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• W212736025 abstract "Art is omnipresent in Hawthorne's Marble Faun: three of novel's characters are artists, its title refers to both a character of novel and a work of and Rome with its museum world (Lounsbery 242) provides novel's setting. In fact, multitude of references to in Marble Faun, interspersed with lengthy descriptive passages from author's Italian Notebooks which turn Rome into a precinct of American leisure territory (Millington 17), indicate for some critics novel's inferiority. is too much about Rome, and too much about art, Hyatt H. Waggoner concludes. They are a burden story is simply incapable of carrying (223). Throughout novel, characters navigate a Roman landscape littered with artistic masterpieces, Les Harrison similarly comments (47). Art in Marble Faun has been discussed from various perspectives, such as its relation to novel's central themes of sin and guilt and conflict between Old and New World (Scrimgeour 21, Jehlen 153 ff.), or dichotomy of Classical, erotic and Victorian, non-erotic (Baym 104), or art's status in context of mid-nineteenth century's disquieting proliferation of printed texts and visual images (Lounsbery 234). However, Marble Faun exceeds what Gary J. Scrimgeour formulates as the use of as a element (19). Beneath and beyond its linking of to central theme of Fall Myth and surfeit of provided by Roman setting, novel approaches art--its contemplation and creation--on a level at once more general and more fundamental: more general, since it is not related to novel's plot or themes, and more fundamental, since it addresses very essence of itself. Independent of thematic use of art and beyond inquiry into its status in age of mechanical reproduction, Marble Faun unfolds Hawthorne's understanding of as a (56, 57, 271, 304), as indefinable nothing, that inestimable something (60), and thus as essentially non-thematic. I. Approaching miraculum What makes for an adequate approach to art? How can we contemplate art? Dealing with critical interpretation and imaginative creation (Carton, Marble Faun 16), Marble Faun discusses these questions with same intensity as it does problems of sin and guilt. In second chapter of his novel, Hawthorne has Kenyon, sculptor, claim: is spectator's mood that Transfiguration itself. I defy any painter to move and elevate me without my own consent and assistance (17). Kenyon's statement draws on an aesthetic of sublime and opposes it with an aesthetic of subject that counteracts notion that beholder is transfigured; rather, he suggests, beholder is agent of transfiguration. Significantly, Kenyon speaks in his allusion to an aesthetic of sublime of painter, not painting, as elevating and moving him; work of also plays only a subordinate role in aesthetic of subject he suggests, since or aesthetic subject transfigures Transfiguration into an aesthetic object and thus subordinates it. Then you are a (17), Miriam aptly comments. sense Kenyon is lacking is an openness not to painter and his assumed intentions but to work of itself. It is not only Miriam who objects to Kenyon's approach to but also Hawthorne's narrator in chapter The Emptiness of Picture Galleries: A picture, however admirable painter's and wonderful his power, requires of spectator a surrender of himself, in due proportion with miracle which has been wrought. Let canvas glow as it may, you must look with eye of faith, or its excellence escapes you. There is always necessity of helping out painter's with your own resources of sensibility and imagination. …" @default.
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• W212736025 date "2011-03-22" @default.
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• W212736025 title "That Indefinable Nothing, That Inestimable Something: Empathy and the Miraculum of Art in the Marble Faun" @default.
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