Hillier talks about a Spenserian source for Nathaniel Hawthorne's Fancy's Show Box. The influence of Edmund Spenser's romance epic upon Nathaniel Hawthorne's life, tales, sketches, and novels is well ...attested. We know that The Faerie Queene was the first book that the boy Hawthorne purchased with his own money and that the adult Hawthorne would read Spenser aloud to his wife, Sophia Peabody, and to his children. Hawthorne called his daughter Una, the name of Spenser's allegorical figure of Truth and the heroine of Book One of Spenser's poem.
The argument relies heavily on Bourdieu's concept of symbolic power, which, citing her source, Schniedermann defines as a conditional power, enabled by an individual's literal and figurative capital ...that "the person submitted to grants to the person who exercises it" (Bourdieu qtd. in Schniedermann 19). ...the book's title derives from Bourdieu's work, Masculine Domination (1998)-a detail that, for those of us less intimately acquainted with his corpus, will not immediately resonate and may misleadingly suggest a more central focus on masculinity than is actually the case. While here the gendered dynamics of this struggle remain somewhat unprecise, they are made clearer in chapter 3, perhaps the book's strongest chapter, which "focuses on the distribution and the different functions of capital" in Wings (70). The final chapter more directly shifts its attention toward male characters, focusing on Osmond from Portrait and Adam from Golden Bowl, to offer a detailed account of the inner workings of symbolic power.
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There is a possible misconception regarding Nathaniel Hawthorne, the canonical author in American literature, that nature is not particularly significant in his fiction. This article aims to disprove ...this notion by providing an ecological reading of his novels, The House of the Seven Gables (1851) and The Marble Faun (1860). The study argues that although the novels are not explicitly environmental texts, they exhibit genuine environmental concerns. The environmental orientation of the novels are investigated by analyzing the representation of a nonhuman environment as setting, by identifying metaphors and symbols related to nature, by examining the depiction of human–nature interactions, and by discovering the ecological vision embedded in them. The study shows that both the novels are environmentally conscious. The detailed depictions of the nonhuman environment in the form of physical and natural settings help in representing nature and elevate its role beyond just a passive framework. The novels emphasize the need to live in communion with nature by exploring the complex dynamics of human–nature interactions through various characters. An ideal human–nature relationship is envisaged through Clifford, whereas Donatello is an expression of environmental crisis. Furthermore, the novels are replete with metaphors, symbols, and imagery related to the natural world in such a way that a complete appreciation of the works would be impossible without giving attention to them. The novels underscore the aspect of human accountability to nature while upholding the environmental vision that with the right perspective, nature has the capacity to heal desolate minds.
In The Productive Tension of Hawthorne's Art, Claudia D. Johnson identifies and explores the tension between Nathaniel Hawthorne's concepts of art and morality by describing its sources, plotting its ...manifestations, and suggesting how the opposing elements of this tension are finally reconciled. Hawthorne's major works, including his short fiction, exhibit a profound conflict between eighteenth-century views of an orderly, balanced, and static universe on the one hand and nineteenth-century conceptions of a universe in constant flux on the other. Johnson argues that Hawthorne, though he did not identify with any organized church, found in theology the myths that allowed him to negotiate a bridge between these two opposed views of the world and to forge the social, psychological, and aesthetic values that inform his art.
Where does a literary reputation originate and why are so many writers’ reputations subject to the caprices of academic or critical fashion? Basing his arguments on the tradition of Nathaniel ...Hawthorne, who has survived long periods in the literary wilderness to become one of America’s most important novelists, Brodhead investigates the question of how pasts get created and distributed, and what it means to live within or without the presence of such pasts.
...they advocate for a flexible framework for future research, in which any critical approach—be it thematic, form-focused, or based on a certain theoretical perspective—must be specifically tailored ...to the author, text, or collection at hand. Rafaël Newman and Caroline Wiedmer demonstrate how the Swiss artists Melinda Nadj Abonji and Jurczok 1001 blend text and context by using voice, sound, and body language to perform their multilingual, political short texts. ...the volume successfully presents the German-language short story as a flourishing, ultracontemporary genre benefitting from new formats in the digital age.
Susan Williams recovers the literary and cultural significance of early photography in an important rereading of American novels and magazine fiction of the decades preceding the Civil War.
Mattias Pirholt, “Beatrice Cenci’s Ghost: Ekphrasis, Spectrality, and the Art of Copying in Nathaniel Hawthorne’s The Marble Faun” (pp. 211–233)This article investigates the spectrality of ekphrases ...and art reproductions, the haunting presence of the original work’s aura and the copyist’s self-sacrifice. Focusing on the ekphrastic description of the Baroque painting Beatrice Cenci (1599), earlier attributed to Guido Reni, in Nathaniel Hawthorne’s The Marble Faun (1860), the article argues that the ekphrastic representation of the copy of the painting embodies the dialectic of enargeia and ekplexis, that is, of the vivifying presence-making of the ekphrasis and its sublime and disturbing absence. In The Marble Faun, the aura of Guido’s original painting haunts the copy, made by one of the romance’s female protagonists, Hilda, whose art is both creative and imitative. The copy retains the aura of the original but only in the shape of a haunting presence of absence, a ghost, which perpetuates rather than eliminates tradition. Thus, as a paradoxically original imitation of Guido’s masterpiece, Hilda’s uniquely beautiful copy, whose most salient feature is that is it visibly different from the original, creates an Emersonian unity of beauty and usefulness. Furthermore, the copy is haunted by the copyist’s necessary sacrifice of her own individual talent as an artist. The copyist must submit to the genius of the original artist in order to perpetuate the original work’s aura, which produces tradition by means of copying and which exists only thanks to the copyist’s self-sacrifice.
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