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Taking the cue from some of Melville’s most intense epistolary exchanges with Hawthorne, this essay highlights the two writers’ different codes of heroics to revisit “the heroism of compromise” in The Scarlet Letter and The House of the Seven Gables. It argues that this version of cultural heroism – allegedly, a unique aesthetic and political achievement of Hawthorne’s romances (Bercovitch 1993; 1991; 1988) – may in fact be reassessed within the broader debate on the novel as a romantic form of art in 19th-century aesthetics and genre theory. In Hegel’s terms, Hawthorne may be said to have dramatized the common “collisions” of the “novel in the modern sense,” so as to adopt and put the typical solution of the classical Bildungsroman (“the education of the individual in the actual world” and his/her reconcilement with “the order of things”) at the service of the American ideology. By so doing, he hybridizes his American romances with all the limits and aporias of the European novel. He transforms his New-World modern knights into Old-World-like middle-class conformists, exposing his plot resolutions to a contentious dispute over the balance of aesthetic gains and ideological losses in literature as cultural work.

Might the pre-revolutionary setting of Boston, as depicted in Hawthorne's "My Kinsman, Major Molineux," relate to high-society Paris in James's The Ambassadors? What do the nepotistic outlooks of Robin Molineux and Lambert Strether have in common? How does the narrative technique of Hawthorne's tale anticipate the artistry of one of James's most complex narratives, and in what manner does James go beyond his predecessor in refining the reflector-narrator technique? The magnitude and significance of such concerns—although in Hawthorne's tale, historically momentous; in James's narrative, highly personal—stand to enhance understanding of how James enhanced the narrative technique of "My Kinsman, Major Molineux" in dramatic renderings of apperceptive consciousness and post-factum narrative speculation. [ABSTRACT FROM AUTHOR]

Copyright of Foreign Literature Studies is the property of Foreign Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the article I discuss Nathaniel Hawthorne's ecological imagination as problematized in his lesser-known short story "The Snow-Image: A Childish Miracle" (1849). Although Hawthorne wrote the story for children, it carries a darker gothic undertone, illustrating the problematic aspect of the Romantic nature/culture division. The focus of my inquiry are the potential ecological implications. The analytical framework is taken from Andrew Smith and William Hughes' edited collection Ecogothic (2013), in which several scholars work towards a definition of an environmentally conscious variety of the gothic genre. Using some of their findings and concepts along with selected ecocritical and New Materialist theories, I interrogate Hawthorne's highly ambiguous and shifting tropes of nature which reveal the correlation between the crisis of the imagination and that of the environment. I argue that the central trope of the snow-child and the trajectory of the narrative conceal a Frankensteinesque subplot employed to critically rethink nature as a transcendental experience. [ABSTRACT FROM AUTHOR]

In the article I discuss Nathaniel Hawthorne’s ecological imagination as problematized in his lesser-known short story “The Snow-Image: A Childish Miracle” (1849). Although Hawthorne wrote the story for children, it carries a darker gothic undertone, illustrating the problematic aspect of the Romantic nature/culture division. The focus of my inquiry are the potential ecological implications. The analytical framework is taken from Andrew Smith and William Hughes’ edited collection Ecogothic (2013), in which several scholars work towards a definition of an environmentally conscious variety of the gothic genre. Using some of their findings and concepts along with selected ecocritical and New Materialist theories, I interrogate Hawthorne’s highly ambiguous and shifting tropes of nature which reveal the correlation between the crisis of the imagination and that of the environment. I argue that the central trope of the snow-child and the trajectory of the narrative conceal a Frankensteinesque subplot employed to critically rethink nature as a transcendental experience.

Este estudio analiza la representación de paisajes a través del claroscuro en la novela póstuma El Mocho (1997) de José Donoso, en diálogo con La letra escarlata (1850) de Nathaniel Hawthorne, y el modo en que esta técnica plástica motiva tanto una visualidad paisajística como la emergencia de subjetividades ensombrecidas y “mochas”. Superando la apophrades, o la influencia de un antecedente literario, Donoso difumina paisajes y subjetividades según una poética que redice el orden museal y la emergencia de las formas en el claroscuro.

The Found Manuscript in Nineteenth-Century Fantastic Fiction: The Cases of Tarchetti and Hawthorne ABSTRACT: This essay contains a comparative analysis from a narratological point of view of the topos of the found manuscript in Iginio Ugo Tarchetti's short story Le Leggende del Castello Nero (1867) and in the introductory chapter to Nathaniel Hawthorne's The Scarlet Letter entitled The Custom - House (1850). Through reference to Tzvetan Todorov's theory of the fantastic contained in Introduction à la littérature fantastique (1970), the essay aims to demonstrate the ability of authors to modulate the voice of their narrators to make the scenes of the manuscript's discovery the privileged site for the experience of the fantastic. At the same time, the comparison with scholarly literature will show the originality in the reworking of the topos with respect to literary tradition and the functionality it has within fantasy literature. Finally, the ultimate aim of this article is to stimulate comparative reflection for a better understanding of the narratological mechanisms of the fantastic. RIASSUNTO: Il presente articolo contiene un’analisi comparativa dal punto di vista narratologico del topos del ritrovamento del manoscritto presente nel racconto di Iginio Ugo Tarchetti Le Leggende del Castello Nero (1867) e nel capitolo introduttivo a The Scarlet Letter di Nathaniel Hawthorne intitolato The Custom – House (1850). Attraverso il riferimento alla teoria del fantastico di Tzvetan Todorov contenuta in Introduction à la littérature fantastique (1970), l’articolo intende dimostrare la capacità degli autori di modulare la voce dei propri narratori per rendere le scene del ritrovamento del manoscritto il luogo privilegiato per l’esperienza del fantastico. Allo stesso tempo, il confronto con la letteratura scientifica mostrerà l’originalità nella rielaborazione del topos rispetto alla tradizione letteraria e la funzionalità che esso ha all’interno della letteratura fantastica. Infine, lo scopo ultimo del presente articolo è lo stimolo alla riflessione comparativa per una migliore comprensione dei meccanismi narratologici del fantastico.

In addition to the obvious religious allegory that frames Hawthorne's 1843 short story "The Celestial Railroad," this article proposes that the story might be read more literally and ecocritcally, as evidence of Hawthorne's growing skepticism toward the emergent transportation industry as well as toward the environmentally deleterious fossil fuels that would animate it for decades and centuries to come. Reading "The Celestial Railroad" through an energy humanist framework might reveal, as the author suggests, Hawthorne's prescient intimations of the social and ecological degradation that would eventually result from the expansion of the fossil-fueled transportation industry. Placing the story in the context of Hawthorne's nascent concerns with industrialism and environmental decay—reading "The Celestial Railroad" historically and materially, rather than merely symbolically—provides crucial insight into Hawthorne's environmental imagination, particularly in relation to the increasingly visible ecological effects of industrial modernity upon the American landscape. [ABSTRACT FROM AUTHOR]

In this essay, I examine Nathaniel Hawthorne's humanism in Young Goodman Brown and The Minister's Black Veil. I argue that Hawthorne promotes a humanist world that prizes the intrinsic value of man above religious zeal or political ideology. In each of the two stories, the humanist world was inaugurated by its protagonist, whom I will analyse through invoking Prometheus, who was known for giving fire to humanity and being punished for it. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

Trial designs using cluster-level randomization are necessary when interventions have intended effects that cannot be measured with individual randomization. When an intervention is intrinsically only able to be delivered to a cluster or when implementation of an individual level intervention is only feasibly implemented at a cluster level, cluster-level randomization is required. In designing the strategy for evaluation of the primary outcome of a cluster randomized trial, there are a multitude of important decisions to consider. While these decisions are guided primarily by the intervention—who benefits, what is the intended effect and when will it be achieved—there are important detailed choices that affect potential bias and statistical power, and implementation considerations that require compromise for considerations of feasibility and practicality. Through the lens of three large completed cluster randomized trials in HIV prevention, we present specific choices made for the overall evaluation plan, together with some of the detailed considerations, compromises and modifications that occurred during trial implementation. [ABSTRACT FROM AUTHOR]

Nathaniel Hawthorne's The Scarlet Letter has generated numerous adaptations. Its depiction of race has made it a problematic 'master text', however, especially since it was published in the same year as the US Fugitive Slave Act. This essay examines three recent adaptations across a variety of media that focus on the relationship between race and motherhood, revealing the ways in which Hester Prynne can be integrated into society as a single mother in ways that non-white mothers cannot. Suzan-Lori Parks' 1998 play In the Blood stages 'Hester, La Negrita' as a homeless mother of five who cannot escape the 'hand of fate' of racial oppression. Celeste Ng's 2017 novel Little Fires Everywhere reinvents Hester as a surrogate mother whose efforts on behalf of a birth mother in a trans-racial adoption dispute highlight how race differentially impacts maternal rights. The 2020 Hulu television adaptation of Ng's novel casts the Hester and Pearl figures, along with an artist named Hawthorne, as black women whose activism forces the Richardson family to acknowledge their white privilege. Together, these adaptations examine how the 'monstrous birth' of slavery that Hawthorne only belatedly acknowledged has had a lingering afterlife in constructions of race and motherhood. [ABSTRACT FROM AUTHOR]

This paper studies Nathaniel Hawthorne's "The Celestial Railroad" as a critique of Bunyan's visionary tale, Pilgrim's Progress, and examines the transformation of its religious ethos in the context of antebellum America. To this aim, this study mainly focuses on Hawthorne's criticism of supernatural explanations, religious teleology, and divine salvation from the New Historical perspective of subversion and containment, and the way they are transformed in terms of natural explanations, chance, and secularly-minded terrestrial salvation, respectively. As a rewriting of Bunyan's Pilgrim's Progress, "The Celestial Railroad" not only subverts the dogmatic and authoritarian religiosity of its predecessor but also demonstrates the containment of this religious discourse in a more this-worldly, humanistic, and secular vision, as the narrative is also vigilant about the repercussions that this transformation might bring about. The controversial and unsatisfactory ending of "The Celestial Railroad" is shown to be a point of strength in the story via two different interpretations: first, by appealing to the fictional nature of the dream vision, the ending undermines the truth claim ascribed to visions in the past and is thus made more appropriate to modern interpretations of dreams. Second, the contradiction at the end can function as a distraction to blur Hawthorne's intentions and to protect him against possible accusations. [ABSTRACT FROM AUTHOR]

En este artículo se analiza la trama de Berta Isla (2017) de Javier Marías a partir de algunas obras literarias del canon de la literatura inglesa y americana (Wakefield, de Nathaniel Hwathorne, pero también el soneto XIX de John Milton). Además de en cuanto “hipotextos”, estas obras se configuran como “intertextos germinativos”, según la definición que elabora José María Pozuelo Yvancos en uno de sus estudios sobre el escritor madrileño. En este sentido, Four Quartets, de T. S. Eliot, encarnaría el intertexto más emblemático e importante del que surgen los demás fenómenos de intertextualidad que pautan el desarrollo de la trama novelesca.

'If I were to toss a coin 1000 times, then it would land heads exactly n times'. Is there a specific value of n that renders this counterfactual true? According to an increasingly influential view, there is. A precursor of the view goes back to the Molinists; more recently it has been inspired by Stalnaker, and versions of it have been advocated by Hawthorne, Bradley, Moss, Schulz, and Stefánsson. More generally, I attribute to these authors what I call Counterfactual Plenitude: For any antecedent A, there is a world wisuch that A ☐→ wiis true. Moreover, some of these authors are also committed to Primitive Counterfacts Realism: There exist primitive modal facts that serve as truth-makers for counterfactual claims. Call the conjunction of these italicized theses counterfactism. I clarify it and suggest some of its virtues, while ultimately rejecting it. Stefánsson's counterfactism is motivated by and targeted at my "counterfactual skepticism"—I argue that most counterfactuals are false—and counterfactism has various other sources of support. I briefly defend that skepticism, and I seek to undercut those sources of support. I then argue more directly against counterfactism, especially on grounds of its ontological profligacy, and its leading to another kind of skepticism about counterfactuals that I believe is more problematic than my kind. In the process, I discuss how Bradley's multidimensional semantics bears on counterfactism; I offer some new considerations against some central theses regarding conditionals (Conditional Excluded Middle, Stalnaker's Thesis, and Skyrms' Thesis); and I reflect more generally on the epistemology of modality and the choice of primitives in our theorizing. [ABSTRACT FROM AUTHOR]

This article offers an ecoGothic reading of Hawthorne's 'Young Goodman Brown' (1835) and 'Roger Malvin's Burial' (1832). It fleshes out human-nature encounters in the selected short stories to revisit the common response to nature in Hawthorne scholarship as a passive element reflecting characters' state of mind. We argue that the wilderness in both short stories is presented as a malevolent and dystopian space which is actively resistant and hostile to human intrusion. We explore the ways that nature reacts to intruders in both stories drawing on the main concepts of ecoGothic criticism. The article indicates that descriptions of the wilderness in these stories are framed in Gothic terms; nature appears as disturbed and disturbing, haunted and haunting. The gloomy wilderness of the stories generates fear in the intruders not only by its uncharted space and bewildering structure but also through the possibility of the menacing presence of the Indians. Nature in the selected stories overpowers humans, punishes them severely and reclaims its space at the end. [ABSTRACT FROM AUTHOR]

Background: Most research on out-of-hospital resuscitation relies on data collection from medical records. However, the data in medical records are often inaccurate.Objective: To compare the data registration of the medical record with the data from the video recorded resuscitation and study the impact of video recording during resuscitation on the outcome.Methods: Out-of-hospital cardiopulmonary resuscitation (CPR) was video recorded using a body-mounted camera. Video recordings were independently reviewed and compared with the data of the medical record. The presence of bystander CPR and witnessed arrest, the initial rhythm, total number of defibrillations, adrenaline dosage and the total duration of CPR were studied. Using the medical records, CPR outcomes were compared for the periods prior to, during and after video recording.Results: In total, 129 resuscitations were analysed. Of the six parameters, only the number of defibrillations was not significantly different in the medical record compared to the video recordings. The total duration of CPR (69.0%) and the total dose of adrenaline administered (63.6%) were the most incorrectly recorded, followed by the number of defibrillations (34.0%), witnessed arrest (31.0%), bystander CPR (24.0%) and initial rhythm (7%). No statistically significant difference was found comparing the outcomes (ROSC, 24 h and 1 month survival) of the periods before, during and after video recording.Conclusion: We detected a high number of discrepancies between the medical record and the data from the video recorded resuscitation. No significant effect of video-recording on patient outcome was found. [ABSTRACT FROM AUTHOR]

This brief essay intends to shed a fresh light on two short stories written by the celebrated American author Nathaniel Hawthorne from the perspective of how the ‘self’ is explored; the works to be discussed are “The Prophetic Pictures” and “Wakefield”. Concretely, it will demonstrate that the author presents a characteristic individual whose self is fragmented in each of the two tales. In other words, those characters are separated not only from a common community to which they should ordinarily belong but also from themselves—namely, they are fissured inside themselves. The process of the argument would go as follows: first, it will explain in what way the self of the characters is impaired, then analyze the characteristics, and, in closing, theorize that Hawthorne urges us to review our naïve conception of the self and to introspect ourselves from another outlook. Put differently, he, by shaking our common notion of the self, goads us to make a brief halt and be self-reflective in this bustling world where people often lose themselves.

The letters Herman Melville wrote to Nathaniel Hawthorne between January 1851 and December 1852 help us reconstruct the beginning of a new stage in his writing: after the semi-autobiographical sea-novels of adventures, Melville’s imagination switched to a different narrative structure, closer to the sentimental domestic settings of Hawthorne’s romances and more attentive to female characters. The influence Hawthorne and his wife Sophia Peabody had on Melville’s imagination during the period they corresponded, as well as the failed collaboration between the two writers on the “Agatha Letters”, brought Melville to the discovery of a new feminine voice and an original female character – the resilient woman – that will appear more frequently in the following part of his literary production.

Objective: To investigate the effect of awareness of being monitored on wearing time and adherence to wearing orthopaedic footwear. Quantitative assessment of wearing time was made using direct measurement with temperature sensors during the first 3 months after provision of footwear. Design: Randomized controlled trial. Intervention: Awareness that the temperature sensor is used for measuring wearing time. Methods: All 55 participants had a temperature sensor built into the medial arch of the left insole of their orthopaedic footwear. Participants were assigned randomly to either an “awareness group” (n = 25, mean age 67 years) and knew they were being monitored for wearing time, or a “no awareness group” (n = 30, mean age 65 years) and only knew their shoe temperature was being measured. Differences were assessed with a linear mixed model. Results: Mean (standard deviation; SD) wearing time in the intervention group was 7.32 h/day (SD 4.2), and 6.11 h/day (SD 4.1) in the control group (p = 0.017). A significant interaction effect was found between awareness and pathology group on wearing time (p = 0.036). The difference was especially large (7.0 (SD 4.7) vs 2.4 (SD 2.2) h/day) in the subgroup of people with diabetes. Conclusion: Awareness of being monitored increases wearing time and wearing of orthopaedic footwear.

When Hawthorne set "Rappaccini's Daughter" in Italy, he recreated a country he had known, at that stage of his life, only through his reading and his perusal of prints. Unable to leave his native country, he had traveled to Italy imaginatively, and he had further emphasized the distance between the Italian tale and his American productions by attributing it to his French alter ego M. de l'Aubépine. Although "Rappaccini's Daughter" is one of Hawthorne's most widely discussed tales, the provenance of its male protagonist, Giovanni Guasconti, has received but scant attention. This essay will concentrate on the precise identification of Giovanni as a Neapolitan student who has left his home and has traveled a great distance to study at the University of Padua, in the north. Given the story's setting, namely, Renaissance Italy, Giovanni has traveled from what was then the Kingdom of Naples to the territory of the Republic of Venice. To all intents and purposes, Giovanni is a foreigner in a city where everything is unfamiliar and mysterious. The estrangement he experiences inevitably colors his perception of places, people, and events. Giovanni feels ill at ease in the stony urban center of Padua and longs for the sunny vistas of seaside Naples. It is precisely his longing that renders him particularly vulnerable to the lure of Dr. Rappaccini's luxuriant garden (a sort of microclimate, a southern oasis in the north), which he can see from his window. He hungers, one might say, for greenery, and that need exposes him to danger. [ABSTRACT FROM AUTHOR]

What makes workers work better: social or financial incentives? This important management research question has a long and contested history, with most studies emphasizing the former. Almost all research into this question draws on the Hawthorne studies conducted by Elton Mayo and colleagues in the interwar United States, with the Hawthorne studies even playing a part in the foundation of the Tavistock Institute and its journal Human Relations in 1947. As this article reveals, the allegedly-unique nature of the Hawthorne studies is an invented tradition deeply embedded in the human relations field to this day. To explode this invented tradition, this article uses previously unstudied historical sources to recover and examine the long-forgotten Incentives and Contentment (1938) studies, conducted from 1929 onwards by sociologist Clarence Northcott at the Rowntree Cocoa Works in York, UK. In contrast to the Hawthorne studies, the Rowntree management research found that financial incentives were more important than social incentives. This article then charts how fashions in work incentives, the importance of personalities and networks, the relatively weak position of sociology in postwar Britain, and the prestige of American expertise, combined in 1947 to ensure the Tavistock's founders believed the Hawthorne studies were unique. [ABSTRACT FROM AUTHOR]

Illuminating innovatively the dialectic by which "sign" is induced "to signify" requires an analysis of the inferrer-entailed symbolics constituting "signified," a process particularly observable during relative, purposeful re-signification, particularly at high-visibility sites. Because Nathaniel Hawthorne focused intently his romantic-dramatic oeuvre on cynosural women, because of his affinity for allegorical signification, and especially for his tangibility to feminist themes and axiologies of virtue transcending even the highly reformist nineteenth century, he is here chosen an interpretation-open "carrier wave" for that research. Climactically and consonant thematically, also instructive is Umberto Eco's unnamed, eponymous "Rose" for being an antiphrastic sign with a truth of its own signifying at least (like Hawthorne's Puritan-oblique Hester Prynne) divergence from male/hieratic hermeneutics; at most (like Apuleius's metaphysical Psyche, Hawthorne's lodestar) ineffable, philosophical Good. As if to the generating premise, Eco wrote in The Name of the Rose, "Without an eye to read them[,] signs produce no concepts"; socially consequential signification-conditioned transformation, in that eye and toward those signifieds, symptomatic both historical and rhetorical, is here assayed. [ABSTRACT FROM AUTHOR]

Copyright of La Medicina del Lavoro is the property of Mattioli 1885 SpA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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. [ABSTRACT FROM AUTHOR]

This essay discusses the relationship between the Transcendentalist author and This essay discusses the relationship between the Transcendentalist author and naturalist, Henry David Thoreau, and his sometime Concord neighbor and author of tales and romances, Nathaniel Hawthorne. It argues that while Thoreau and Hawthorne differed on many points, they found these differences useful and productive defining their own work. For his part, Hawthorne respected Thoreau’s scholarship, knowledge of nature and history, and deep integrity but found his intransigent manner boorish and disagreed with his politics. However, as his career went on he continued to dwell on Thoreau and thought to append a sketch of his life to his last, uncompleted romance, Septimius Felton. For his part, Thoreau recorded in his Journal a series of entries that are central to his understanding of the nature of his own labor, artistic activity, and life. In these passages he subtly addresses Hawthorne’s work (“The Minister’s Black Veil”) and career (Hawthorne’s consulship to Liverpool in the 1850s) in ways that become utterly central to his own natural, literary and Transcendentalist praxis. To demonstrate this thesis and its subtleties, the essay makes use of letters and passages from Hawthorne’s published writings and Thoreau’s Journal.

Son muchas las leyendas surgidas en torno al carácter solitario y taciturno de Nathaniel Hawthorne. Su aversión al mundo, la muerte del padre cuando el novelista tenía sólo cuatro años, su invalidez a los nueve, su timidez y rechazo a todo contacto físico o la intensa, si bien algo fría, relación de la madre con los hijos han servido tradicionalmente de argumento para explicar la solitud de Hawthorne. Sin embargo, este artículo pretende destacar que la soledad y la tristeza del novelista estuvieron profundamente marcadas por su propia fantasía, don éste que el autor no consiguió ni entender ni aceptar completamente. Abstract: Many legends have evolved as a result of Nathaniel Hawthorne’s solitary and melancholy nature. His aversion to the world, his father’s death when the author was only four, his invalidity at the age of nine, his shyness and dislike towards physical contact or the intense but somewhat cold bond of the mother to her children are some of the major points which have traditionally been used to account for Hawthorne’s solitude. In this article, however, I endeavour to highlight that the novelist’s isolation and melancholy were greatly influenced by his own fancy, a gift which he neither understood nor accepted completely.

The essay explores in the works of Nathaniel Hawthorne a correlation between feelings of non-existence and the feeling of indifference to others, comparing Hawthorne's engagement of this theme to related treatments of it in the philosophy of Emmanuel Levinas and the psychology of D. W. Winnicott. It argues that Levinas provides a valuable framework for understanding feelings of the real in The Scarlet Letter, but Winnicott provides a more helpful framework for interpreting Hawthorne's subsequent works. Like Levinas, Winnicott predicates subjectivity on an ethics of infinitude, but unlike Levinas, he stresses that such an experience is inseparable from love for a specific, embodied other. As his thought evolves, Hawthorne increasingly attributes feelings of vitality and realness to love and specific embodiment, and less to guilt. [ABSTRACT FROM AUTHOR]

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Points essentiels • Quand un symptôme est surexprimé, il s'agit d'un effet Hawthorne négatif, à distinguer des effets nocebo, durant lesquels le symptôme est réellement plus ressenti. • Un exemple d'effet Hawthorne négatif est celui des patients évaluant calmement leurs douleurs à onze sur dix. • Des évaluations trop répétées avec des procédés comportant des suggestions négatives, comme l'évocation de la pire douleur imaginable, pourraient induire des effets Hawthorne négatifs. • Il existe beaucoup d'autres circonstances génératrices d'effets Hawthornes négatifs. • La succession de forts effets Hawthorne négatifs avant prescription, puis de forts effets Hawthorne positifs après traitement, peut expliquer une bonne part des améliorations observées. Résumé En médecine, l'effet Hawthorne positif correspond à la moindre expression d'un symptôme en présence d'un évaluateur. Il s'additionne au moindre ressenti que procure l'effet placebo. Quand le symptôme est au contraire surexprimé, consciemment ou inconsciemment, il s'agit d'un effet Hawthorne négatif, à distinguer des effets nocebo, durant lesquels le symptôme est réellement plus ressenti. Un exemple d'effet Hawthorne négatif est celui des patients évaluant calmement leurs douleurs à onze sur dix. Les motifs d'effets Hawthorne négatifs sont nombreux : souhait d'être davantage considéré(e), ou pris(e) en charge prioritairement ; crainte de ne pas valider les critères d'obtention d'un nouveau traitement ou d'intégration dans un essai thérapeutique ; conformisme culturel ou de circonstance, comme de ne pas annuler une intervention chirurgicale lorsqu'une amélioration survient in extremis ; disease mongering ou stratégie de Knock ; désir d'être pris au sérieux par son entourage ; recherche de bénéfices secondaires ; utilisation de l'évaluation pour exprimer sa frustration d'être malade, ou son dépit de ne plus être choyé ; décalage entre les attentes d'un soulagement complet et l'efficience réelle des traitements ; majoration des douleurs, à l'origine de la démonétisation de leur chiffrage, par anxiété, culpabilité, dépression, nervosisme, catastrophisme, kinésiophobie, ou du fait d'évaluations répétées avec des procédés comportant des suggestions négatives, comme l'évocation de la pire douleur imaginable. La succession de forts effets Hawthorne négatifs avant prescription, puis de forts effets Hawthorne positifs après introduction des thérapeutiques, pourrait, plus que l'effet placebo, expliquer une bonne part des améliorations observées dans le traitement des douleurs. [ABSTRACT FROM AUTHOR]

This essay treats Herman Melville's correspondence with Nathaniel Hawthorne as an occasion to examine the relationship between historicist literary criticism and absence. Hawthorne's responses to Melville's admiring messages stand as a lacuna in the archive; Melville told Julian Hawthorne that he destroyed them, and no evidence has surfaced to contradict that claim. Without Hawthorne's half of the correspondence, contemporary scholars have been hard pressed to identify the precise nature of the two men's relationship, and thus they often have called on other historical sources to supplement a lack that can never be filled. Reading Melville's letters alongside his review of Hawthorne's Mosses from an Old Manse as engagements with the productive power of absence, this essay argues that, as it was for Melville, absence is the condition required to produce the desire that undergirds historicist inquiry. Rather than attempting to solve the mystery that the missing letters present, we argue that they offer a compelling framework for considering the scholarly encounter with the past. It is the archive's incompleteness, rather than its contents, we contend, that makes historicism possible. [ABSTRACT FROM AUTHOR]

The chemical composition of the fruits of Crataegus pentagyna Waldst et Kit against the habitat is studied. The variability of the fruits of the influence of environmental factors.

One of the central questions Nathaniel Hawthorne (1804-1864) endeavors to address in his major novels is how social reform can be informed by historical consciousness. In view of this consistent subject in Hawthorne's works, this essay attempts to explore the inextricable relationship between Hawthorne's reformist impulse and his strong awareness of the past in his major novel, The Scarlet Letter. By focusing on both the necessity of reform and the exigency of the historical sense in Hawthorne's works, this essay argues that the significance of his contribution to American literature is better understood if special emphasis is placed on how his political and historical concerns interact in his major novel. In The Scarlet Letter, Hester Prynne's return signifies a transformation from social rebel to conformist, which is designed to illustrate a revised and democratic relationship between self and community, although it fails to lead to full reconciliation between the two. I argue that the dialectical connection between Hawthorne's reformist impulses and historical consciousness resolves the acute conflicts between self and society in this novel. [ABSTRACT FROM AUTHOR]

The pairing of Mark Twain and Nathaniel Hawthorne may seem unlikely: the former, a Western humorist, onetime bohemian and perennial extrovert with a taste for cigars and a "call to literature of a low order"; the latter, a Romantic by disposition and by choice, who preferred the shadows to the spotlight. Yet in many respects, these oppositions point toward a deeper connection between the two. Both Hawthorne and Twain are inextricably linked to their childhood homes, Salem and Hannibal, places that formed their imaginative lives, while also inspiring their occasional contempt. This ambivalent response to the myth of American origins is the theme of "The Custom House." As the redheaded stepchild of Hawthorne's imagination, Mark Twain takes up the satire of "The Custom House." Like a post-Romantic Surveyor Pue, Twain inherits Hawthorne's memoir and in The Tragedy of Pudd'nhead Wilson adapts its critique to the failures of Reconstruction. [ABSTRACT FROM AUTHOR]

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As an external visual marker of what is supposed by other characters in the novel as its wearer’s ‘internal,’ spiritual state, Hester Prynne’s Scarlet ‘A’ is, among other things, an emblem of a powerful American anxiety regarding the gulf between appearance and reality, symbol and meaning. The desperate and dangerous need for fixed signs and self-evident identities that obsesses Hawthorne’s Puritan-era characters is directly related to the gold-paper money debates that dominated the politics of Hawthorne’s own time, with their concern for issues of ‘character’ and value and what we might now call the gap between the symbolic and the real, or face value and material value. [ABSTRACT FROM PUBLISHER]

The aim of this paper in an attempt to portray the multiple significance of the veil in Hawthorne's "The Minister's Black Veil" [...].

Twentieth-century concepts of degenerative hereditary insanity and Social Darwinism can be viewed as preconfigured by the less fatalistic stance of antebellum medical and social thought. Taking the latter into account, the following article will analyze Nathaniel Hawthorne’s novels The Scarlet Letter“ and The House of the Seven Gables “in order to explore nineteenth-century theories on heredity and acquired character. These literary works do not simply represent antebellum concepts of madness, but actively contribute to or critique contemporary notions on insanity and therefore shape the early psychiatric landscape in their own right.