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- W2159702695 abstract "Abstract Most criticism of Nathaniel Hawthorne's Novel The Marble Faun has focussed on its many images of domestic containment, its supposed argument in favor of Christian idealism, as well as Hawthorne's apparent “castration” of the American sculptor Kenyon – just another in a long list of the author's male protagonists who succumb to a mixture of self-doubt (Dimmesdale, in The Scarlet Letter ), narcissism (Coverdale, in The Blithedale Romance ), and the allure of the chaste virgin (Holgrave, in The House of the Seven Gables ). This essay, however, argues that Miriam, the novel's chief female protagonist, actually completes a complicated “liberation” from the proscriptions (as Hawthorne envisioned them) of her gender, enacted by her embrace of multiple, ancient, and organic symbols. Through a simultaneous analysis of the American music icons Madonna and Lady Gaga, we find that Hawthorne engages a complex set of ideational forces – misogyny, Catholicism, and female eros – as Miriam emerges, like these famous pop stars, as an independent artist, a position that not one of the author's male protagomists is able to attain. In this sense, Miriam may be reconsidered Hawthorne's internationalized Hester, or, more aptly, his mature Pearl." @default.
- W2159702695 created "2016-06-24" @default.
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- W2159702695 date "2012-03-12" @default.
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- W2159702695 title "Hawthorne, Madonna, and Lady Gaga:<i>The Marble Faun's</i>Transgressive Miriam" @default.
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- W2159702695 doi "https://doi.org/10.1017/s0021875812000047" @default.
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