지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The purpose of this paper is to review Hawthorne's aesthetic consciousness and view of art by exploring some characters' works of art in The Marble Faun. The Marble Faun takes its title from Praxiteles's sculpture of a sylvan faun and seems to avoid photography altogether, aligning itself with statuary as overtly as The House of the Seven Gables does with the daguerreotype.
Hawthorne's characters purify their media from the potential taints of sexuality that the artists such as Powers and Hosmer whom Hawthorne encountered in Rome may have depicted in their own works. Hawthorne's last published romance is the culmination of his attempts to keep his own and his characters' arts pure from the potential taints they could acquire by depicting human sexuality 'with imperfect fidelity.
With a supposed angel's innocent respect, Hilda practices a variety of copying that surpasses photography in its accuracy. Miriam, the dark heroine in The Marble Faun, readily contrasts with Hilda. For instance, while Hilda's insight makes her a transparent mechanism, Miriam's assertive womanhood threatens to remake the image of Beatrice Cenci from the top down. Miriam's art revises the truth of the original image.
The Anglo sculptor, Kenyon who works in exotic Cleopatra's clay, may get his hands dirty with the bodies of exotic temptresses. If he were to become tainted as he dirties his hands with foreign clay, he would risk jeopardizing his own innocence. Hawthorne depicts Hilda as the feminine copyist who serves as a corrective to the sculptor Kenyon's artistic vision.
The ideal union of Kenyon and Hilda enacts authorial wish-fulfillment, combining the monumental 'man of marble' with the supposed angel. Both of the characters see the works of art from a pure point of view and manage to divest artistic spectacles of possibly suggestive or licentious content. They try to purify and elevate their own works of art, which are associated with Hawthorne's view of art.
Hawthorne's characters purify their media from the potential taints of sexuality that the artists such as Powers and Hosmer whom Hawthorne encountered in Rome may have depicted in their own works. Hawthorne's last published romance is the culmination of his attempts to keep his own and his characters' arts pure from the potential taints they could acquire by depicting human sexuality 'with imperfect fidelity.
With a supposed angel's innocent respect, Hilda practices a variety of copying that surpasses photography in its accuracy. Miriam, the dark heroine in The Marble Faun, readily contrasts with Hilda. For instance, while Hilda's insight makes her a transparent mechanism, Miriam's assertive womanhood threatens to remake the image of Beatrice Cenci from the top down. Miriam's art revises the truth of the original image.
The Anglo sculptor, Kenyon who works in exotic Cleopatra's clay, may get his hands dirty with the bodies of exotic temptresses. If he were to become tainted as he dirties his hands with foreign clay, he would risk jeopardizing his own innocence. Hawthorne depicts Hilda as the feminine copyist who serves as a corrective to the sculptor Kenyon's artistic vision.
The ideal union of Kenyon and Hilda enacts authorial wish-fulfillment, combining the monumental 'man of marble' with the supposed angel. Both of the characters see the works of art from a pure point of view and manage to divest artistic spectacles of possibly suggestive or licentious content. They try to purify and elevate their own works of art, which are associated with Hawthorne's view of art.
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