions from social and cultural background of New England on women. The third chapter illustrates the Hester’s psychological change from internalization to de-internalization of the Puritan disciplines. In the fourth chapter, I would like to use the concept of motherhood to explain the function of social motherhood. This concept is not merely able to reverse the patriarchy institutionalizing women but also promote the development of woman consciousness. Finally, the fifth chapter presents a conclusion of the thesis. It is through the conducts and spirit of Hester and the other two men, Dimmesdale and Chillingworth to reveal the ideal society and woman consciousness.

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Chai-Mei, Tang. "Mapping the Political Unconscious in Hawthorne's The Scarlet Letter." 2005. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0002-1507200523581400.

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Tang, Chai-Mei, and 湯佳美. "Mapping the Political Unconscious in Hawthorne''sThe Scarlet Letter." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/04458057927765063267.

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碩士
淡江大學
英文學系碩士班
93
This thesis, to draw upon Fredric Jameson’s idea of political unconscious, is an attempt to present a pluralistic interpretation of Nathaniel Hawthorne’s The Scarlet Letter. Given in this condition, I will first of all focus on Hawthorne’s will to romance as a stylistic expression that is suggestive of the multilayered subtexts, which subsume the conflicting fragmentations such as the idea of wilderness. Seen from this perspective, I will argue that romance helps articulate the locus of the Other and serves as the historical necessity which is hinged on the appropriated fourfold framework of interpretation. In the second chapter, I will present a Lacanian reading that sheds light on the formation of subjectivity with the dialectical relation of the scarlet letter as objet petit a. Also, it will touch upon the politics of citizenship or identity politics that is hinged on the surveillance of the scarlet letter. In the third part, I will address the relationship between the unconscious and woman from the perspective of Julia Kristeva’s “women’s time” and attempt to extract an eco-feminist reading that supplements the cultural paradigm of “ecriture feminine” that attempts a differential language as to the Universal language of identification. I will demonstrate to problematize the unproblematic relationship of the equation of woman and nature in Hawthorne’s sexed language on the one hand. On the other, I will focus on the silenced and repressed marginal subjects of witch, hysteric and thus bracket the male historiography. My conclusion will reassure that The Scarlet Letter is an open-ended text of multiple significances that are still “on the road” for further readings.

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Solmes, Jennifer Anne. "The scarlet screen : a survey of the tradition of The Scarlet Letter in film and on television, 1926-1995." Thesis, 2001. http://hdl.handle.net/2429/13818.

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Frequently called the first American classic, and the only American classic never to be out of print, The Scarlet Letter has been indelibly marked on the American consciousness since Nathaniel Hawthorne published it in 1850. Generations have grown up with its characters and their profound struggle against each other, their community, and themselves. Since the earliest days of film, The Scarlet Letter has been re-presented to each of those generations in a series of diverse cinematic adaptations, providing audiences with an opportunity to re-evaluate those characters, their struggle, and the lessons implicit in them. This dissertation surveys those films in order to produce a production history—one that extends beyond the production details and critical reception to consider how the lessons of The Scarlet Letter have been made to contribute to the cultural conversations of the American twentieth century. Following Chapter One's presentation of the method and intent of the study, in Chapter Two I consider the most enduring film in this novel's cinematic tradition, Victor Sjostrom's 1926 production starring Lillian Gish. In Chapter Three I examine Robert Vignola's 1934 ' B ' movie version in the context of Depression-era sexual politics. In Chapter Four, I unearth two live television plays that come to terms very differently with the Red Scare and the social retrenchment of Eisenhower's America. Chapter Five also presents a comparison of two very different but contemporaneous Scarlet Letters, one an eccentric feature from Wim Wenders (1972) , and the other a prestigious PBS miniseries (1979 ) . Finally, in Chapter Six I examine the 1995 Demi Moore vehicle in the context of the Family Values debates. By identifying the specific re-presentation strategies as rhetorically motivated, and linking them with the most salient social debates of their times, I argue for the ideological flexibility of the novel as a key to its endurance. I also demonstrate the effectiveness of film study, and specifically of a film adaptation production history focusing on one novel, as a tool for understanding emerging cultural attitudes and values.

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Chia-Ching, Liang, and 梁家慶. "The Double in the Letter A: A Foucauldian Discourse on Nathaniel Hawthorne's The Scarlet Letter." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/43396003866850073440.

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碩士
中國文化大學
英國語文學研究所
89
ABSTRACT This thesis is a Foucauldian discourse on The Scarlet Letter (1850), the letter A. As a sophisticated cultural artifact, the letter A is brilliantly woven with the same cultural cloth that by 1850 it had produced Nathaniel Hawthorne’s The Scarlet Letter: A Romance. We attempt to identify the ambiguity of the letter A, the significant plurality and the diverse meaning, with Foucaudian “author-function.” We associate the letter A with three kinds of “author-functions” in The Scarlet Letter: namely, “work on oneself,” “responding to one’s time,” and a vehicle of “his-story.” As a linking of society, the historical moment, and critical use of romance tradition, what the letter A denotes stands for the ambiguous author, the ironic archive, and the author’s confession in his autobiography as well. Hawthorne’s reinterpretation of the letter A in The Scarlet Letter can be taken as a challenge to his literary life. Firstly, the letter A is burdened with the necessity of discourse on the self. The task entails one’s work on himself with, in Foucault’s words, “a technology of representation.” The representation brings forth certain unity of writing in The Scarlet Letter─all differences in the text, “having to be resolved, at least in part, by the principles of evolution, maturation, or influence” (Foucault, WA 204). It is an authorial imperative through which characters─adulteress Hester Prynne, the Reverend Arthur Dimmesdale, the leech Roger Chillingworth, and the elf-child Pearl─are all placed in proper positions in the community of the novel. The imperative yields “perfect certainty by perfectly ordering representations and signs to mirror the ordering of the world” (Dreyfus and Rabinow, MF 19). The letter A is a table for ordering, and the fictitious community in The Scarlet Letter is built firmly on this table. Secondly, the letter A is imbued with the necessity of responding to one’s time. The task entails one’s work on himself in a process of interpretation. The interpretation serves to “neutralize the contradictions” (Foucault, WA 204) that may emerge in the narrative of The Scarlet Letter. The letter A is the very center point in this process: around it, contradictions in the narrative revolve, and “incompatible elements” in the text are tied together, or, at last, “organized around a fundamental or originated contradiction” (Foucault, WA 204). It is an authorial directive to absorb his readers into the narrative of the novel, and thus setting them on a presupposed liminal position in a given society. That given society is the Jacksonian society. As the readers of The Scarlet Letter, we are at the edge of the Jacksonian society, but not go beyond. Then we come to acknowledge that, we are nothing but “our” history─American history─and that therefore, we will never get a total picture of who we are. We will never get a detached picture of our history. As the letter A moves from the mid-nineteenth-century customhouse back to its Puritan origin, it serves as the cultural genealogy. It functions to recall a major cultural shift in the Jacksonian society. Thirdly, the letter A functions as the vehicle of “his-story,” the vehicle of the author’s autobiographical impulse. Or in Foucault’s words, the letter A, as a linking of one’s discourse on himself and response to his time, is the task of one’s “producing himself” in his own text. Hawthorne chose to introduce The Scarlet Letter with an essay, “The Custom-House.” In this introductory essay, we meet both Hawthorne’s “story” and the history behind his story. We are informed both his personal story, his employment and dismissal in the Salem Custom House, and the history of political changes that brought about these happenings on him. The letter A as “his-story” would suggest paradoxes of The Scarlet Letter as a historical romance: “just as he [Hawthorne] injected fiction with history, so he injected history with fiction” (Murfin 330). When his fiction is as true as the history, we meet the empirical characteristics of the author. Hawthorne the author is taken as “a historical figure at the crossroads of a certain number of events” (Foucault, WA 204). The letter A is thus “the posthumous papers.” The Scarlet Letter is the author’s confession in his autobiography. When his fiction is as false as the history, we find that author’s persona is maintained in its transcendental anonymity. Hawthorne is taken as a “decapitated surveyor,” preserved in its own realm soundly. The letter A denotes the ambiguous author in an ironic archive. In conclusion, it is not by confining his autobiographical impulse that Hawthorne the author is justified to write a national romance. But rather, it is his unique combination of the autobiographical impulse with the biographer’s viewpoint that enables him to go beyond the romance tradition, and yet to take paradoxes of romance seriously. The modernity of Hawthorne lies not in his attempt to apply objective method to studying himself─his nature, his language, and his society─but rather, in his very ability to understand himself in his-story. The letter A is this long-standing technique of self-knowledge. With the letter A, we are ready to read ourselves in the process of ego-split. We are readers on the liminal position─fully inside and fully outside of our cultural field. On this liminal position, Hawthorne the author has transformed his autobiographical impulse into the double in the letter A. The letter A is first to be the power that wards off “the death of the author,” then to be the truth that brings forth “the birth of the reader.” The birth of the reader is not necessarily at the cost of the death of the author. The “author-reader” doublet makes possible our very ability to understand ourselves in our reading of The Scarlet Letter. For Sacvan Bercovitch, his historicist approach to the letter A is his very ability to understand himself in his own book. This book is The Office of The Scarlet Letter. Contemporary reading of the letter A is also set in particular historical situation. It is an ever-elusive background, against which the “author-reader” doublet in The Scarlet Letter─mute yet ready to speak─is perpetually summoned towards American self-knowledge.

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35

Gillette, Meg. "Modernism's scarlet letter : plotting abortion in American fiction, 1900--1945 /." 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3290239.

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Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2007.
Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4704. Adviser: Robert Dale Parker. Includes bibliographical references (leaves 149-175) Available on microfilm from Pro Quest Information and Learning.

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Chen, Jing-You, and 陳境有. "The Scarlet Letter: Nathaniel Hawthorne's Criticism of the Puritan Theocracy." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/32224004220759166996.

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碩士
國立臺灣師範大學
英語學系
94
Abstract In The Scarlet Letter, it is clear that life in the Puritan theocracy is rigidly regulated. In Hawthorne’s Puritan world, the Governor, magistrates, ministers, and elders are the only decision-makers. The entire system of the Puritan law is signified by this small group of authoritative men. Their word is law. Untrammeled is their discretion in the sentencing of Hester Prynne. They are held to be accountable to none but to themselves and to their God. The townspeople may murmur, but they also have to obey. This thesis interprets the novel as Hawthorne’s criticism of the Puritan theocracy of this kind. Hawthorne first gives an impression that the Puritan theocracy is a conglomerate of religious, political, legislative, and judicial power as shown in Hester’s scaffold scene. The townspeople are prevented from any decisive role in handling crime. Hawthorne places the sin of adultery in the community and sees how the sin ferments the communal anger. It is through the community’s angry reaction that Hawthorne characterizes the two underlying aspects of the Puritan theocracy. One is that behavior represents faith. The other is that the course of the community’s religious and political development is determined by an interlocking patriarchal power relation. Hawthorne then criticizes the conception that behavior represents faith by Hester’s individuality that develops during her continued punishment. Although Hester is physically obedient in accepting her punishment designed to make her give up her individuality, she develops more thought of her own and still has passion for her paramour. As Hawthorne concludes, Hester’s punishment of wearing a shameful symbol has not done its original office. Hawthorne further criticizes the community’s patriarchal system. Such criticism is most conspicuous in two scenes. The first one is the forest scene where Dimmesdale and Hester embark upon a kind of role-reversal. The second one is Dimmesdale’s death scene where Hawthorne criticizes the community’s reality constructed by those authoritative patriarchs. Not only does Hawthorne aim to criticize the Puritan theocracy, but he also shows how the community can benefit from his criticism as a result. To highlight the total effect of his criticism, he allows several reconciliations to take place and sees the community develop in a more positive way. Keywords: Puritan; Hawthorne; Theocracy; Scaffold; Adultery; Behavior; Faith; Patriarchal; Punishment; Individuality; Role-reversal; Passion; Reconciliation

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Sousa, Rita Paula Queirós de. "Da realidade à ficção : a singular heroína em The Scarlet Letter." Master's thesis, 2007. http://hdl.handle.net/10400.2/536.

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Riehl, Robin Vella. "Divided paternity : The Scarlet Letter's unstable American father." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3022.

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This essay seeks to explore the various representations of fatherhood in Nathaniel Hawthorne’s The Scarlet Letter. Although The Scarlet Letter is Hawthorne’s most-studied text, very little critical attention has been paid to Hawthorne’s rendering of paternity in the story. This essay attempts to fill that void by examining the roles of the many father figures in the novel. I argue that Hawthorne’s anxiety about fatherhood, made manifest by his constant doubling and expunging of father figures, dominates the narratives of both The Scarlet Letter and “The Custom-House,” binding the texts together and providing the framework of the novel. The structure of The Scarlet Letter relies on Hawthorne’s continual introduction of potential fathers for Pearl, auditioning and discarding various paternal models – a process that carries implications both for Pearl, and for American fatherhood. I further contend that the figure of the absent father is a key thematic component of the American Renaissance as a whole, reflecting not only the authors’ personal fears, but also their anxieties about England’s paternal relationship to America – a concern that pervades the text of The Scarlet Letter.
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POKORNÁ, Marie. "Vliv puritanismu na životní postoje v románu N. Hawthorna The Scarlet Letter." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-55009.

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Rocha, Micaela Filipa de Jesus. "Tradução e adaptação de The Scarlet Letter para o público infanto-juvenil português." Master's thesis, 2020. http://hdl.handle.net/10362/93430.

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A Literatura Infantil constitui um (sub)género literário cuja pertinência tem vindo a ser muito discutida, adquirindo, cada vez mais, uma maior relevância na Academia. O que se deve (ou não) transmitir às crianças/jovens afigura-se um assunto sobre o qual não existe uma opinião unânime, pois decidir o que se considera apropriado para um público infanto-juvenil apresenta-se um desafio ligado ao estudo da psicologia cognitiva das crianças/jovens. Como se sabe, The Scarlet Letter (1850), de Nathaniel Hawthorne (1804-1864), não foi originalmente escrita para um público infanto-juvenil. No entanto, trata-se de uma narrativa rica em informação de cariz histórico e sociocultural, desempenhando também uma importante função moral, vectores a serem transmitidos a crianças e, sobretudo, a jovens leitores. Deste modo, o objectivo fundamental do presente Trabalho de Projecto reside justamente na tradução interlinguística (a partir do original em inglês), na tradução intersemiótica e na adaptação de The Scarlet Letter para o público infanto-juvenil do sistema cultural português europeu.
Children’s Literature, as a literary (sub-)genre, is the subject of growing debate in the academic world. What should (or should not) be communicated to children or youngsters, is a subject upon which there is no unanimity, as deciding what is appropriate for such an audience presents a challenge linked to the cognitive study of children. It is public knowledge that The Scarlet Letter (1850), by Nathaniel Hawthorne (1804-1864), was not originally written for young readers. The story, however, whilst performing a moralising role, is filled with information of a historical and sociocultural nature, both features which are generally thought to be particularly suitable for children and young readers. Within this context, the main aim of this Project is to provide both an interlingustic and intersemiotic translation of The Scarlet Letter from the original in English, and to adapt it for young readers within the Portuguese (European) cultural system.

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Sung, Hsiao-han, and 宋筱涵. "The Power of Disguise: Hester Prynne’s Resistance Strategy in Nathaniel Hawthorne’s The Scarlet Letter." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/05594102013315483567.

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碩士
國立彰化師範大學
英語學系
96
Abstract In terms of the concepts of disguise and Michel Foucault’s theory about power relations, this thesis aims to explore how Hester Prynne, the heroine in Nathaniel Hawthorne’s The Scarlet Letter, adopts disguises as her resistance strategy. The setting of the novel is the male-dominated Puritan society, but Hester reveals her discontentment with the male-female relationship in her days. At that time, Hester’s idea of gender equality would be viewed as immoral and violative to the Puritan law and might bring her a death penalty if the authority perceived it. Therefore, it is necessary for Hester to assume disguises as resistance strategy to hide her true self; by using the deceptive trait of disguises, she not only deceives the surveillance of the Puritan authority but also accomplishes her subversions. Finally, in her “counsel” to those local women suffering from their passion, she secretly spreads her belief in gender equality to them. Through the dissemination of her “immoral” thought, Hester’s influence will remain from one generation to another and always acts as a counteraction against the Puritan patriarchal thought. This counterforce makes power relations unstable and seeks one day to achieve its success. This thesis consists of five parts. Introduction contains literature reviews, the motivation, and the thesis structure of this thesis. In Chapter One, I illustrate the notions of disguise and Foucault’s concepts of power relations and discipline. In the discussion of the form of disguise, since there are various forms of disguise, I focus only on those relating to Hester’s. In the next chapter, I analyze the background, forms, and purposes of Hester’s disguises and then explore the subversive effect of Hester’s disguises in Chapter Three: I present Hester’s punishment firstly in order to examine how she subverts the punishment forced upon her to a form of resistance, and in this way, I expose Hester’s subversions and how her disguises destabilize power relations. In Conclusion, I recapitulate the main foci of the thesis and re-emphasize my wish to interpret The Scarlet Letter from a different perspective.

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"A scarlet letter: the reintegration of ex-offenders into the South African labour market." Thesis, 2016. http://hdl.handle.net/10539/21839.

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Research Report submitted to the Faculty of Humanities in partial fulfilment of the requirements for the degree: Master of Arts in the field of Industrial & Economic Sociology School of Social Sciences, Department of Sociology University of the Witwatersrand, Johannesburg South Africa July 2016
This research study seeks to examine the South African labour market, using the case of ex-offenders and their difficulties in entering the formal labour market and securing full-time employment after they have been released from correctional facilities. The „Scarlet letter‟ in the title refers to a euphemism used to describe the effects of the criminal record on the prospect of employment. As part of the research, I also examine the perspectives of employers about their willingness to employ ex-offenders as well as some of the reservations they may have, as representatives of the labour market. Although there is extensive research on reintegration as well as barriers to reintegration, especially in Europe and the United States, none of these have married the labour market experiences and reintegration experiences of ex-offenders, especially in the South African context. This study employed qualitative research methods and techniques to explore the meaning ex-offenders attach to their social experiences. Data was collected by means of in-depth interviews in order to gain a comprehensive understanding of the lived experiences of these ex-offenders and a vivid picture from the key informants. In this regard, participants in the study consisted of thirteen Black male ex-offenders, three representatives from the National Institute for Crime Prevention and Reintegration of Offenders (NICRO), one representative from a Non-governmental Organisation (NGO) called We Can Change Our World (WCCOW), five Human resource managers at a property management firm as part of a focus group discussion and one executive at a recruitment company. All interviewed ex-offenders shared similar experiences of their challenges and limited social and economic reintegration, especially related to finding a job in South Africa. The study reveals that discrimination in the workplace continues in contemporary South Africa, but such experiences are even worse for ex-offenders. The study concludes that a lot still needs to be done to transform the South African labour market and correctional facilities, linked policies and practice for the majority, especially ex-offenders who have “paid their debt to society”.
GR2017

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"Completing The Circle: A Study of the Archetypal Male and Female in Nathaniel Hawthornes The Scarlet Letter." East Tennessee State University, 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0327102-160947/.

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Scurria, Amy. "Pearl, An Opera in Two Acts." Diss., 2015. http://hdl.handle.net/10161/9932.

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As Catherine Clément argues in her 1979 publication "L'Opéra ou la Défaite des Femmes" most female operatic characters befall a tragic ending: death, suicide, madness, murder. Building on Clément and observations of more recent feminist scholars (Carol Gilligan, Susan McClary, Marcia Citron), and on the compositional work of Paula Kimper and others, the current project strives to problematize opera's dominant paradigm, and to use my artistic work as a composer to present a different one. With a dearth of stories that highlight the relationship between a mother and a daughter, I have sought to create an artistic work with strong female leads featuring women whose lives carry on and, even, thrive. It was a propitious opportunity to have been approached by conductor Sara Jobin and feminist theorist and author Carol Gilligan (under the auspices of A Different Voice Opera Project) to develop such an opera based upon Nathaniel Hawthorne's "The Scarlet Letter". What better way to break free from a paradigm than to do so with a popular and well-loved novel? The present artistic foray seeks thus to depart from an accepted paradigm while remaining within the bounds of something fundamentally familiar and popular. In a separately available essay "Gender and Music: A Survey of Critical Study, 1988-2012", I explored a wide survey of scholarship on gender.

The feminist reinterpretation of "The Scarlet Letter" was first developed into a play, "The Scarlet Letter", work-shopped and staged at Shakespeare & Company in Lenox, MA, the Culture Project in New York City, the National Players, and the Primary Stage Theatre. It was ripe for development into a libretto for operatic presentation by a Different Voice Opera Project. As the selected composer, I began a long collaboration with Sara Jobin, Carol Gilligan, and poet Jonathan Gilligan (co-author of the libretto). Pearl, the opera, was presented in workshop versions by A Different Voice Opera Project at Shakespeare and Company in Lenox, MA during the summers of 2012 and 2013. Subsequently, our collaborative efforts were expanded through the addition of Sandra Bernhard, a dramaturg and director for a community outreach program at the Houston Grand Opera. Through conversations with Sandra, the opera became more streamlined and I was able to give it a smoother dramatic flow. In particular, Sandra's advice informed much of the opera in terms of increasing the presence of the chorus to provide the medium through which Pearl understands her past. Musically, the chorus also becomes the third part of what I call "Dimmesdale's triangle of pressure" in which he is caught within a patriarchy and pulled by three separate forces: his love and family (Hester and Pearl), his responsibility as a minister (the townspeople represented by the Chorus), and a father figure and mentor (Reverend Wilson). The present work, extensively revised during 2013-2015, grew out of these experiences.

In Hawthorne's "The Scarlet Letter", Pearl is a seven-year-old girl, born from the love affair of Hester Prynne and minister, Arthur Dimmesdale. The pregnancy of Hester immediately places her upon dangerous footing with her only preservation being silence. She is required to permanently wear a scarlet A upon her chest, whereas the minister, Dimmesdale, hides his identity as the father of the child both for himself and for the protection of his lover and child, also through silence. In the times of Puritan New England during the 17th century, a crime such as adultery (a term that is never mentioned in Hawthorne's novel) would have been punishable by death. Needless to say, the ability of Pearl and others to speak the truth within this story becomes much too perilous for the characters to voice. The silence surrounding the life of this little girl is the focus behind the development of our main character for the opera: Pearl as a grown adult, thus making this opera a sequel, of sorts, to "The Scarlet Letter". As quoted in Gilligan's 2003 publication, "The Birth of Pleasure": "At turning points in psychic life and also in cultural history - and I believe we are at one now - it is possible to hear with particular clarity the tension between a first-person voice, an "I" who speaks from human emotional experience, and a voice that overrides what we know and feel and experience, that tells us what we should see and feel know."

Pearl as a grown woman, reflects back upon her life as a child where she is both the main character and the narrator of the story, often breaking the fourth wall. In this sense, this opera is reminiscent of the term "memory play"; a term coined by Tennessee about his work, "The Glass Menagerie". In the opening of his play, Tom, the main character, begins with:

The play is memory. Being a memory play, it is dimly lighted, it is sentimental, it is not realistic. In memory everything seems to happen to music. That explains the fiddle in the wings. I am the narrator of the play, and also a character in it.

With the creation of Pearl, a new character, the opera is able to integrate the relationships that do not exist within Hawthorne's novel, providing the libretto fertile material through which to explore Carol Gilligan's psychological theories . (See page vi, Note 2). We now see the story through the lens of Pearl as she remembers her childhood with highlights upon her relationships with her mother (Hester Prynne), her father (Arthur Dimmesdale), her mother's husband (Roger Chillingworth, née Roger Prynne), the townspeople, her father's mentor, Reverend Wilson, and herself as a child, allowing for the creation of duets, trios, and ensembles to highlight these relationships. The most notable of these relationships is the one between Adult Pearl and her child self, Child Pearl. In this way, and reminiscent of Williams' "memory play", Pearl's memories and current life can now be juxtaposed, together in time, memorialized through the music that binds these events and memories together.

In life we can experience our past through memory. In film we can be provided with visual flashbacks to offer a retrospective. However, it is only within music where the relationship between two eras of self can be juxtaposed. Thus, the gambit of my opera is to find musical means where the audience may now experience the character of Pearl as a child, as an adult, and as both child and adult in duet, as an echo, as a memory, a reflection. This phenomenon is most effectively evoked within opera or musical theatre. While a libretto must fundamentally be created using fewer words than say a novel or a play - it takes longer to sing a line than it would to speak it - it falls to music to express that which cannot be extrapolated through words alone. This dilemma creates a most wonderful opportunity for music to soar with tension and emotion. It is the music that can bridge together certain characters and scenes through the creation of themes that represent (in the case of this opera) truth/honesty, a patriarchy, and love, among other themes as well as the representation of particular characters. The necessity for the score to embellish the drama through music's tools: melody, harmony, motivic development and orchestration, essentially enables the audience to draw closer to the story and the characters by means that only music can provide.

In creating Pearl, it was my hope to birth the first of many such operas that shift one operatic paradigm on its head. To create an opera where the main characters are women and where they both have independent voices and thrive. As I have written elsewhere: "Some, throughout history, have argued that music has been exhausted. That everything that can be said, particularly within the Western language of tonality, has already been said. However, I must wonder, did any of the authors of such statements consider that the female voice has yet to really sing? For, we are just beginning. And I cannot wait to hear what `she' has to say."

Dissertation

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Muirhead, Kimberly Free. "Nathaniel Hawthorne's The scarlet letter a critical resource guide and comprehensive annoted bibliography of literary criticism, 1950-2000 /." 2004. http://etd1.library.duq.edu/theses/available/etd-03272004-142043/.

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Amissine, Itang. "Feminism and translation : a case study of two translations of Mariama Bâ : une si longue lettre (so long a letter) and un chant écarlate (scarlet song)." Diss., 2015. http://hdl.handle.net/2263/44257.

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This study consists of a comparative analysis of two novels (Une si longue lettre and Un chant écarlate) written by the famous female African writer Mariama Bâ and their English translations (So long a letter and Scarlet song) by Modupe Bodé-Thomas and Dorothy Blair. Mariama Bâ’s texts shed light on the different ways in which African women are oppressed by tradition and religion deeply rooted in a patriarchal and post-colonial society. The story of her own life serves as a basis for an effective analysis of both novels in order to determine the extent of her Feminist orientation in her texts, as well as to evaluate the possibilities of female emancipation based on the choices made by her female characters. This study further examines the translation strategies present in the English rendition of Bâ’s novels. Translation involves conveying a message from a source to a target text in a manner that expresses the same message as the original. It also bridges the language and cultural barrier by facilitating understanding between different worlds. In translating Bâ’s novels, the aim is to respect and convey her message of Feminism to an international non-Francophone audience. In order to evaluate whether the translations have achieved the objective of conveying her message, this study will attempt to analyse the translational choices made by each translator as well as to ascertain the success of those choices. This analysis is guided by existing Feminist translation theory. Emphasis is placed on Feminism in general and African Feminism in particular to ascertain Bâ’s own Feminist orientation and how this impacted her writing. This is done firstly by giving a brief synopsis of the two novels. Subsequently, traces of Feminism are identified in both novels, followed by an analysis of the source texts. This is done by applying descriptive models outlined within the framework of descriptive translation studies to compare the source and target texts. This study reveals that despite the many translation strategies that are available, literal/word for word and semantic translations are predominant in the English renditions of Bâ’s novels. The use of these strategies differed in the two translations in question. While Bodé-Thomas preferred a more traditional, literal/word for word translation in her rendition of Une si longue lettre in order to maintain the simplicity of the text and preserve the African aesthetic which is the essence and distinguishing feature of Bâ’s work, Blair opted for a semantic translation which turned out to be an important strategy in her English rendition of Un chant écarlate. Taking the different translational strategies used by Modupe Bodé-Thomas and Dorothy Blair as a case in point, this study proposes that since for the most part, Mariama Bâ’s writing in a European language (French) captures the African content and form and portrays her Feminist beliefs in both her novels, the job of both translators is simply to carry over the same African content and form from the source language to the target language in a similar manner that expresses Bâ’s Feminist beliefs. Key words: Mariama Bâ, Feminism, African Feminism, Feminist translation, descriptive translation studies, post-colonialism, translation studies, autobiography, Dorothy Blair, Modupe Bodé-Thomas, source text, target text, Une si longue lettre, Un chant écarlate, Scarlet song, So long a letter
Mini Dissertation (MA)--University of Pretoria, 2015.
Modern European Languages
MA
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Dietrich, Elizabeth Ann. "William Gilmore Simms's unacknowledged legacy the influence of Simms's Martin Faber on The scarlet letter and A modern instance /." 2006. http://purl.galileo.usg.edu/uga%5Fetd/dietrich%5Felizabeth%5Fa%5F200605%5Fma.

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Paley, Samuel Gordon. "The rhetoric of the primitive savior in Cooper's The deerslayer, Melville's Moby Dick and Hawthorne's The scarlet letter and The Blithedale romance /." 2005. http://www.consuls.org/record=b2731413.

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Thesis (M.A.) -- Central Connecticut State University, 2005.
Thesis advisor: John A. Heitner. "... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 153-155). Also available via the World Wide Web.

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Connolly, Lloyd. "L’écriture et la réécriture des failles de l’utopie religieuse : analyse comparative de The Scarlet Letter de Nathaniel Hawthorne et The Handmaid’s Tale de Margaret Atwood." Thèse, 2019. http://hdl.handle.net/1866/22482.

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Cirile, Cynthia. "The influence of Edgar Allan Poe and Frances Sargent Osgood on Nathaniel Hawthorne's "The Scarlet Letter," and the introduction of a previously unknown tale by Edgar Allan Poe, "The Snowstorm"." 2008. http://proquest.umi.com/pqdweb?did=1605126101&sid=4&Fmt=2&clientId=39334&RQT=309&VName=PQD.

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Thesis (M.A.)--State University of New York at Buffalo, 2008.
Title from PDF title page (viewed on Jan. 16, 2009) Available through UMI ProQuest Digital Dissertations. Thesis adviser: Schmid, David Includes bibliographical references.

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