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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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Hawthorne's creative process in The Marble Faun is central to his practical semiotic interpretation of transformation motif. It reveals an order of nature with which individual lives and human society are physically and spiritually interwoven.
In The Marble Faun, Christian history and art are in parallel with the ancient mythic patterns. Therefore, Miriam, Hilda and Kenyon can undergo transformational experiences through semiotic communication with Donatello, the pivot of transformational motif. They are Hawthorne's multiple facets as man and artist in Europe. Hawthorne brings them to life in his ultimate self-creation in metafictional structure. The Marble Faun explores these concerns, however, the primary focus is on the nature of human existence which is reflected by mystic, artistic and historic concerns, revealed in semiotic form metamorphosis and transformations.
The romance based on the mythic, artistic and semiotic analysis makes more concrete the transformational pattern: fall-descent-pilgrimage-death-rebirth. At the same time, significant variations are indispensable between Donatello-Miriam and Kenyon-Hilda, reflecting Hawthorne's duality in Europe. Therefore, The Marble Faun can reevaluate Hawthorne's artistic selfness and creativity.
In The Marble Faun, Christian history and art are in parallel with the ancient mythic patterns. Therefore, Miriam, Hilda and Kenyon can undergo transformational experiences through semiotic communication with Donatello, the pivot of transformational motif. They are Hawthorne's multiple facets as man and artist in Europe. Hawthorne brings them to life in his ultimate self-creation in metafictional structure. The Marble Faun explores these concerns, however, the primary focus is on the nature of human existence which is reflected by mystic, artistic and historic concerns, revealed in semiotic form metamorphosis and transformations.
The romance based on the mythic, artistic and semiotic analysis makes more concrete the transformational pattern: fall-descent-pilgrimage-death-rebirth. At the same time, significant variations are indispensable between Donatello-Miriam and Kenyon-Hilda, reflecting Hawthorne's duality in Europe. Therefore, The Marble Faun can reevaluate Hawthorne's artistic selfness and creativity.
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