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Literary Text and Historical Context in the Romance of Nathaniel Hawthorne

纳撒尼尔·霍桑浪漫史中的文学文本和历史背景

基本信息

批准号：
14510554
负责人：
IRIKO Fumiko
金额：
$ 2.11万
依托单位：
Kansai University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2002
资助国家：
日本
起止时间：
2002 至 2004
项目状态：
已结题

项目摘要

During the past ten years there came a remarkable advancement of so-called neo-bistorical approaches in the area of the study of the 19th century American author Nathaniel Hawthorne. The direction of my own research into the same author, though somewhat similarly history-oriented, has distinguished itself by its strong emphasis on the investigation of the varieties of American "cultural representations" that served to characterize Hawthorne's imaginative creation of mythical "romances," above all, of his masterpiece The Scarlet Letter.Those "cultural representations "of the type found in 17^<th>-century colonial New England find their equivalents or precedents in the customs, beliefs, symbols, arts and ceremonies and in other products of human thought and imagination that prevailed in Elizabethan England and Hapsburg Europe. Such cultural representations as "tapestry," "pearl," "portraiture," "coat-of-arms," "court-masque," "pageantry and spectacle," "tomb-stone;' are found imaginative … More ly incorporated into Hawthorne's "romances," especially into The Scarlet Letter. Tapestry for instance, is seen to combine multiple aspects of art and culture that characterize the development of its theme and giving emphasized expression to its thematic idea of "one out of many" The romance as a whole artistically manifest the idealistic theme of "union" which was unanimously approved and supported by monarchs of early modern European countries.Hawthorne gave expression to this idea of "union" in The Scarlet Letter and the undeniable example is found in the naming of Hester's daughter as "Pearl," since the English word "pearl" corresponds with the Spanish term of "Margarita," a name given to a Hapsburg princess, and the remarkable thing about that is that both of these words symbolically represent the idea of "union." The story ends by affording a strong impression that the United States is an incarnation of the ancient ideal of union, or of the idea of Pax Romana which had been inherited by the Holy Roman Empire (practically becoming extinct in 1804, which coincides with the year of the birth of Nathaniel Hawthorne himself). The final year of the period of my study supported by the research grant falls on 2004, the year celebrating the bicentennial anniversary of Hawthorne's birth, and in commemoration of this anniversary my book entitled Hawthorne, <The Scarlet Letter>, Tapestry was published in 2004. Less

近十年来，美国世纪作家纳撒尼尔霍桑的研究出现了新历史主义的新进展。我自己对这位作家的研究方向，虽然在某种程度上也是以历史为导向的，但其突出之处在于，它特别强调对美国各种“文化表征”的研究，这些”文化表征“是霍桑创造神话“传奇”的特征，尤其是他的杰作《红字》。这些“文化表征“是17^<th>-世纪殖民地新英格兰的典型在习俗、信仰、象征、艺术和仪式以及其他盛行于中世纪英格兰和哈布斯堡王朝欧洲的人类思想和想象的产物中，都可以找到它们的对等物或先例。诸如“挂毯”、“珍珠”、“肖像画”、“纹章”、“宫廷面具”、“华丽壮观”、“墓碑”等文化表现形式， ...更多信息在霍桑的“传奇小说”中，尤其是在《红字》中。例如挂毯，《浪漫史》是一部联合收割机，它结合了艺术文化的多个方面，突出表现了“多中取一”的主题思想。《浪漫史》在整体上艺术地体现了“联合”的理想主义主题，得到了近代早期欧洲各国君主的一致赞同和支持。霍桑就是这种“联合”思想的具体体现。在《红字》中，一个不可否认的例子是海丝特的女儿被命名为“珍珠”，因为英语中的“珍珠”与西班牙语中的“玛格丽塔”相对应，这是哈布斯堡公主的名字，而值得注意的是，这两个词都象征着“结合”的概念。“这个故事的结尾给人留下了一个强烈的印象，即美国是古代联盟理想的化身，或者是神圣罗马帝国继承的大同思想的化身（实际上在1804年灭绝，这与纳撒尼尔霍桑本人出生的年份一致）。我在研究基金资助下的研究的最后一年福尔斯2004年，这一年是霍桑诞辰200周年，为了纪念这一周年，我的书《霍桑<The Scarlet Letter>，挂毯》于2004年出版。少