Reliance and Confinement: Washington Allston’s Dual Attitudes Towards European Ideals in His Paintings

The paper examines the dual attitudes reflected in the artistic work of Washington Allston. Born in 1779 and died in 1843, Allston is a famous American painter and poet whose artworks are greatly shaped by European philosophical concepts and artistic traditions. Allston's inheritance of such traditions could be mainly reflected by the deliberate representation of the concept of sublimity and divinity in his artistic creation. This could be readily seen from Allston’s artistic techniques, by which he better instills his aesthetics into his religious paintings while arousing greater empathy among the audience. However, against the background of American Romanticism, Allston was faced with the conflict between conforming to the European aesthetic standards in terms of “general air” and tradition, and the dramatic departure of objects from their “proper place”. As a result, Allston resorted to the institutional liberation, thus forming his distinct artistic style with an evident feature of dual attitudes.

An Analysis of the Construction of the Multiple Spaces in The Scarlet Letter

Nathaniel Hawthorne, one of the classic writers of American romanticism, wrote many classic works throughout his life, including The Scarlet Letter, the representative of romantic novels and his outstanding masterpiece. Extensive attention has paid on it since it was published. Many literary critics use different theories to explain this work, many of which explore the theme including good and evil, love and hate, and culture under the influence of Puritanism. However, previous researches have paid less attention on the space feature of The Scarlet Letter, and in the traditional narratological research, the space factor has also been ignored for a long time. In this thesis, the author will take space as the starting point based on the relevant spatial theory and spatial narrative research results, and interpret the multiple space construction in The Scarlet Letter in detail, further analyzing the narrative strategy adopted by Hawthorne in order to explore the cultural connotation of the multiple spaces constructed in his works.

Stan Brakhage and Ethnographic Praxis

Stan Brakhage (b. 1933–d. 2003) was a visual artist and filmmaker who embodied many of the theoretical tensions and pragmatic themes in cultural anthropology in the 20th century, despite not being an anthropologist and working almost totally through experiments in 16mm film. In traversing, and being claimed by, both modernist and postmodernist thinkers and artists alike, he was a creator as much influenced by the poetry of American Romanticism as he was the harbinger of a millennial deconstruction. He is generally considered, along with the filmmaker Maya Deren, the quintessential savant of American avant-garde cinema. His phenomenological approach to filmmaking and his attention to poesis in visuality, combined with his persistent dispensation with narrative and plot, drew to light still pressing existential questions about the space between structure and individualism, the unconscious mind, myth, and intersubjective experiences in the shared quotidian of everyday being. While his early works of the mid-1950s showed solidarity with the surrealist and Freudian-inspired themes of compatriots like Maya Deren, in the 1960s Brakhage quickly engaged with what he viewed as the untapped potential of cinematic celluloid as a malleable medium with which to both capture and express the immediacy of sensual experience. At the core of his creative impulse was an exploration of visual perception unfiltered by symbolic textuality. To that end, his 16mm films were mostly soundless, color-saturated, nonlinear impressions of the most consequential of life’s relational phenomena; birth, sex, human development, death, and familial intimacies untethered from linguistic discourses, character drama, and traditional act-based storytelling structures. Brakhage’s process of etching and painting directly onto the emulsified film strips he used for shooting enabled his impressionistic questioning of the boundaries of representation in moving images. Brakhage asserted that, much as with human vision, such manipulations punched holes in the epistemic orthodoxy of experiential narrative and instead stressed the messy and affective ways that our sensory organs force us to negotiate our immanent worlds. His early artistic tenure found him characteristically prolific in modernist aesthetics as he explored concepts ranging from the psychoanalysis of dreaming and the Freudian death-drive in Reflections on Black (1955) to the metaphysical man-myth opus Dog Star Man (1961–1964). Such themes paralleled similar theoretical concerns emergent in anthropology in the mid-20th century as evident in both the structuralism of Levi-Strauss and the persistence of the Freudian unconscious as an explanatory hermeneutic. Today, Stan Brakhage’s influence in anthropology is evident in ethnographic filmmaking that challenges the documentary impulse, ambiguates hegemonic truth claims, and explores the modalities of sensorial representation related to human experience through iterative experimentation.

Romanticism in the North American Short Story

El Romanticismo fue un movimiento extremadamente influyente que surgió a finales del siglo 18 y que tuvo un gran impacto en varias áreas, incluida la literatura. Innumerables escritores han representado en sus obras características esenciales del Romanticismo como la representación de horror y emociones intensas, el uso de entornos naturales exóticos y salvajes, el nacionalismo, el individualismo, la mente humana, y el simbolismo, entre muchas otras. En este artículo, se muestra cómo el Romanticismo influyó, en concreto, la narrativa breve norteamericana analizando cinco obras: “Rip Van Winkle,” de Washington Irving; “The Minister’s Black Veil,” de Nathaniel Hawthorne; “Bartleby, the Scrivener,” de Herman Melville; y “The Minister’s Black Veil” y “The Tell-Tale Heart,” de Edgar Allan Poe. Los resultados que se han obtenido de este análisis han demostrado que estas cinco historias breves se pueden considerar trabajos románticos porque reflejan múltiples características del Romanticismo. De hecho, estos autores retratan las peculiaridades de los dos sub-campos más importantes del Romanticismo Americano conocidos como “Romanticismo Claro” y “Romanticismo Oscuro.” Romanticism was an extremely influential movement which flourished at the end of the 18th century and which had a huge impact on various areas, including literature. Countless writers have represented in their works key Romantic features such as the depiction of horror and intense emotions, the use of exotic and wild natural settings, nationalism, individualism, the reproduction of the human psyche, and symbolism, among many others. In this paper, it is shown how the Romantic Movement influenced, more specifically, the North American short story by analysing five works: Washington Irving’s “Rip Van Winkle,” Nathaniel Hawthorne’s “The Minister’s Black Veil,” Herman Melville’s “Bartleby, the Scrivener,” and Edgar Allan Poe’s “The Masque of the Red Death” and “The Tell-Tale Heart.” The results which have been obtained from this analysis have demonstrated that these five short stories can be considered as Romantic works because they reflect multiple characteristics of the Romantic Movement. In fact, these writers portray the peculiarities of the most important subfields of American Romanticism, which are known as “Light Romanticism” and “Dark Romanticism.”