潘恩,霍桑,梭罗

Q3 Social Sciences
Manlio Della Marca
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引用次数: 0

摘要

以伊曼纽尔·卢茨1851年的不朽油画《华盛顿穿越特拉华河》为起点,本文将讨论卢茨这幅标志性油画中描绘的事件与托马斯·潘恩出版的颇具影响力的小册子《美国危机》(1776年)之间的关系。然后,我研究了从18世纪70年代开始,“危机”的概念如何变成德国历史学家莱因哈特•科塞莱克(Reinhart Koselleck)所说的“现代性的结构性特征”。最后,我将注意力转向两个场景——第一个场景来自纳撒尼尔·霍桑的《红字》(1850),第二个场景来自亨利·大卫·梭罗的《瓦尔登湖》(1854)——在这两个场景中,这两位美国文艺复兴时期的作家都描述了一些危机时刻,并反思了危急情况对人类的变革潜力。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Crisi americane: Paine, Hawthorne, Thoreau
Taking as my point of departure Emanuel Leutze’s 1851 monumental canvas Washington Crossing the Delaware, in this article I discuss the ways in which the event depicted in Leutze’s iconic painting relates to the publication of Thomas Paine’s influential pamphlet The American Crisis, No. 1 (1776). Then, I examine how from the 1770s on the concept of “crisis” becomes what the German historian Reinhart Koselleck has called “a structural signature of modernity”. Finally, I turn my attention to two scenes – the first from Nathaniel Hawthorne’s The Scarlet Letter (1850) and the second from Henry David Thoreau’s Walden (1854) – in which both of these American Renaissance writers describe some moments of crisis and reflect on the transformative potential of critical situations for human beings.
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来源期刊
Languages Cultures Mediation
Languages Cultures Mediation Arts and Humanities-Language and Linguistics
CiteScore
0.30
自引率
0.00%
发文量
21
审稿时长
20 weeks
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