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• W325217740 abstract "But more and more, as she grew familiar with the miracles of art that enrich so many galleries in Rome, Hilda had ceased to consider herself as an original artist. No wonder that this change should have befallen her. The Marble Faun (1) Richard Brodhead has insisted on Hawthorne's shame, mentioning his inability to adopt the official ecstasy mandated by the aura of European masterpieces. Brodhead affirms that The Marble Faun appears as the symptom of Hawthorne's confusion over the cultural change at work at the time. (2) The late 1850s were indeed announcing significant changes in various domains: the political turmoil in the U.S. foreshadowed the Civil War, the interlude of the American Renaissance described by F. O. Matthiessen was already a thing of the past and, on a personal level, Hawthorne was not to publish any fiction after his Italian experience. would like to argue that Hawthorne was not merely fatigued but had become aware that the rules of the literary game were being deeply modified and that writing as he had envisaged it could not last any longer. will try to identify how the marble faun--as the object of the book--interrogates both the value of visual works of art and that of The Marble Faun--as a narrative (re)presenting visual works of art. Confessing that he has stolen the designs from some sculptors in order to write his book, the narrator offers to restore the pieces to their owners. Writing, often positioned over and against the image, is from the outset intimately linked with visual art. My contention here is that, rather than raising moral or religious issues, as many have argued, the theme of the central to the romance poses aesthetic questions. The Marble Faun, according to Susan Manning, seems to herald an unprecedented aesthetic crisis: When churches become museums, and funerary monuments are the furniture of galleries, participation in a culture is reduced to the vestigial, alienated relationship created by the observing eye. Hawthorne's association of the touristic gaze with the activity of copying--with the implication that it may be the condition of modern experience that authenticity is always indefinitely deferred--achieves something very prescient, in terms of contemporary aesthetic and cultural theory. (3) In asserting that The Marble Faun announces modernity, the critic determines (krinein) the specificity of the object by defining its location inside a historical continuum. The ambition of criticism is to (im)pose a perspective that would appear relevant (both appropriate and upraising) to its object. Such a contention leads us to question our own reading of The Marble Faun insofar as the role of the critic is to locate the fall, the crisis that modifies the course of events. envision the not as a tool allowing us to view art history in terms of diachronic progression but rather as a paradigm that enables us to apprehend aesthetic experiences. The Fall Despite Miriam's tentative interpretation of Donatello's transformation, The Marble Faun is not a parable recounting the fall of man, nor is it the reenactment of Paradise Lost. Hawthorne, through Miriam's interrogations, does not impose the theory of the felix culpa but manages to maintain a permanent ambiguity; the very end of The Marble Faun leaves the reader alone with Kenyon's smile: I know but may not tell (4:467), echoing Bartleby's curious refusal, I would prefer not to. In so doing, Hawthorne invites his reader to question the validity of interpretation itself, as interpreting is perforce retroactive and justifies the fatally after it took place. The need for interpretation is itself indicative of the postlapsarian state (which also, ironically, effectively guaranteed that it could never be reliably accomplished) in which man is now doomed to stray. …" @default.
• W325217740 created "2016-06-24" @default.
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• W325217740 date "2008-03-22" @default.
• W325217740 modified "2023-09-26" @default.
• W325217740 title "The Temptation of Kitsch: The Fall of Hawthorne" @default.
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