Creative Agency in The Scarlet Letter
Bibliographic Data
| ID | 21788167 |
|---|---|
| Authors | Tia Byer (University of Edinburgh, corresponding author) |
| Year | 2020 |
| Issue | 30 |
| Publication date | 2020-07-21 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | FORUM University of Edinburgh Postgraduate Journal of Culture & the Arts (JOURNAL) |
| Journal identifiers | ISSN: 1749-9771 • E-ISSN: 1749-9771 |
| Publisher | University of Edinburgh (PUBLISHER • GB) |
| DOI | 10.2218/forum.30.4477 |
| OpenAlex | W3046207032 |
| Language | EN |
| References cited | 4 |
This article provides a critical analysis of Nathaniel Hawthorne’s employment of artistic defiance in The Scarlet Letter. In reading Hester Prynne’s artistic ability and theological dissent as tools of creative resistance, the article claims that Hawthorne uses self-expression to critique Puritan values. When Hester redesigns the symbol of the scarlet letter A that she is forced to wear as a punishment for the sin of committing adultery, the act of sewing becomes a transgressive form of resistance. By examining the way in which she transforms her symbol of shame into an expression of autonomy, I trace the spiritual significance of Hester’s resistance and Hawthorne’s statement of individualism as reflecting the Transcendentalist rhetoric of early nineteenth-century New England. Hester’s ability to transcend institutional authority to create an independent identity, in turn, cultivates an independent relationship with God. Finally, I read Hawthorne’s own parallel creative struggle as author as a metaphor for national independent identity that can be contextualised within the American Renaissance
Adultery · Aesthetics · Art · Dissent · Individualism · Literature · Politics · Psychoanalysis · Rhetoric · Social science · Sociology · Theology · Cultural Studies and Interdisciplinary Research · Flannery O'Connor and Thomas Merton · Law · Management Theory and Practice · Philosophy · Psychology
| Highly cited | No |
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