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Examen corrigé Université de Montréal Thèse numérique Papyrus ...

Examen corrigé Université de Montréal Thèse numérique Papyrus ...

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95Examining Hawthorne’s narrative and from the point of view of Freud’s theory of mourning andmelancholia and Abraham and Torok’s theory of the crypt, one can say that reading is itselfstructured around necrophilic <strong>de</strong>sireprosopoetic <strong>de</strong>sire writ large. Whatever biographical,textual, or historical background the rea<strong>de</strong>r has can only be a <strong>de</strong>ad man’s remnant. The remnantsof the melancholic figures or corpses that populate Hawthorne’s narrative tend toward ontologicaland historical recognition. Recognized and reorganized, the figures in “The Custom-House” andThe Scarlet Letter reconfigure the American Gothic by <strong>de</strong>fining its elements and contours.Prosopoetically <strong>de</strong>termined, the <strong>de</strong>stination of one letter is the <strong>de</strong>parture point for anotherperson. This circularity of correspon<strong>de</strong>nce extends the circle of The Scarlet Letter. The breakingof the traditional structures and the <strong>de</strong>construction of canonical traditions frees the letteratextto float endlessly. In The Scarlet Letter, letters forever cross in a transitional and relationalmo<strong>de</strong>. Hester’s letter is Dimmesdale’s; Dimmesdale’s letter is Chillingworth’s; the narrator’sletter is also the rea<strong>de</strong>r’s. As a result, meaning is never fully graspedit is always in the processof doing, undoing, and re-doing. If the letter A is both laid open and encrypted, concealing andcanceling, then as long as the letter as a signature is not authenticated, it cannot be accredite<strong>de</strong>xcept by another, by the rea<strong>de</strong>r. Although the letter A in<strong>de</strong>xes continually what is precisely disnarrated,exclu<strong>de</strong>d from representation (i.e., Hester’s adultery), it becomes an empty signifierunable to signify. As Henry James puts it, Hawthorne “goes too far and is in danger of crossingthe line that separates the sublime from its intimate neighbor” (94). Naming and un-namingadultery, the letter A stages Hester’s attempt to avoid the law. Hester attempts to eva<strong>de</strong> the law bythe “sin” of sex and also by the subversive manufacture of the letter, and by the freedom ofspeculation that it earns for her. However, the law, much like i<strong>de</strong>ology, works implicitly and

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