Gli occhi di Beatrice
Le parole e lo sguardo nei Notebooks di Nathaniel Hawthorne
DOI:
https://doi.org/10.4454/syn.v3.537Keywords:
Nathaniel Hawthorne, Notebooks, Beatrice Cenci, GazeAbstract
By focusing on the passage describing Nathaniel Hawthorne’s encounter with the portrait of Beatrice Cenci at the Barberini Gallery, long mistakenly attributed to Guido Reni, the essay proposes a reading of the Notebooks that goes well beyond their status as travelogue, and rather envisages them as a privileged space for the reflection on the relationship between the individual and the world. Instead of highlighting what the author has experienced and ‘seen’, the Notebooks reflect on the possibilities and modalities of ‘seeing’, which, in the case of Beatrice’s portrait, fascinatingly echo the ‘mysteries’ that have always surrounded it.
References
AMORUSO, VITO, “Introduzione” a NATHANIEL HAWTHORNE, Opere scelte, Milano, Mondadori, 1994, pp. XI-XXXIX.
AN, YOUNG-OK, “Beatrice’s Gaze Revisited: Anatomizing The Cenci”, Criticism, 38 (1), 1996, pp. 27-68.
ANGLANI, BARTOLO, “Lo sguardo crudele dei puritani. The Gentle Boy di Nathaniel Hawthorne”, in GAETANO DAMMACCO e SUSAN PETRILLI (a cura di), Fedi, credenze, fanatismo, Milano, Mimesis, 2016.
—, “Lo sguardo invisibile. Tragicommedia e degradazione del sacro in The Minister’s Black Veil di Hawthorne”, Incroci, 22 (43), 2021, pp. 40-60.
BARNETT, LOUISE K., “American Novelists and the Portrait of Beatrice Cenci”, The New England Quarterly, 53 (2), 1980, pp. 168-83.
BENDER, GEOFF, “‘I feel a giddy sickness of strange awe’: Chillingworth, Cenci, and the Silent Pleasure of Pain”, Nathaniel Hawthorne Review, 42 (1), 2016, pp. 56-72.
BERRI, BARBARA, Nathaniel Hawthorne. Dal subliminale al trascendentale, Milano, Arcipelago Edizioni, 2005.
BROWN, DONA (ed.), A Tourist’s New England: Travel Fiction, 1820-1920, Hanover and Lon-don, New England U.P., 1999.
BUONOMO, LEONARDO, Backward Glances: Exploring Italy, Reinterpreting America (1831-1866), Cranbury, Associated U.P., 1996.
—, “Presences: Italian Signs in Hawthorne”, Nathaniel Hawthorne Review, 25 (1), 1999, pp. 21-30.
COLACURCIO, MICHAEL J., The Province of Piety: Moral History in Hawthorne’s Early Tales, Cambridge, Harvard U.P., 1984.
CRISAFULLI, LILLA M., “Shelley’s The Cenci: ‘studiously written in the style very different from any other composition’”, in FRANCA DELLAROSA (ed.), Poetic and Dramatic Forms in British Romanticism, Bari, Laterza, 2006, pp. 39-62.
CROWLEY, J.D., “Historical Commentary”, in NATHANIEL HAWTHORNE, Twice-Told Tales, Co-lumbus, Ohio State U.P., 1974, pp. 485-533.
DE ANGELIS, VALERIO MASSIMO, Nathaniel Hawthorne: il romanzo e la storia, Roma, Bulzoni, 2004.
DE BIASIO, ANNA, Romanzi e musei. Nathaniel Hawthorne, Henry James e il rapporto con l’arte, Venezia, Istituto Veneto di Scienze, Lettere e Arti, 2006.
—, Le implacabili. Violenze al femminile nella letteratura americana tra Otto e Novecento, Roma, Donzelli, 2016.
DOLIS, JOHN, The Style of Hawthorne’s Gaze: Regarding Subjectivity, Tuscaloosa, Alabama U.P., 1993.
DUNLAVY VALENTI, PATRICIA, “Sophia Peabody Hawthorne: A Study of Artistic Influence”, Studies in the American Renaissance, 1990, pp. 1-21.
—, “Sophia Peabody Hawthorne’s American Notebooks”, Studies in the American Renaissance, 1996, pp. 115-85.
—, “Sophia Peabody Hawthorne and ‘The-What?’: Creative Copies in Art and Literature”, Na-thaniel Hawthorne Review, 37 (2), 2011, pp. 48-72.
GOLLIN, RITA K., “Hawthorne and the Visual Arts”, in LARRY J. REYNOLDS (ed.), A Historical Guide to Nathaniel Hawthorne, Oxford, OUP, 2001, pp. 109-33.
—, and JOHN L. IDOL JR, with the assistance of STERLING K. EISIMINGER, Prophetic Pictures: Nathaniel Hawthorne’s Knowledge and Uses of the Visual Arts, New York, Greenwood, 1991.
HALL, JULIE E., “‘Coming to Europe’, Coming to Authorship: Sophia Hawthorne and her Notes in England and Italy”, Legacy: A Journal of American Women Writers, 19 (2), 2002, pp. 137-51.
—, “Romantic Gothic, Ruskin’s Aesthetics, and Sophia Hawthorne’s Notes in England and Italy”, Nathaniel Hawthorne Review, 37 (2), 2011, pp. 121-43.
HASELMAYER, LOUISE A., “Hawthorne and the Cenci”, Neophilologus, 27 (1), 1942, pp. 59-65.
HAWTHORNE, NATHANIEL, Passages from the French and Italian Note-Books of Nathaniel Haw-thorne, Boston, James R. Osgod and C., (1871) 1876, Vol. I.
—, The American Notebooks by Nathaniel Hawthorne, Based upon the Original Manuscripts in the Pierpont Morgan Library, ed. RANDALL STEWART, New Haven, Yale U.P., 1932.
—, Diario (1835-1862), a cura di AGOSTINO LOMBARDO, Venezia, Neri Pozza, 1959.
—, The American Notebooks, ed. C.M. SIMPSON, Columbus, Ohio State U.P., 1972 (Centenary Edition, Vol. VIII).
—, The French and Italian Notebooks, ed. THOMAS WOODSON, Columbus, Ohio State U.P., 1980 (Centenary Edition, Vol. XIV).
—, Tales and Sketches, ed. R.H. PEARCE, New York, The Library of America, 1982.
—, Collected Novels, ed. MILLICENT BELL, New York, The Library of America, 1983.
—, The Letters, 1813-1843, ed. THOMAS WOODSON et al., Columbus, Ohio State U.P., 1984 (Centenary Edition, Vol. XV).
HAWTHORNE, SOPHIA, Notes in England and Italy, New York, G. P. Putnam & Son, 1869.
JACK, BELINDA E., Beatrice’s Spell: The Enduring Legend of Beatrice Cenci, London, Pimlico, 2005.
JAMES, HENRY, “Review of Passages from the French and Italian Note-Books of Nathaniel Haw-thorne”, Nation, 14 March 1872.
KAUFMAN BUDZ, JUDITH, “Cherubs and Humblebees: Nathaniel Hawthorne and the Visual Arts”, Criticism, 17 (2), 1975, pp. 168-81.
LOUNSBERY, ANNE, Thin Culture, High Art: Gogol, Hawthorne, and Authorship in Nineteenth-Century Russia and America, Cambridge, Harvard U.P., 2007.
MARTIN, ROBERT K. and LELAND S. PERSON (eds), Roman Holidays: American Writers and Artists in Nineteenth-Century Italy, Iowa City, Iowa U.P., 2002.
MAZZACANE, ALDO, “Diritto e miti: il caso di Beatrice Cenci”, Studi storici, 51 (4), 2010, pp. 935-65.
MEYERS, JEFFREY, Painting and the Novel, Manchester, Manchester U.P., 1975.
MILDER, ROBERT, “The Other Hawthorne”, The New England Quarterly, 81 (4), 2008, pp. 559-95.
—, Hawthorne’s Habitations: A Literary Life, Oxford, OUP, 2013.
—, and RANDALL FULLER (eds), The Business of Reflection: Hawthorne in His Notebooks, Co-lumbus, Ohio State U.P., 2009.
MUKAI, KUMIKO, Hawthorne’s Visual Artists and the Pursuit of a Transatlantic Aesthetics, New York, Peter Lang, 2008.
MURATORI, LUDOVICO ANTONIO, Annali d’Italia, Tomo XV, Edizione seconda, riscontrata con i Manoscritti dell’Autore, Milano, a spese di Giambattista Pasquali, 1753.
NICHOLL, CHARLES, “Screaming in the Castle: The Case of Beatrice Cenci”, London Review of Books, 20 (13), 2 July 1998, pp. 23-27.
ORVIETO, PAOLO, Da Giuda a Manzoni. Personaggi inquietanti tra storia, religione e letteratura, Roma, Salerno Editrice, 2013.
PEARCE, ROY HARVEY (ed.), Hawthorne Centenary Essays, Columbus, Ohio State U.P., 1964.
PERSON, LELAND.S., “Sophia Hawthorne, Henry James, and Nathaniel Hawthorne’s ‘Curious Aversion’ to Nudity in Art”, Nathaniel Hawthorne Review, 41 (2), 2015, pp. 1-25.
PICCINATO, STEFANIA, “Nathaniel Hawthorne e Mark Twain. Fascino peccato e paradosso”, Studi Romani, 33 (3), 1985, pp. 222-43.
POE, EDGAR ALLAN, Il giocatore di scacchi di Maelzel, testo inglese a fronte, trad. it. GRAZIA CROCCO, Milano, SE, 2009.
POLLÁKOVÁ, PETRA, “The Case of Beatrice Cenci. From Guido Reni to David Lynch”, Umeni/Art, 59, 2011, pp. 380-95.
PRAZ, MARIO, “Impressioni italiane di Americani nell’Ottocento”, Studi americani, 4, 1958, pp. 87-110.
RICCIARDI, CATERINA, “Il puritanesimo di Hawthorne alla prova di Roma”, Il Manifesto-Alias Domenica, 31 agosto 2014.
SQUEO, ALESSANDRA, Orizzonti del visibile. Pratiche discorsive tra scienza e letteratura in Hen-ry James, Lecce, Multimedia, 2009.
STENDHAL, Les Cenci, in Œuvres romanesques complètes, Éd. établie par YVES ANSEL et PHI-LIPPE BERTHIER, Paris, Gallimard, 2005, Vol. II.
TWAIN, MARK, Life on the Mississippi, with an Introduction by HAROLD BEAVER, New York, Avenel Books, (1883) 1962.
WAGGONER, HYATT H., “A Hawthorne Discovery: The Lost Notebook, 1835-1841”, The New England Quarterly, 49 (4), 1976, pp. 618-26.
—, “The New Hawthorne Notebook: Further Reflections on the Life and Work”, Novel, 11 (3), 1978, pp. 218-26.
WHITE, ROBERT L., “‘Rappaccini’s Daughter’, The Cenci and the Cenci Legend”, Studi americani, 14, 1968, pp. 65-88.
AN, YOUNG-OK, “Beatrice’s Gaze Revisited: Anatomizing The Cenci”, Criticism, 38 (1), 1996, pp. 27-68.
ANGLANI, BARTOLO, “Lo sguardo crudele dei puritani. The Gentle Boy di Nathaniel Hawthorne”, in GAETANO DAMMACCO e SUSAN PETRILLI (a cura di), Fedi, credenze, fanatismo, Milano, Mimesis, 2016.
—, “Lo sguardo invisibile. Tragicommedia e degradazione del sacro in The Minister’s Black Veil di Hawthorne”, Incroci, 22 (43), 2021, pp. 40-60.
BARNETT, LOUISE K., “American Novelists and the Portrait of Beatrice Cenci”, The New England Quarterly, 53 (2), 1980, pp. 168-83.
BENDER, GEOFF, “‘I feel a giddy sickness of strange awe’: Chillingworth, Cenci, and the Silent Pleasure of Pain”, Nathaniel Hawthorne Review, 42 (1), 2016, pp. 56-72.
BERRI, BARBARA, Nathaniel Hawthorne. Dal subliminale al trascendentale, Milano, Arcipelago Edizioni, 2005.
BROWN, DONA (ed.), A Tourist’s New England: Travel Fiction, 1820-1920, Hanover and Lon-don, New England U.P., 1999.
BUONOMO, LEONARDO, Backward Glances: Exploring Italy, Reinterpreting America (1831-1866), Cranbury, Associated U.P., 1996.
—, “Presences: Italian Signs in Hawthorne”, Nathaniel Hawthorne Review, 25 (1), 1999, pp. 21-30.
COLACURCIO, MICHAEL J., The Province of Piety: Moral History in Hawthorne’s Early Tales, Cambridge, Harvard U.P., 1984.
CRISAFULLI, LILLA M., “Shelley’s The Cenci: ‘studiously written in the style very different from any other composition’”, in FRANCA DELLAROSA (ed.), Poetic and Dramatic Forms in British Romanticism, Bari, Laterza, 2006, pp. 39-62.
CROWLEY, J.D., “Historical Commentary”, in NATHANIEL HAWTHORNE, Twice-Told Tales, Co-lumbus, Ohio State U.P., 1974, pp. 485-533.
DE ANGELIS, VALERIO MASSIMO, Nathaniel Hawthorne: il romanzo e la storia, Roma, Bulzoni, 2004.
DE BIASIO, ANNA, Romanzi e musei. Nathaniel Hawthorne, Henry James e il rapporto con l’arte, Venezia, Istituto Veneto di Scienze, Lettere e Arti, 2006.
—, Le implacabili. Violenze al femminile nella letteratura americana tra Otto e Novecento, Roma, Donzelli, 2016.
DOLIS, JOHN, The Style of Hawthorne’s Gaze: Regarding Subjectivity, Tuscaloosa, Alabama U.P., 1993.
DUNLAVY VALENTI, PATRICIA, “Sophia Peabody Hawthorne: A Study of Artistic Influence”, Studies in the American Renaissance, 1990, pp. 1-21.
—, “Sophia Peabody Hawthorne’s American Notebooks”, Studies in the American Renaissance, 1996, pp. 115-85.
—, “Sophia Peabody Hawthorne and ‘The-What?’: Creative Copies in Art and Literature”, Na-thaniel Hawthorne Review, 37 (2), 2011, pp. 48-72.
GOLLIN, RITA K., “Hawthorne and the Visual Arts”, in LARRY J. REYNOLDS (ed.), A Historical Guide to Nathaniel Hawthorne, Oxford, OUP, 2001, pp. 109-33.
—, and JOHN L. IDOL JR, with the assistance of STERLING K. EISIMINGER, Prophetic Pictures: Nathaniel Hawthorne’s Knowledge and Uses of the Visual Arts, New York, Greenwood, 1991.
HALL, JULIE E., “‘Coming to Europe’, Coming to Authorship: Sophia Hawthorne and her Notes in England and Italy”, Legacy: A Journal of American Women Writers, 19 (2), 2002, pp. 137-51.
—, “Romantic Gothic, Ruskin’s Aesthetics, and Sophia Hawthorne’s Notes in England and Italy”, Nathaniel Hawthorne Review, 37 (2), 2011, pp. 121-43.
HASELMAYER, LOUISE A., “Hawthorne and the Cenci”, Neophilologus, 27 (1), 1942, pp. 59-65.
HAWTHORNE, NATHANIEL, Passages from the French and Italian Note-Books of Nathaniel Haw-thorne, Boston, James R. Osgod and C., (1871) 1876, Vol. I.
—, The American Notebooks by Nathaniel Hawthorne, Based upon the Original Manuscripts in the Pierpont Morgan Library, ed. RANDALL STEWART, New Haven, Yale U.P., 1932.
—, Diario (1835-1862), a cura di AGOSTINO LOMBARDO, Venezia, Neri Pozza, 1959.
—, The American Notebooks, ed. C.M. SIMPSON, Columbus, Ohio State U.P., 1972 (Centenary Edition, Vol. VIII).
—, The French and Italian Notebooks, ed. THOMAS WOODSON, Columbus, Ohio State U.P., 1980 (Centenary Edition, Vol. XIV).
—, Tales and Sketches, ed. R.H. PEARCE, New York, The Library of America, 1982.
—, Collected Novels, ed. MILLICENT BELL, New York, The Library of America, 1983.
—, The Letters, 1813-1843, ed. THOMAS WOODSON et al., Columbus, Ohio State U.P., 1984 (Centenary Edition, Vol. XV).
HAWTHORNE, SOPHIA, Notes in England and Italy, New York, G. P. Putnam & Son, 1869.
JACK, BELINDA E., Beatrice’s Spell: The Enduring Legend of Beatrice Cenci, London, Pimlico, 2005.
JAMES, HENRY, “Review of Passages from the French and Italian Note-Books of Nathaniel Haw-thorne”, Nation, 14 March 1872.
KAUFMAN BUDZ, JUDITH, “Cherubs and Humblebees: Nathaniel Hawthorne and the Visual Arts”, Criticism, 17 (2), 1975, pp. 168-81.
LOUNSBERY, ANNE, Thin Culture, High Art: Gogol, Hawthorne, and Authorship in Nineteenth-Century Russia and America, Cambridge, Harvard U.P., 2007.
MARTIN, ROBERT K. and LELAND S. PERSON (eds), Roman Holidays: American Writers and Artists in Nineteenth-Century Italy, Iowa City, Iowa U.P., 2002.
MAZZACANE, ALDO, “Diritto e miti: il caso di Beatrice Cenci”, Studi storici, 51 (4), 2010, pp. 935-65.
MEYERS, JEFFREY, Painting and the Novel, Manchester, Manchester U.P., 1975.
MILDER, ROBERT, “The Other Hawthorne”, The New England Quarterly, 81 (4), 2008, pp. 559-95.
—, Hawthorne’s Habitations: A Literary Life, Oxford, OUP, 2013.
—, and RANDALL FULLER (eds), The Business of Reflection: Hawthorne in His Notebooks, Co-lumbus, Ohio State U.P., 2009.
MUKAI, KUMIKO, Hawthorne’s Visual Artists and the Pursuit of a Transatlantic Aesthetics, New York, Peter Lang, 2008.
MURATORI, LUDOVICO ANTONIO, Annali d’Italia, Tomo XV, Edizione seconda, riscontrata con i Manoscritti dell’Autore, Milano, a spese di Giambattista Pasquali, 1753.
NICHOLL, CHARLES, “Screaming in the Castle: The Case of Beatrice Cenci”, London Review of Books, 20 (13), 2 July 1998, pp. 23-27.
ORVIETO, PAOLO, Da Giuda a Manzoni. Personaggi inquietanti tra storia, religione e letteratura, Roma, Salerno Editrice, 2013.
PEARCE, ROY HARVEY (ed.), Hawthorne Centenary Essays, Columbus, Ohio State U.P., 1964.
PERSON, LELAND.S., “Sophia Hawthorne, Henry James, and Nathaniel Hawthorne’s ‘Curious Aversion’ to Nudity in Art”, Nathaniel Hawthorne Review, 41 (2), 2015, pp. 1-25.
PICCINATO, STEFANIA, “Nathaniel Hawthorne e Mark Twain. Fascino peccato e paradosso”, Studi Romani, 33 (3), 1985, pp. 222-43.
POE, EDGAR ALLAN, Il giocatore di scacchi di Maelzel, testo inglese a fronte, trad. it. GRAZIA CROCCO, Milano, SE, 2009.
POLLÁKOVÁ, PETRA, “The Case of Beatrice Cenci. From Guido Reni to David Lynch”, Umeni/Art, 59, 2011, pp. 380-95.
PRAZ, MARIO, “Impressioni italiane di Americani nell’Ottocento”, Studi americani, 4, 1958, pp. 87-110.
RICCIARDI, CATERINA, “Il puritanesimo di Hawthorne alla prova di Roma”, Il Manifesto-Alias Domenica, 31 agosto 2014.
SQUEO, ALESSANDRA, Orizzonti del visibile. Pratiche discorsive tra scienza e letteratura in Hen-ry James, Lecce, Multimedia, 2009.
STENDHAL, Les Cenci, in Œuvres romanesques complètes, Éd. établie par YVES ANSEL et PHI-LIPPE BERTHIER, Paris, Gallimard, 2005, Vol. II.
TWAIN, MARK, Life on the Mississippi, with an Introduction by HAROLD BEAVER, New York, Avenel Books, (1883) 1962.
WAGGONER, HYATT H., “A Hawthorne Discovery: The Lost Notebook, 1835-1841”, The New England Quarterly, 49 (4), 1976, pp. 618-26.
—, “The New Hawthorne Notebook: Further Reflections on the Life and Work”, Novel, 11 (3), 1978, pp. 218-26.
WHITE, ROBERT L., “‘Rappaccini’s Daughter’, The Cenci and the Cenci Legend”, Studi americani, 14, 1968, pp. 65-88.
Published
2023-02-09
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Articles and Essays
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Gli occhi di Beatrice: Le parole e lo sguardo nei Notebooks di Nathaniel Hawthorne. (2023). Synergies: A Journal of English Literatures and Cultures, 3. https://doi.org/10.4454/syn.v3.537
