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박양근 釜山水産大學校 1987 論文集 Vol.39 No.-
What seems most significant in the self-characterization as artist is Hawthorne's interest in and concern for the situation in which each character is located. Of course, in The Scarlet Letter, Hawthorne does indeed reveal many of his own fundamental thoughts and feelings through characters. Hester, confronted with the hostile community, wants to defy it by means of needling. As for Dimmesdale, a main protagonist, pours out the repressed "words of flame" at the third scaffold scene. Chillingworth is endowed with the author's psychological dark legacy. Furthermore, out of vortex of conflict, Pearl rises up as a new-born artist wearing a "green" seaweed letter "A". Besides, artistic action is a combination of seeing, disclosing and uttering. In The Scarlet Letter, too, the three scaffold scenes are interpreted as those of confronation, acknowledgement, and confession respectively. Thus, the structure of the novel is in paralled with the artistic process of creativity. That is, for each character "to be true" is meaningful to remember that The Scarlet Letter is the Alpha-work of Hawthorne's novels. In the end, the "A's" meaning is human creativity which enables us to explore Hawthorne's own relationship to art. And The Scarlet Letter can be the work of Hawthorne's problem about art.
Hawthorne의 二元性 : The Old Manse를 中心으로
朴洋根 釜山水産大學校 1981 論文集 Vol.27 No.-
This study aims at an examination of process of mind that Hawthorne underwent as underlying creativity. His canon in sketches, novels, or romances suggests that his works are deeply rooted in an understanding of himself as a writer and a New Englander. The way to keep his balance between two spheres of imagination and actuality is to build a neutral territory where the imaginary and the actual meet. His concern demonstrated by heroes whose traits are both artistic and non-artistic, is how to take he stand in his duality. His duality in The Mosses From An Old Manse can be called a key to interpreting his creativity and his position in New England. Aylmer in The Birthmark destroys Georgiana dream and dreamlike actuality. His inner motive to remove the birthmark is not the scientist's triumph over nature, but the result of his repulsive shock at Georgiana's sexuality. He makes a serious mistake because he lacks humanity. Geovanni in Rappaccinis Daughter hurts Beatrice with antidote. His world of fancy is deluded by his assumption that Beatrice is injurious to him. Owen in The Artist lf the Beautiful comes near shaping his ideal through a mechanical butterfly, which is naturally compressed into pieces with a child's hand, because it means plaything. Owen doesn't spiritualize the matter, but materialize the ideal. Hawthorne's pale heroes in The Old Manse beg, respectively, human happiness, security, warmth from their counterpart heroines in their trial-and-error processes. But they may produce pathetic atmosphere for lack of a force of character. Hawthorne's prefaces in major phase show his favorable relationship between his authorship and his readers. Such tendency begins and is deepened in the old Manse period which is the first neutral territory. Therefore, Hawthorne's life and work in The Old Manse are meaningful and suggestive in studying his future process of creativity.