Hawthorne, Sculpture, and the Question of American Art

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A01=Deanna Fernie
ALINARI Archives
American Sculptors
art history methodology
Athenaeum Fragment
Author_Deanna Fernie
Category=DSB
Christmas Banquet
Drowne's Wooden Image
drownes
Drowne’s Wooden Image
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eq_biography-true-stories
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eq_nobargain
eq_non-fiction
faun
Great Stone Face
Greek Slave
Haunted Mind
Hawthorne sculpture literary analysis
Hawthorne's Narrative
Hawthorne's Sketches
Hawthorne's Story
Hawthorne’s Narrative
Hawthorne’s Sketches
Hawthorne’s Story
Hiram Powers
ideal
Ideal Sculpture
image
italian
Italian Notebooks
literary fragmentation
Literary Sketch
marble
Marble Faun
Marble Version
miroir
monsieur
Monsieur Du Miroir
nineteenth-century American literature
notebooks
Prophetic Pictures
Romanticism studies
Scarlet Letter
Sculptural Metaphor
Select Party
Ship Carving
transatlantic aesthetics
unfinished art motifs
Unfinished Form
wooden
Young Man

Product details

  • ISBN 9780754654797
  • Weight: 657g
  • Dimensions: 156 x 234mm
  • Publication Date: 28 Apr 2011
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Hardback
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Deanna Fernie analyzes the significance of sculpture in Hawthorne's fiction through the recurring motif of the fragment in its double guise as ruin and project. Her book casts new light on Hawthorne's memorable ruined and unfinished images, from the rough-hewn figurehead of 'Drowne's Wooden Image' (1844) to the tattered letter 'A' in the unfinished loft of the Custom House in The Scarlet Letter (1850) and the unfinished bust of Donatello in The Marble Faun (1860). Fernie shows how the tension between the formed and unformed enabled Hawthorne to interrogate the origins and the distinctive possibilities of art in America in relation to established European models. At the same time, she suggests that sculpture challenged and provoked Hawthorne's shaping of his own specifically literary art, stimulating him to develop its capacities for expressing irresolution and change. Fernie establishes the intellectual contexts for her study through a discussion of sculpture and fragmentary form as revealed in American, British, and Continental thought. Her book will be an important text not only for American literature scholars but also for anyone interested in British and Continental Romanticism and the intersections of art and literature.
Dr Deanna Fernie is an independent scholar who has studied and taught on both sides of the Atlantic.

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