ABSTRACT
In 1835 and 1836, as Emerson was describing himself as a transparent eyeball, the view from the window was a fairly typical New England landscape. there is the Puritan eyeball, mapped onto a landcape littered with bones, bullets, and arrowheads, an image that works to build America by destroying bodies that are not white, not male, and not American Film theorist Laura Mulvey is best known for her descriptions of 'the determining male gaze', which Carol Clover describes as 'the transcendental ideal omniscient, omnipotent'. By transcending gender and race in the images of the transcendent eyeball, Emerson effaces the female and the nonwhite. Hawthorne, by remapping his space in accordance with Puritan figures of racial, gendered violence, casts women into the shadowy realms of the Indian dead. The window of the 'Old Manse' etched by Nathaniel Hawthorne and Sophia Hawthorne. Nathaniel Hawthorne's construction of vision is not so different from Ralph Waldo Emerson's: Both men make Sophia Hawthorne disappear.
