The Marble Fawn; Or, the Romance of Monte Beni

Hawthorne, Nathaniel

doi:10.2307/25528044

Cited by 8 publications

(7 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…- Hawthorne (1859Hawthorne ( /1990 Time pervades every aspect of people's lives, and people frequently make judgments about possible futures and alternate pasts: What will happen when Harry meets Sally? Should I bet on the Yankees to win yet again?…”

mentioning

confidence: 99%

Integrating Temporal Biases

Sanna

Schwarz

2004

Psychol Sci

View full text Add to dashboard Cite

We provide an integrative account of temporal biases (confidence changes, planning fallacy, impact bias, and hindsight bias). Students listed either 3 or 12 thoughts about success or failure before an upcoming real-life exam or immediately after learning their grades. Previous explanations had focused on how thought content alone (what comes to mind) influences temporal biases. We found, however, an interaction between thought content and accessibility experiences (how easily or difficultly thoughts come to mind). Thinking about 3 ways to succeed (success was easy to bring to mind) was equivalent to thinking about 12 ways to fail (failure was difficult to bring to mind), and conversely, thinking about 3 ways to fail was equivalent to thinking about 12 ways to succeed. In no case was thought content alone sufficient to predict the biases. These results have implications for debiasing strategies and other judgments over time.

show abstract

mentioning

confidence: 99%

Integrating Temporal Biases

Sanna

Schwarz

2004

Psychol Sci

View full text Add to dashboard Cite

show abstract

“…Always, it was the same figure, and always depicted with an expression of deep sadness; and in every instance, slightly as they were brought out, the face and form had the traits of Miriam's own. 3 Barbara comments: "There is thus a connection between bringing out and an artist's autobiography, but by no means a direct one. The figure being brought out is present everywhere, in every representation, but it is always supplementary and ghostly, not the painting's subject but its mourner.…”

mentioning

confidence: 99%

“…The figure being brought out is present everywhere, in every representation, but it is always supplementary and ghostly, not the painting's subject but its mourner. The lineaments of face and form are dimly recognizable in the figure, whose very superfluity in pictorial reality is a clue to its function in autobiography" (3).…”

mentioning

confidence: 99%

“…Barbara wanted this, I think, not because she believed that her lesbianism was the key to her writing (she didn't) or because she was personally or politically in the closet (she wasn't). She wanted it because she felt that "bringing out" might elicit, along with her already overt sexual orientation, an additional, more genuinely secret intimacy; in other words -words that Barbara uses in her essay -that "it [would have] everything to do with style" (3).…”

mentioning

confidence: 99%

See 1 more Smart Citation

Call for Papers—on Barbara Johnson

Miller¹

2011

GLQ: A Journal of Lesbian and Gay Studies

View full text Add to dashboard Cite

Sometimes, in order to explain to a younger generation the supreme regard in which Barbara Johnson was held by mine, I would resort to saying that she was "a critic's critic." By which motto I didn't mean that we other critics attempted to sound like her, or thought we should. For all its grace and brilliance, her work did not stun us into shame at the imagined ineptness or stupidity of our own, nor did it turn us into parrots condemned to confirm our inferiority through trained mimicry. Certainly, it set us a standard for what literary criticism could accomplish by way of illuminating not only a text but also the very processes of critical illumination. Yet the beauty of this standard was that it instilled in us an admiration without terror; instead of sentencing us to the abjection of fans, it accorded us the dignity of fellow laborers. If you followed Johnson's work closely, you did so not because your attention brought you closer to being her (depressive variant: closer to never being her) but because it brought you closer to knowing who, in criticism, you were, or might be. As the avatar of the highest and most highly conscious state of our art, she had no progeny -that too was the beauty of her achievement -yet she was midwife to a multitude.Seven or eight years ago, though, there came a moment when my motto for Johnson ceased to please me -when, like the witches' prophesies in Macbeth, the words "a critic's critic" were turned to an unforeseen and distressing new sense. That was when she wrote an essay entitled "Bringing Out D. A. Miller," in which her object was my own critical performance in Bringing Out Roland Barthes. 1 For a long time, I avoided reading this essay, even to the point, when asked about it, of feigning I had and of offering some equivocal response that might do equally GLQ 17:2-3

show abstract

“…[17] The 'weariness' and 'sorrow' associated with the High Art Maiden, the effect of 'the Soul's growth ... amid remorse and pain', although intended as signifying the highest type, was viewed as moral corruption. [18] Hawthorne delivered his 'Dove' from the tower, ' to be herself enshrined and worshipped as a household saint, in the light of her husband's fireside', while Burne-Jones in The Golden Stairs (1880, Tate Gallery, London) pictured her descent. [19] Their 'improved' womanhood realised the evil in the world.…”

mentioning

confidence: 99%

Life into art and art into life: visualising the aesthetic woman or ‘high art maiden’ of the victorian ‘renaissance’

Anderson¹

2001

Women's History Review

View full text Add to dashboard Cite

The Marble Fawn; Or, the Romance of Monte Beni

Cited by 8 publications

References 0 publications

Integrating Temporal Biases

Integrating Temporal Biases

Call for Papers—on Barbara Johnson

Life into art and art into life: visualising the aesthetic woman or ‘high art maiden’ of the victorian ‘renaissance’

Contact Info

Product

Resources

About