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1
Nugent, Theresa Lanpher. „Reading Molly Bloom“. W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625891.
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2
Pino, Morales Cristián. „Moby Dick and trascendental Decadence“. Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/110469.
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Pernelle, Beatrix. „La représentation dans Moby-Dick“. Nice, 1993. http://www.theses.fr/1993NICE2019.
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Des nombreux tableaux et gravures évoqués dans le texte jusqu'aux tatouages et autres hiéroglyphes, Moby Dick est un roman marque par la multiplicité des représentations. Il semble que la représentation littéraire soit régie par la loi du narcissisme, qui règle tous les doubles et les jeux de miroir présents dans la fiction melvilienne. L'écriture permet en effet au moi de se représenter selon un processus qui, détruisant la plénitude narcissique de l'infans, contribue en même temps à la constitution du sujet. Mais la lettre en tant que trace écrite est loin d'établir une correspondance préétablie avec ce qu'elle désigne, laissant ainsi la place à une indétermination fondamentale. Cette conception contribue à la déconstruction d'une vision traditionnelle ontothéologique de la production de l'écriture. La question de la représentation ne peut être séparée de celle de la signification et du déchiffrement des signes, Moby Dick mettant en scène les processus interprétatifs mis en œuvre face à une image ou à un texte. Le sens n'est pas donné à l'avance mais reste à construire par l'interprète : le texte de Melville peut à ce titre être considéré comme la représentation d'un système linguistique, en l'occurrence la théorie énonciative de CulioliWhether it deals with paintings and etchings or hieroglyphics, the novel is marked by a multiplicity of representations. Literary representation turns out to be under the rule of the principle of narcissism, which governs all the duplicates and mirroring effects in Melville fiction. The play of the writing allows the representation of the self according to a process which destroys the narcissistic plenitude of the "infans" subject but contributes at the same time to constitute the subject. But as a written mark, the letter is far from establishing a pre-determined relation with the object it refers to, and allows a fundamental indeterminacy. Such a conception contributes to the deconstruction of a traditional and theological vision of the production of the writing. The problem of representation cannot be separated from that of meaning and of the deciphering of sings. Moby-dick shows the process of the interpretation of an image or a text : meaning is not given, but has to be constructed by the interpret. In this sense Melville text can be considered as the representation of a linguistic system, in this case culioli's enunciative theory
4
Mitchell, Michelle. „Reading Penelope and Molly: An Intertextual Analysis“. Miami University Honors Theses / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1111684298.
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González, Molano Yolanda. „Molly Keane y Kate O'Brien: nación, clase y género“. Doctoral thesis, Universitat Autònoma de Barcelona, 2004. http://hdl.handle.net/10803/4910.
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En esta tesis se estudia el tratamiento de la identidad en las novelas de Molly Keane (1904-1996) y Kate O'Brien (1897-1974), cuyas obras se publicaron con posterioridad a la proclamación del Irish Free State en 1922. Mediante un triple enfoque que analiza la interrelación de los aspectos de nacionalidad, clase y construcción genérica, se defiende que ambas autoras coinciden en la presentación de una identidad conflictiva y ambigua que debe conciliar la pertenencia a una clase privilegiada, ya sea la angloirlandesa protestante o la católica de clase media, con un sentimiento de subalternidad como mujeres, cuya identidad femenina responde a una construcción cultural acorde con los discursos de la época. El uso de un marco teórico que combina las ideas de Bajtín del cronotopo, la polifonía y el carnaval con los conceptos de feminidad acentuada y masculinidad hegemónica de los estudios de género (Connell y Rich principalmente) permite el análisis de los discursos de las novelas, caracterizados por un dialogismo débil en el que el que los discursos de género cobran predominancia frente a los de clase y nacionalidad. Tanto los primeros como estos últimos se apoyan en lo que Bajtín ha llamado carnaval, otorgando a lo marginal, lo grotesco, lo humorístico un valor de protesta cuyo alcance enriquece la representación de las construcciones genéricas pero que, sin embargo, estereotipa las relaciones entre clases y nacionalidades. En otras palabras, la protesta que realizan como mujeres se neutraliza por la aceptación y repetición de los mismos discursos de clase y nacionalidad que intentan cuestionar.
Partiendo del contexto socio-histórico, la construcción del estado independiente irlandés, se estudian las contradicciones de la nueva Irlanda, cuyos discursos dominantes, (familismo, nacionalismo) se reflejan en un registro temático que arranca con la omnipresencia y opresión de la institución familiar para adentrarse en el mundo individual femenino. El cronotopo de la casa familiar revela los motivos literarios comunes en ambas autoras, la Big House y las grandes casas de los comerciantes católicos; permite el análisis de los géneros literarios utilizados novela familiar y generacional para expresar un punto de vista femenino que se resiste a encasillarse en estereotipos: predominancia del asunto amoroso, finales felices, matrimonios perfectos. Así mismo, el cronotopo desvela los discursos de clase y nacionalidad ocultos entre los hechos de los protagonistas, las acotaciones de los narradores y las intervenciones de aquellos que no forman parte de las clases dominantes.
Los discursos de clase y nacionalidad también cobran importancia en la presentación de las diferentes feminidades y masculinidades que habitan las casas irlandesas y que responden a los discursos del good behaviour en las novelas de Keane y la pudeur et la politesse en las de O'Brien. Se constata que ambos son igualmente ejemplos de feminidad acentuada, construcción genérica que obedece a las necesidades políticas y culturales de la época, cuyos pilares son la aceptación de un ideal de belleza, la internalización de un falso romanticismo a través de la lectura y el ejercicio de la maternidad. Por su íntima relación con la feminidad, se analiza la masculinidad hegemónica a través de la preponderancia de lo público sobre lo privado, de la paternidad como medio de afirmación y de la violencia como ejemplo de la hipermasculinidad. Finalmente, se discuten las alternativas a estos discursos, denominadas sex and snobbery en Keane y protesting conscience en O'Brien. Frente al ideal de belleza, se intenta el juego de la mascarada y la ironía, así como el esbozo de una mirada lesbiana que cuestione el deseo heterosexual masculino. Frente al falso romanticismo, una educación que rechace el matrimonio. Frente al ideal masculino, se esbozan identidades homosexuales que cuestionan tanto la masculinidad hegemónica como el concepto de identidad.
This thesis analyses identity in Molly Keane and Kate O'Brien's novels, which were published after the proclamation of the Irish Free State (1922). By using a perspective which encompasses three aspects nationality, class and gender it is argued that both writers depict a conflictive and ambiguous identity that cannot harmonise its privileged class features (Anglo-Irish or middle class) with its subaltern female nature, which agrees to the cultural construction of femininity imposed by the current ideological discourses.
The theoretical framework that informs the thesis relies on Bakhtin's ideas on the chronotope, polyglossia/heteroglossia and carnival, as well as on the concepts of emphasised femininity and hegemonic masculinity developed in gender studies (Connell). The thesis makes the case for the existence of a weak dialogism in the novels, since gender discourses preclude class and nationality ones from surfacing. Class, nation and gender discourses are all couched in the scope of the carnival. This conveys the possibility to interrogate the cultural construction of identity by enhancing its grotesque, humorous and marginal representations. However, it is suggested that carnival favours the dismantling of gender identities but at the same time it may enable the stereotyping of nation and class identities. That is, O'Brien and Keane's protest against the cultural construction of gender is counteracted by the acceptance of the nation and class discourses they try to avoid.
Departing from a socio-historical panorama of the independent Ireland, the thesis targets the relation between the dominant discourses and the main topics of the novels. The chronotope of the family house illustrates the predominance of literary motives: the house (the Big House and the catholic middle class house); it also discloses a feminine perspective which inverts the rules of the so-called feminine literary genres by rejecting happy endings, the prominence of love and perfect marriages. At the same time, the chronotope exposes nationality and class discourses concealed in the narrator's comments and the acts performed by both the privileged and unprivileged characters.
Class and nationality discourses are also part and parcel of the depiction of the masculinities and femininities in the house. Femininities respond to the discourses of good behaviour and la pudeur et la politesse, in Keane's and O'Brien's novels respectively, which are an examples of emphasised femininity. This is a cultural construction of femininity based on the acceptance of a beauty ideal, the reproduction of mothering and internalisation of romance through reading. Similarly, hegemonic masculinity is defined on terms of its public, rather than private, scope, its fathering role and its violence, especially when masculinity becomes hypermasculinity.
Alternatives to emphasised femininity and hegemonic masculinities are also explored by decoding the discourses of sex and snobbery in Keane's works and protesting conscience in O'Brien's. These attempt to question the ideal of beauty by emphasising the performance of the female masquerade and its ironic and grotesque effects. They also account for a female gaze which does not correspond to male desire, as well as vindicate the need to educate women instead of preparing them for marriage. An appraisal of hegemonic masculinity is also traced by depicting homosexual masculine identities which do not only confront hegemonic masculinity but also blur the very concept of identity.
6
Ott, Sara. „Paradox and philosophical anticipation in Melville’s Moby-Dick“. Thesis, Wichita State University, 2006. http://hdl.handle.net/10057/385.
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Much of the current critical literature on Moby-Dick lacks a unifying focus. This essay attempts to provide a thread of continuity for Moby-Dick by proving that paradox and Herman Melville’s anticipation of the early existential movement hold the key to a full reading of this text. By viewing the text itself, Melville’s personal correspondence, and the writings of Emerson, Hegel, Kierkegaard, and Nietzsche, the paradoxical tension by which this text must be read comes into clearer focus.Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences.
"May 2006."
Includes bibliographic references (leaves 32-35)
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Ott, Sara Quantic Diane. „Paradox and philosophical anticipation in Melville's Moby-Dick“. Diss., Click here for available full-text of this thesis, 2006. http://library.wichita.edu/digitallibrary/etd/2006/t069.pdf.
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Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences."May 2006." "Copyright 2006 by Sara Ott" Title from PDF title page (viewed on October 29, 2006). Thesis adviser: Diane Quantic. Includes bibliographic references (leaves 32-35).
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Johnson, Rebecca. „MOBY DICK! THE MUSICAL: A TRAVESTY IN TRAVESTI“. Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3580.
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Moby Dick! The Musical is a comedic parody based on Herman Melville's 1955 classic novel Moby Dick about a madman who seeks revenge on the great white whale that crippled his body and consumed his spirit. The thesis role I have chosen is "Starbuck", the ship's first mate. If this were a dramatic telling of the classic tale, my role would be considered an absurdity for the sure-known fact that Starbuck is a male character. However, since Moby Dick! The Musical is a spoof that features a play within a play, many, if not most, of the roles are being played by women (teenage school-girls to be exact). These roles are known as "trouser roles," and this tradition stems back to the 17th Century. The term refers to a male character sung by a woman (mezzo). It is also referred to as a "breeches part" or in Italian, "travesti". This will be my first trouser role experience. Before today, I hadn't given the concept much thought in relation to musical theatre. These roles generally live in works ranging from Shakespeare to early operetta, and most important, Opera. This thesis role will allow me to log a personal experience in journal form and experience those challenges and rewards that transpire from a live performance. My research will include the history of the "trouser role," including famous performers, specific roles in shows, and the effect it has had on audiences over the years. My main concern, however, is when, where, why, and how the concept made its transition to musicals. It will also be interesting to see what genres these roles are generally written for. Are they all parodies like Moby Dick! The Musical or are there a few dramas thrown into the mix? There will surely be a long list of shows that include the "lady in drag". When all is said and done, I will have a wealth of information in an educational thesis that will prove the significance of an ever-transforming concept.M.F.A.
Department of Theatre
Arts and Sciences
Theatre
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Hänssgen, Eva. „Herman Melvilles 'Moby-Dick' und das antike Epos /“. Tübingen : G. Narr, 2003. http://catalogue.bnf.fr/ark:/12148/cb390763590.
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Myrén, Alexander. „Criticism of Emerson's Transcendentalism in Melville's Moby-Dick“. Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-70906.
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In conceptualizing Moby-Dick; or, the whale, Herman Melville was both drawn and opposed to the ideas of Ralph Waldo Emerson. Through an analysis of the main characters in MobyDick and Emerson’s writing, it becomes evident that Transcendentalism is embodied in the characterization of the novel’s main characters. I argue that the eventual fates of characters in the novel reveal Melville’s criticism of Emerson’s ideas. Moreover, the depiction of ocean and land as a symbol of the soul in Moby-Dick mirrors Emerson’s idealized relationship between man and nature. However, the ambiguous and horrific nature Melville produces shows that the romantic ideal of Emerson’s is lacking.I skrivandet av Moby Dick eller valen så kom Herman Melville att både inspireras av och motsätta sig Ralph Waldo Emersons idéer. Genom en analys av huvudkaraktärerna i Moby Dick samt Emersons texter så är det tydligt att transcendentalism finns förkroppsligad i karaktäriseringen av romanens huvudkaraktärer. Jag argumenterar för att karaktärernas slutgiltiga öden i romanen uttrycker Melvilles kritik av Emersons idéer. Vidare så är skildringen av hav och land som en symbol för själen i Moby Dick en spegling av Emersons idealiserade förhållande mellan människa och natur. Emellertid den tvetydiga och fruktansvärda natur Melville skapar visar på bristfälligheten i Emersons romantiska ideal.
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Dries, Laurie Ann. „The evolutionary persistence of the gynogenetic Amazon molly, Poecilia formosa /“. Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Vafa, Amirhossein. „Rethinking world literature from 'Moby Dick' to 'Missing Soluch'“. Thesis, University of Sheffield, 2015. http://etheses.whiterose.ac.uk/8165/.
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This thesis stems from interlocking sites of local and global inequalities that span from the public to cultural realms. Considering the US-Iranian relations, and America’s geopolitical presence in the Persian Gulf since the Cold War, my literary study concerns a world order of core-periphery divides that chart the global circulation of travelling texts. Within this process of establishing “national” and “world texts,” silenced are subordinate characters whose untold stories read against the grain of institutional World Literature. Towards an egalitarian cross-cultural exchange, therefore, I examine works of fiction and cinema across a century and two oceans: Herman Melville’s Moby-Dick, Esmail Fassih’s The Story of Javid, Mahmoud Dowlatabadi’s Missing Soluch, and Amir Naderi’s film The Runner. In contention with the widespread Eurocentric treatments of world literatures, and in recognition of radical efforts to reimagine the worldliness of American and Persian literatures respectively, I maintain that aesthetic properties are embedded in their local histories and formative geographies. Bridging two literary worlds, then, I introduce the Parsee Fedallah as a figure whose significant role has been subdued in Melville scholarship. To retrieve his unheard voice, or “proleptic narrative,” is to de-territorialize an American master-text, and to bring the character to his Persian literary and cinematic counterparts in a subversive practice of Comparative Literature. In effect, lived experiences of Fassih’s Javid (a Zoroastrian national trope) and Dowlatabadi’s Mergan (a marginalized rural woman) are “proleptic” articulations of Fedallah’s voice in Iranian fiction. In-between Melville’s outward “sea” and Fassih and Dowlatabadi’s inward “land” is an alternative space in which the border-crossing of fictional characters enable counter-hegemonic cartographies. In conclusion, by virtue of his creative conflict with Melville, Naderi’s Amiru points at the silver screen as a visual realm of new possibilities beyond the monopoly of an expansive World Literature.
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Gambarotto, Bruno. „Modernidade e mistificação em Moby-Dick, de Herman Melville“. Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-14032013-104328/.
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Neste estudo de análise e interpretação de Moby-Dick (1851), de Herman Melville (1819-1891), pretendemos formular e esclarecer questões relativas ao momento de definição do romance norte-americano, bem como à obra que se traduz como o esforço mais radical de um norte-americano na tentativa de, então, levar a forma romance ao estudo e reflexão sobre sua sociedade. Para tanto, recuperamos da leitura da obra os aspectos que mais fortemente tematizam tal intento: a crise ideológica de fins da década de 1840, quando os ideais revolucionários de igualdade da antiga república são finalmente confrontados com as consequências de sua integração no sistema capitalista mundializado questão central de Redburn (1849) e White-Jacket (1850), romances que preparam Moby-Dick e marcam as primeiras experiências de Melville como escritor social; o conceito de fronteira, problema de definição identitária norte-americana que abarca desde a ocupação da wilderness puritana no século XVII ao estabelecimento, à época de Melville, de uma política de Estado imperialista e, ademais, passa pela cristalização de perspectivas culturalmente particulares de propriedade e formação social de classe; e, finalmente, as noções de técnica e trabalho, diretamente implicadas na atividade baleeira e, de modo mais amplo, no avanço civilizatório norte-americano, e para quais pesam a consciência do valor social do trabalho livre e sua coexistência com a escravidão. É sob tais preocupações que contemplaremos, à luz da teoria crítica e da tradição crítica brasileira, as especificidades formais do romance, a saber, a apropriação estrutural do trágico em contraposição à épica, que define o percurso de Ahab, o capitão do Pequod, em sua caçada a Moby Dick, e a formação de um narrador reflexionante, o sobrevivente Ishmael, que retoma o passado da catástrofe para ferir o presente em que se perpetuam, no roldão do ingresso norte-americano na modernidade, as condições para sua reprodução.Through an analytical and interpretative study of Herman Melvilles Moby-Dick I intend to formulate and clarify the historical turning point of the American novel, specifically what is deemed the most radical effort of an American writer to bring a comprehensive study on society into novelistic form. In order to accomplish that, I reconsider some of the features of Moby-Dick that strongly appealed to the times. First the ideological crisis of the 1840s, when the equalitarian revolutionary ideals of the Independence were finally confronted by the consequences of the U.S. being fully compromised to the Industrial Revolution and the capitalistic worldwide system. This is a central issue in Redburn (1849) and White-Jacket (1850), both novels where some major features of Moby-Dick are anticipated and firstly tested. Second, I scrutinize the concept of frontier -- a national identity issue that can be traced back to the Puritan 17th century errand into the wilderness that is strongly attached in the age of Melville to the ideological making of American imperialism. Besides, it also has had a major role in the crystallization of culturally specific perspectives on property and the establishment of social classes. Finally, I reconsider the notions of technique and labor, directly implied in the whaling industry and in a more general way in the marching of American civilization towards the West, which has had a strong impact on the understanding of the social significance of free labor and its coexistence with slavery. With those things under consideration, and through the surmises of the Critical Theory and the Brazilian tradition of social and literary criticism as well, it is my aim to shed light on some esthetical features of the novel, particularly on the tragic structure (as opposed to the epic) that defines the career of Pequods Captain Ahab and his obsessive chasing of Moby Dick, and the constitution of a self-reflexive narrator, the survivor Ishmael, who recalls the past of the catastrophe in order to attack the social reproduction of its conditions in the present.
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Sousa, Maria Isabel. „Environmental concerns in Melville's Moby-Dick and Thoreau's Walden“. Master's thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/11440.
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Mestrado em Línguas, Literaturas e CulturasA presente dissertação procura analisar Moby-Dick, de Herman Melville, e Walden, de Henry David Thoreau, narrativas que, em meados do século XIX, alertavam para a necessidade de preservar a natureza, num tempo em que os Estados Unidos da América começavam a explorar as potencialidades da revolução industrial. Afirmando-se, de certo modo, como profetas dos excessos que o homem viria a cometer na era pós-industrial, prenunciavam já os desastres ecológicos que atualmente conhecemos e que têm sido praticamente ignorados. Assim sendo, há todo o interesse em revisitar estes textos, visto terem teorizado, de uma forma literária, mas simples, muitos dos aspetos presentes no discurso da ecocrítica atual. Além disso, este estudo pretende demonstrar que é urgente o homem compreender que é moralmente inaceitável violar as leis da natureza. Para o seu próprio bem e de todo o universo, é imperioso que a respeite, tal como Melville e Thoreau prudentemente preconizaram.
This dissertation aims at analyzing Herman Melville’s Moby-Dick and Henry David Thoreau’s Walden, mid-nineteenth-century American narratives where both authors called attention to the need to preserve nature, at a time when the United States of America was beginning to explore – and possibly exploit – the potential promised by the industrial revolution. To a certain extent, they stood out as prophets of the excesses that man would commit in the post-industrial era, hence foreshadowing the ecological disasters that we have witnessed of late but, unfortunately, have practically ignored. Thus, there is much to be gained when revisiting these texts, since both voices theorized, in a literary, but simple way, many of the issues present in current environmental discourse. Furthermore, this study aims at demonstrating that it is urgent man finally realizes that it is morally unacceptable to violate the laws of nature. For both his own and the universe’s sake, it is imperative that human beings respect nature, as Melville and Thoreau wisely advocated.
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McGraw, Kenneth W. „Dangerous Discourse: Language and Sex between Men in Eighteenth-Century London“. Cleveland, Ohio : Case Western Reserve University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=case1246630633.
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Thesis(Ph.D.)--Case Western Reserve University, 2009Title from PDF (viewed on 2009-11-23) Department of English Includes abstract Includes bibliographical references and appendices Available online via the OhioLINK ETD Center
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Figueira, Vinicius Duarte. „Jornada rumo ao crepúsculo : uma leitura nietzschiana de Moby-Dick“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/10975.
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Este trabalho é de natureza teórica e estuda a obra Moby-Dick, de Herman Melville, à luz da filosofia antimetafísica de Friedrich Nietzsche, mais especificamente como está concretizada em Sobre verdade e mentira em sentido extramoral e Crepúsculo dos ídolos. Demonstra-se que as indagações de fundo ontológico presentes na obra de Melville encontram resposta parcial na noção de impossibilidade metafísica do pensador alemão. Para tal demonstração, recorre-se, em primeiro lugar, a uma sistematização do pensamento de Nietzsche e, em segundo, a uma abordagem interpretativa e compreensiva do texto de Melville, acentuada por meio do diálogo com a filosofia do próprio Nietzsche e, alternativamente, de Heidegger. Em conformidade com Iser, a compreensão dos sentidos do texto literário aqui estudado é realizada pelo trabalho de interpretação e estabelecimento de sentidos perpetrado pelo leitor, seja na fixação do que está claramente dado no texto, seja na busca dos sentidos lacunares, não claramente formulados e verbalizados.This is a theoretical work on Herman Melville’s Moby-Dick and its relation with the anti-metaphysical philosophy of Friedrich Nietzsche as found especially in Twilight of the Idols and On Truth and Lie in an Extramoral Sense. It is shown that the ontological nature of Moby-Dick, the novel, finds a partial answer in the notion of metaphysical impossibility developed by the German philosopher. In order to accomplish this goal, a systematization of Nietzsche’s thought was made, so that an interpretative approach of the literary text could be carried out emphasizing a dialogue with his philosophy, and, alternatively, Heidegger’s. In compliance with Iser, this study takes into consideration the fact that comprehension is achieved through interpretation and what the reader is able to perceive in the literary text, either reinforcing what is already given there, or searching for what is unformulated and non-verbalized in it.
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GENIN, ISABELLE. „Les trois traductions francaises de moby-dick de herman melville“. Paris 3, 1998. http://www.theses.fr/1998PA030059.
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La these est une etude comparative des trois traductions francaises de moby-dick de h. Melville: celle de jean giono, lucien jacques et joan smith (1941), celle d'armel guerne (1954), et celle d'henriette guex-rolle (1970). L'etude de nombreux exemples est faite du point de vue du lecteur: lecteur anglophone et francophone. Le but est de degager les grandes tendances de chaque texte, de reperer les procedes deformants et de mettre au jour les espaces de creation qui apparaissent dans chaque version. L'ecriture du roman presente d'immenses difficultes pour le traducteur qui doit affronter des contraintes multiples et contradictoires. Sa profusion extreme, son desordre apparent, brisent le cadre exigu du langage pour permettre a melville d'exprimer un monde par essence inexprimable. Les quatre axes de comparaison sont quatre facettes de cette unique demarche, chaque domaine posant, pour les traducteurs, des problemes specifiques. 1) les voix: voix des quakers, voix populaires, voix exotiques et voix des travailleurs de la mer. 2) dire l'indicible: fonctionnant en reseaux sous-jacents ou par agglomerats, les affixes negatifs rappellent au lecteur que moby dick ne peut etre decrit qu'en termes de ce qu'il n'est pas. Associes aux doubles negations, ils creent une zone d'ombre entre les deux poles semantiques d'un mot et de son contraire. 3) l'adjectivation: les nombreux adjectifs sont le reflet de la voix du narrateur qui procede par empilement, associations et connotations. 4) mise en images et en musique: melville favorise les moyens d'expression indirects, mediats, ceux qui transmettent du sens en dehors des rapports conventionnels signifiant/signifie: les metaphores et les figures sonores, rythmiques et iconiques que dessinent les groupes de mots et les phrasesThis dissertation is a comparative study of the three french translations of moby-dick by melville: that by jean giono, lucien jacques and joan smith (1941), that by armel guerne (1954), and that by henriette guex-rolle (1970). The study of many examples is carried out from the point of view of both the english-speaking and the french-speaking reader. The aim is to show the general tendency of each text, to point out some processes significantly changing the experience of the reader of the translation and to assess the passages where translating becomes creative writing in its own way. The style of the novel makes the translator's task challenging as he has to find a way out of numerous conflicting priorities. The abundance of the language and its apparent disorder enable melville to transcend its limitations and express what is beyond the power of words. The main four lines of comparison are four aspects of that attempt, but each raises specific problems for the translator. 1) voices: the quakers, the uneducated people, the exotic characters and the sailors. 2) words for what is beyond words: negative affixes and double negative forms which blur the frontier between a word and its contrary. 3) adjectives: reflecting the narrator's voice piling up words and connotations. 4) creating images and music: through metaphors, repetitions of words and sounds, word order and sentence patterns
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Armstrong, Jessica Plasketes George. „A narrative look at the regional voice of political columnist Molly Ivins“. Auburn, Ala., 2005. http://repo.lib.auburn.edu/2005%20Summer/master's/ARMSTRONG_JESSICA_45.pdf.
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Perot, Sandra. „Reconstructing Molly Welsh race, memory and the story of Benjamin Banneker's grandmother /“. Connect to this title, 2008. http://scholarworks.umass.edu/theses/210/.
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Kern, Benjamin David. „An Iroquois Woman Between Two Worlds: Molly Brant and the American Revolution“. Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1376538884.
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Creson, Thomas Kyle. „Dose-response effects of lithium on spatial memory in the black molly fish“. [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0829102-150014/unrestricted/CresonT091102f.pdf.
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Steele, George McIver. „Restoring Silence: Samuel Beckett's "Molly" Viewed as a Parody of James Joyce's "Ulysses"“. W&M ScholarWorks, 1989. https://scholarworks.wm.edu/etd/1539625527.
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Jabalpurwala, Inez. „Reading that brow : interpretive strategies and communities in Melville's Moby-dick“. Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60042.
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This thesis considers Herman Melville's Moby-Dick as a textual strategy of possible, alternative models of reading, as well as a text in itself. I approach the text as a drama of interpretations and argue that the individual consciousnesses of different interpreters represent different interpretive strategies, and that these differences suggest distinct structures of community. This approach becomes more focussed in the discussion of Ahab and Ishmael as representatives of two contrasting interpretive possibilities, of "reading" the text as a "pasteboard mask" which conceals a stable identity and single "truth," versus "reading" the text of the "defaced" and hence indeterminate surface of changing "meanings." Each strategy implies a different way of conceiving "space" as the "place" where community is formed, and though critics frequently perceive the ending of Moby-Dick as a paradoxical conflict between these two visionary quests, I suggest that Ishmael's survival presents a possible resolution, where Moby Dick becomes the narrative of filling space with many narratives to create the text Moby-Dick.
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Stewart, J. Sinclair. „Ishmael as travel writer, Moby-Dick's reworking of the travel narrative“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq24926.pdf.
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Benini, Enrico. „Sviluppo di Applicazioni Mobile Platform-independent: il Linguaggio e Piattaforma Mobl“. Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amslaurea.unibo.it/4777/.
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L’obbiettivo di questa tesi consiste in un analisi dello sviluppo di applicazioni mobile, rivolgendo particolare attenzione riguardo a quelle soluzioni che consentono di astrarre dall’ambiente su cui effettivamente queste verranno eseguite, per poi prendere in esame la piattaforma e il linguaggio Mobl.
Sarà quindi necessario effettuare una panoramica sullo stato attuale del mercato, introducendo i diversi sistemi presenti e le metodologie proposte per la costruzione del software. Da questo studio sarà possibile ricavare i pregi e i difetti di una programmazione nativa.
Volendo, in seguito, ricercare un processo di produzione software che favorisca un’indipendenza dai sistemi precedentemente descritti, verranno illustrati alcuni tra i più importanti Mobile Frameworks e tra questi si prenderà in esame Mobl, che si contraddistingue grazie a caratteristiche peculiari.
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Peters, Matthias. „Moby-Dick als Leerstelle und romantische Chiffre für die Aporie eines transzendentalen Signifikats“. Master's thesis, Universität Potsdam, 2010. http://opus.kobv.de/ubp/volltexte/2010/4307/.
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Die Arbeit unternimmt den Versuch, Melvilles Moby-Dick als einen Vorboten postmoderner Literarizität in den Blick zu nehmen, der in seiner Autoreferentialität den eigenen textuellen Status kritisch-ironisierend reflektiert und Sprache als einen krisenhaften Zugang zu Welt und Kosmos ins Spiel bringt. Sie legt dar, dass Melvilles opus magnum ein im Verlaufe der abendländischen Philosophie epistemologisch und semiologisch virulent gewordenes Krisenbewusstsein vom "Phantasma der Umfassung der Wirklichkeit" (Lyotard) einerseits auf inhaltlicher und andererseits autoreferentiell auf der Ebene der écriture inszeniert. Entsprechend wird davon ausgegangen, dass die vom Text absorbierten Diskurse in ihrer schieren Vielzahl nicht als partikulare Bezüge hermeneutisch isoliert werden können, sondern stattdessen in ihrer Heterogenität selbst die zentrale Problematik illustrieren, in deren Dienst sie als konstitutive Elemente stehen: Statt positiven Sinn zu stiften, verunmöglichen sie jegliche interpretatorische Direktive und verweisen dadurch auf eine dem Roman inhärente negative Dimension von Sinn – sie sind also vielmehr Bestandteile eines verhandelten Problems als dessen Lösung.
Nicht nur in den cetologischen Abschnitten des Romans – gleichwohl dort am offenkundigsten – lässt sich Melvilles spielerisch-dekonstruktiver Umgang mit westlichen Wissens- und Denkmodellen erkennen: Dringt man in ahabischer Manie(r) in das semantische Feld des Romans auf der Suche nach einem letzten Grund, einer inferentiellen Letztbegründung, gerät man in einen infiniten regressiven Strudel, der jede getroffene semantische Arretierung auf die Bedingungen ihrer Möglichkeit hin befragt und dadurch wieder aufbricht. Eine ishmaelische Lektüre des Moby-Dick bestünde darin, den Anspruch auf Letztbegründetheit im Sinne der différance Derridas aufzuschieben und sich damit der Gravitation eines transzendentalen Signifikats zu entziehen. Liest man die cetologischen Kapitel vor diesem Hintergrund, kann man in ihnen – so eine der zentralen Thesen der Arbeit – eine autoreferentielle Kontrastfolie erkennen, eine negative Exemplifikation dessen, wie sich der Moby-Dick nicht erfassen lässt: gewissermaßen eine Lektüreanleitung ex negativo.
Wesentliche Merkmale der Melvilleschen écriture sind Ambivalenz, Parodie und Dialogizität. Er verwendet stilistische und motivische Versatzstücke, destruiert sie und unterläuft so permanent die Ernsthaftigkeit der den Roman strukturierenden Schicksalszeichen wie auch die interpretativen Anstrengungen des Lesers. Die Autorität des eigenen Diskurses wird ironisch unterminiert und der Text damit in einer Schwebe zwischen Parodie und Monomanie, Unabschließbarkeit und Universalanspruch gehalten. Als die figurativen Kraftfelder dieser konkurrierenden Paradigmen stehen Ahab und Ishmael auf der Handlungsebene personifizierend für die paradoxe Konstellation des gesamten Textes, der nicht die Auflösung oder Aufhebung seiner konfliktiven Elemente sucht, sondern als ästhetischer Ausdruck des Paradoxen feste Orientierungspunkt vorenthält. Anstatt beide Figuren und die ihnen zugrundeliegenden epistemologischen Strategien antagonistisch in Opposition zueinander zu stellen, begreift diese Arbeit sie als komplementäre Elemente eines romantischen Metatextes, der sie in eine konfliktive Rezeption einfasst. In Analogie zum Konzept der romantischen Ironie Friedrich Schlegels wird Ahab hierbei als prototypischer Allegorisierer begriffen, wohingegen Ishmael als Ironiker für die Relativierung derartig monomanischer Kraftakte steht – zwischen Anspannung und Abspannung, Unbedingtem und Bedingtem baut sich jene Dynamik auf, die den gesamten Text durchwaltet.
Im Sinne der romantischen Universalpoesie ist der Moby-Dick nicht auf einen systemischen Abschluss hin orientiert, sondern besteht auf/aus seiner Unabschließbarkeit: Heterogenität, Inkonsequenz, Verworrenheit und mitunter Unverständlichkeit sind demnach keine Folgen kompositorischer Nachlässigkeit, sondern in ihrer Gesamtheit als das performative Moment der eigentlichen Mitteilung zu begreifen.
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Hammer, Molly [Verfasser]. „Identifying Antecedents to Learning Effectively with Digital Media : A Student-Centered Approach / Molly Hammer“. Tübingen : Universitätsbibliothek Tübingen, 2020. http://d-nb.info/1223451003/34.
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Marecaux, Emily N. „Effects of potassium permanganate on the sailfin molly, Poecilia latipinna, at varying salinity levels“. [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013398.
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Colbert, Robert Neil. „Evenings with Molly| A Grounded Theory Discovery with Adult Couples Who Use MDMA Recreationally“. Thesis, California Institute of Integral Studies, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10844511.
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The substance 3,4-methylenedioxymethamphetamine (a.k.a., MDMA, Ecstasy, Molly, Midomafetamine) is currently listed by the Food and Drug Administration as a breakthrough therapy for post traumatic stress disorder. The drug however remains a Schedule I controlled substance in the United States, and is listed in the top four most frequently used recreational drugs. Use by young people in social venues like all night dance parties (raves) and clubs around the world is widely documented, but evidence suggests that an increasing demographic of users is older adults (over age 27). Research is lacking about how this growing demographic uses MDMA and how assumptions of illegal/deviant models of drug use may or may not apply. Several decades of research on MDMA produced three primary models of use: the psycho-spiritual model, medical/psychotherapeutic model, and the illegal/deviant model. Each model of use is socially constructed along certain epistemological assumptions about users and the sought after outcome or effects of the drug. It is currently unclear which model of use older demographics of users fit within or if an entirely new model of use is needed to understand evolving trends. The current grounded theory investigation used snowball sampling methods to recruit adult participants who actively use MDMA in privacy with their committed partner. Semi-structured interviews were used to explore eight couples’ experiences using MDMA with their partner. Transcripts were analyzed with an iterative process of open and focused coding, followed by member checking. Major themes reported by couples include a different reason to relate to each other, serving me in so many ways, added depth to relationship and practice returning to MDMA experience. Together, themes from this study support a cognitive-relational model of recreational MDMA use, that is best described as a process that involves acquisition of knowledge, rational thinking, reasoning, and collaboration about ingesting MDMA together, all based on the expectation of durable change to their relationship together and other relationships in their lives. This investigation provides a critical lens for uncovering epistemological assumptions of other models, and provides a pathway for research into the use of medicines and drugs in the context of committed relationships.
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Recker, Astrid. „"But truth is ever incoherent ..." : dis/continuity in Herman Melville's "Moby-Dick" /“. Heidelberg : Universitäsverlag C. Winter, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783825355180.
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Recker, Astrid. „"But truth is ever incoherent ..." dis/continuity in Herman Melvillesś Moby-Dick“. Heidelberg Winter, 2007. http://d-nb.info/989735265/04.
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Derail-Imbert, Agnès. „Allures du corps dans Moby-Dick; or The Whale de Herman Melville“. Paris 8, 1997. http://www.theses.fr/1997PA081931.
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@Moby-Dick se donne à la fois et contradictoirement comme livre anatomique et anatomie du livre : le corps s'y montre comme la tentation charnelle de l'écriture mais cette inclination est contrariée par la crainte que l'écriture ne sombre dans le mutisme de la chair ou à l'inverse qu'écrit, le corps ne soit sacrifié au monument du livre. Cette étude explore les puissantes tensions qui travaillent ce livre né du prodigieux désir d'incarner un corps colossal, d'en être le sens ultime. . .
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Rompola, Sarah. „Can Fat Only Be Funny? A Content Analysis of Fat Stigmatization in Mike and Molly“. University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1368024846.
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Schlarb, Damien Brian. „Melville's Quest for Certainty: Questing and Spiritual Stability in Herman Melville's Moby-Dick“. Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/english_theses/17.
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This paper investigates Herman Melville’s quest for spiritual stability and certainty in his novel Moby-Dick. The analysis establishes a philosophical tradition of doubt towards the Bible, outlining the philosophies of Thomas Hobbes, Benedict de Spinoza, David Hume, Thomas Paine and John Henry Newman. This historical survey of spiritual uncertainty establishes the issue of uncertainty that Melville writes about in the nineteenth century. Having assessed the issue of doubt, I then analyze Melville’s use of metaphorical charts, which his characters use to resolve this issue. Finally, I present Melville’s philosophical findings as he expresses them through the metaphor of whaling. Here, I also scrutinize Melville’s depiction of nature, as well as his presentation of the dichotomy between contemplative and active questing, as represented by the characters Ishmael and Ahab.
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Treichel, Tamara. „"And so hell's probable" : Herman Melville's "Moby-Dick" and "Pierre" as descent narratives /“. Trier : WVT Wissenschaftlicher Verlag, 2009. http://www.wvttrier.de.
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Schlarb, Damien Brian Melville Herman. „Melville's quest for certainty questing and spiritual stability in Herman Melville's Moby dick /“. unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-12012006-094528/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Reiner Smolinski, committee chair; Robert Sattelmeyer, Paul Schmidt, committee members. Electronic text (121 p.) : digital, PDF file. Description based on contents viewed Apr. 19. 2007. Includes bibliographical references (p. 114-121).
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Graham, Andrew Lindsay. „Federalism and fiction in the United States Constitution and Herman Melville's Moby-Dick“. Thesis, Keele University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359159.
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Treichel, Tamara. „"And so hell's probable" Herman Melville's Moby-Dick and Pierre as descent narratives“. Trier Wiss. Verl. Trier, 2008. http://www.wvttrier.de.
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Spencer, Benjamin Paul. „Memory Machines: Exploring Moby-Dick and Gravity's Rainbow Through the History of Film“. Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/31492.
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For close to a decade, I have weighed comparative approaches to â the Great American Novelâ . Progress increased as soon as I resolved on selecting Moby-Dick as the work originally responsible for issuing that slogan. Making this particular selection required the application of a dynamic concept which, appropriately, reflects critiques of knowledge production: â the Archiveâ . Perhaps the most direct references to a conceptual archive appear in Derridaâ s Archive Fever: A Freudian Impression, which addresses the dual forces â preservation/destructionâ that influence allegory and mythology.
Other critical writers refer to a similar concept through various other terms, ultimately equipping my thesis with a method for studying the relation between myth and allegory. The method draws from each writerâ s focus on the form and content dynamics of artifacts, and how these dynamics reflect the historical conditions that affirm or produce them. Specifically, all the writers I have selected to study, in some way consider the play between the mechanical apparatus and the representation it produces. Thus, I concluded that my literary comparative approach could involve juxtaposing a different, historically concurrent mode of documentation: film media and photography.
Gravityâ s Rainbow is often considered, after Moby-Dick, the most universally-recognized â Great American Novelâ . Pynchon spends a lot of time referring to mass-produced films, their effects on the global order emerging with WWII, and to the material occurrence of film technology as it relates to the book as a material artifact. For Pynchon, the backlots built up by such â greatsâ as D.W. Griffith constitute the twentieth-century frontier.Master of Arts
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Harris, Katherine. „I Know Him Not, and Never Will: Moby Dick, The Human and the Whale“. Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33711.
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In this thesis, I argue that Herman Melville's Moby Dick depicts the ocean and whales in a way that develops aesthetic theory into a proto-environmentalist message. Melville draws on theories of the mathematical and dynamic sublime as outlined by Edmund Burke and Immanuel Kant, while also employing Goethe's Theory of Colours in his depictions of the ocean setting. Goethe posits that opposing phenomena require one another to signify and to function, and Melville dramatises this idea throughout a complex and often self-contradictory novel. Moby Dick depicts whale hunting in a paradoxical, unstable way which both defends the practice and highlights its cruel nature. In considering this, I trace how depictions and cultural representations of whales have changed over time, shifting from the whale as icon of the monstrously non-human to the whale as touchstone for environmental humanism. Melville, despite the image of Moby Dick as a monster, also portrays whales in a way which humanises them and allows the reader to empathise with them, so allowing for a counter discourse against whaling to emerge. The industrial consumption of marine animals is highlighted in Moby Dick, as Melville notes the various ways in which whales and similar creatures are used for food and other products. Unscrupulous methods of acquiring resources are paid particular attention in the chapter, ‘Fast-Fish and Loose-Fish,' which I use as a guide to the contradictory ideologies at the heart of the text. I argue that the aesthetic theory embedded in the novel enables a nascent environmentalist consciousness, and I place such moments in dialogue with more recent accounts of whales and work from the field of the oceanic humanities.
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Smith, Alana. „Cutting the Gordian Knot: Race, Gender and Sexuality in Moby-Dick and Absalom, Absalom!“ ScholarWorks @ UVM, 2018. https://scholarworks.uvm.edu/graddis/911.
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This thesis attempts to answer the following questions: What is the relationship between the American social system and its depiction in American fiction, principally in Moby-Dick and Absalom, Absalom!? and How can one disentangle the workings of race, gender, and sexuality in the American social system, when such a knot depends upon queer desire for its strength and energy to an exaggerated degree? Ultimately, I argue that one way to pull these threads apart is to implement a queer deconstructive approach informed by narrative theories of desire, but to begin to answer this question, I contend that the Romantic version of Satan is inherently queer and that as Byronic heroes, Ahab and Sutpen’s queerness deconstructs the binaries that would ensure the “success” of their designs by magnifying and critiquing the ways in which race, gender, sexuality, and socioeconomic class are predicated on socially constructed and interlocking binaries to assure the supremacy of (those who at least appear to be) powerful white, wealthy, heterosexual, cisgender men like Ahab and Sutpen. In my analysis of the queer impulses of Ahab and Sutpen, I draw on Jaime Harker’s model of the Southern social system as predicated on an “unholy trinity” formed by the “whore,” “nigger,” and “queer” to advance a new approach to interpreting triangular relationships of power and desire in the in the American novel (Harker 112). In my analysis of Sutpen, I layer romantic triangles inspired by the work of René Girard in Deceit, Desire and the Novel (1961) over the triangle of the “whore,” “nigger,” and “queer” to explore the ways in which mediated desire between “whores,” “niggers,” and “queers” disrupts cultural hegemony. Queer erotic dynamics involving Ahab are more often bivalent than triangular, but both Moby-Dick and Absalom, Absalom! feature queer erotic desire across racial boundaries, that reveal deep racial fantasies. I maintain that both novels are palimpsests of queer desire and that as Byronic heroes Ahab and Sutpen, though not the characters most frequently discussed in queer readings of Moby-Dick and Absalom, Absalom!, produce, benefit from and blend back into the queer milieu of each text. I end by arguing that Sutpen’s Hundred metonymically stands in for the American South and that the Pequod represents The American Project in its entirety. It is my view that these novels model a hermeneutic (part: whole) relationship that makes them especially apt choices for probing this uniquely American matrix of social power and for highlighting the transformative potential of partially unearthed counter-narratives.
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Collberg, Jonas. „Peqoud“. Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17075.
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Pequod - is an exploration of the translation problem. And an idea to examine the myth of"why the book is always better than the movie."The work began by choosing a character to interpret. My choice was the characteristicCaptain Ahab and his mono manic quest for revenge. The character is taken from HermanMenvilles classic novel "Moby Dick" or "The White wale" from 1851.In order to interpret the character differently, I picked out passages from the novel thatdirectly describes the first sight of the character. And also a paragraph describing thecharacter's inner thoughts and ideas about their environment.I did a survey of the descriptions with leading questions about the character's outfit,garments, materials, colours and accessories. I handle out the survey to 15 creative personsand asked them to interpret the character for me, but also make a quick sketch of him.The participants was totally unaware of witch character it was all about.Program: Modedesignutbildningen
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Waldmann, Jessica. „Gender in crisis "Women of '76, Molly Pitcher, the Heroine of Monmouth" and the woman's rights movement /“. Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 64 p, 2007. http://proquest.umi.com/pqdweb?did=1397967021&sid=13&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Chodat, Robert. „Games of circles : dialogic irony in Carlyle's Sartor resartus, Melville's Moby Dick, and Thoreau's Walden“. Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23713.
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This thesis examines the connections between three frequently associated nineteenth-century texts, Carlyle's Sartor Resartus, Melville's Moby Dick, and Thoreau's Walden. It begins by reviewing the contexts normally offered for them, and then proposes an alternative one, "dialogic irony," that is based upon the complementary theoretical models of Friedrich Schlegel and Mikhail Bakhtin. After this conceptual background is outlined, the various modes of dialogic irony presented in the three works are discussed. That of Walden arises out of a close analogy between self and text: both are a series of inner voices juxtaposed with and often contradicting one another. Sartor complicates this relatively unobstructed form of selfhood through the inclusion of the Editor, whose unitary voice represents a challenge to the kind of selfhood sanctioned by Walden. Moby Dick also challenges dialogic irony, but its forms of opposition are more penetrating and various: while in Carlyle's text dialogic irony is ultimately affirmed through the figure of Teufelsdrockh, Ishmael is left stranded and displaced by the multitude of voices in his text. Melville's work therefore provides an excellent way to review and critique some of the prevailing assumptions about dialogue in contemporary criticism, a task sketched in the conclusion.
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Heubel, Katja U. „Population ecology and sexual preferences in the mating complex of the unisexual Amazon molly Poecilia formosa (Girard, 1859)“. [S.l. : s.n.], 2004. http://deposit.ddb.de/cgi-bin/dokserv?idn=97262208X.
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Rossini, Francesco. „Tradurre il fumetto: Proposta di traduzione dal francese all'italiano di Moby Dick - livre premier, di Chabouté“. Master's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/9901/.
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A partire dalla volontà di proporre una traduzione dal francese all'italiano della graphic novel Moby Dick, di Chabouté, in questo elaborato verranno esaminate quelle che sono le caratteristiche del Fumetto, le sue proprietà, impostando la ricerca attorno alla domanda 'esiste un linguaggio dei Fumetti?'
L'analisi delle fonti per giungere alla risposta permetterà di evidenziare i meccanismi attraverso cui il Fumetto crea la narrazione.
Una volta stabiliti, verranno esaminati i problemi traduttivi legati all'opera e ne verrà proposta una traduzione di alcune tavole.
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Dove-Rumé, Janine. „Quête, communication et connaissance étude des "gams" dans "Moby-Dick" or "The Whale" de Herman Melville“. Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37597439w.
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Ferreira, José Luís Sarmento. „O romance de aventuras e a juventude da narrativa : Moby-Dick e as suas adptações juvenis“. Dissertação, Porto : [Edição do Autor], 1996. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000059545.
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O processo de adaptação de Moby-Dick ao leitor juvenil conduz a mutações genéricas e a uma deslocação da obra no cânone e na tradição. Destas mutações e desta deslocação resulta um novo género ou sub-género narrativo que se caracteriza pelas suas afinidades com as formas arcaizantes da narrativa clássica, nomeadamente a epopeia. Associada a esta deriva encontra-se uma ética específica que reflecte os deveres e os direitos tradicionalmente atribuídos aos jovens do sexo masculino.
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Dove-Rumé, Janine. „Quête, communication et connaissance : étude des "Gams" dans Moby-Dick ; or, The Whale de Herman Melville“. Paris 8, 1986. http://www.theses.fr/1987PA080053.
Der volle Inhalt der QuelleAnnotation:
Il existe dans Moby-Dick; or, The Whale de Herman Melville, ecrit en 1851, neuf rencontres entre baleiniers en mer. Ces rencontres designees sous le nom de "gams" ne correspondent nullement a la definition donnee par melville. Par une etude textuelle approfondie, je montre que ces "gams" depassent le cadre de la narration pour s'inscrire dans une trame symbolique complexe; qu'ils representent, en quelque sorte, une miniaturisation du roman dans son ensemble; et que leur message profond est en relation etroite avec le probleme de l'ecriture et du langage, problemes qui font l'objet de mon introduction. La "White whale" constitue leur objectif commun, et a travers elle, Melville pose des problemes fondamentaux sur la creation, la transcendance, la vie et la mort, l'absence et le neant. Les "gams" s'inscrivent dans une trajectoire initiatique qui concerne aussi bien le narrateur que le lecteur, et forment un ensemble tres structure. A travers le ludique qui les caracterise, l'auteur renverse les valeurs de la civilisation judeo-chretienne pour refaire le monde a sa facon. Monde dans lequel ce qui est rejete par la societe occidentale-reprouves et excrements par exemple-- est dote de connotations posi- tives et sacrees. Le systeme digestif a une place de choix au sein de la symbolique des "gams" et, a la lumiere de recoupements divers-- gnose, alchimie et mythes de la digestion-- je montre que Melville tente d'abolir des poles apparemment divergents tels l'humain et le divin, le materiel et le spirituel. Le narrateur, parti a la recherche d'un transcendant, decouvrira son unite dans les limites memes de l'ex- perience humaine et de la matiere. Les neuf rencontres du pequod sont caracterisees par l'absence de communication, mais le mot "gam" lui ( qui ne signifie pas rencontre), symbolise une coincidentia oppositorum de la communication initiatique entre elements opposesIn Moby-Dick; or, The Whale, written by Herman Melville, in 1851, the pequod meets nine other ships at sea. The meetings, supposed to be "gams", do not correspond to Melville's definition of the word. Through a detailed study of the text, i try to show that the gams are to be viewed beyond the narrative frame properly speaking, that they are very well structured, and that they represent the book in miniature. They are closely related to the problems of language and writing, which constitute the main part of my introduction. The meaning of the white whale is their main objective, and through that quest, the narrator questions whiteness, creation, transcendence, life and death, absence and nothingness. Both narrator and reader are involved in the initiatic path imposed by the gams. Through the play atmosphere that pervades the gam-chapters, the narrator topples judeo-christian values to build a world of his own in which he rehabilitates whatever is rejected by western traditions, e. G. Castaways and faeces. At the heart of the symbolic web of the gams, is the digestive process, which melville elaborates fully, and, through cross-checkings with gnosis, alchemy and digestion myths, as well as through the christ image, he attempts at abolishing any dichotomy between the human and the divine, matter and spirit etc. In his search for the transcendent, the narrator will discover his own unity and identity within the limits of human experience and of matter. If the nine meetings of the pequod are characterized by the absence of any communication, the word "gam", different in meaning, symbolizes coincidentia oppositorum and initiatic communication between opposite poles
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Ferreira, José Luís Sarmento. „O romance de aventuras e a juventude da narrativa : Moby-Dick e as suas adptações juvenis“. Master's thesis, Porto : [Edição do Autor], 1996. http://hdl.handle.net/10216/19427.
Der volle Inhalt der QuelleAnnotation:
O processo de adaptação de Moby-Dick ao leitor juvenil conduz a mutações genéricas e a uma deslocação da obra no cânone e na tradição. Destas mutações e desta deslocação resulta um novo género ou sub-género narrativo que se caracteriza pelas suas afinidades com as formas arcaizantes da narrativa clássica, nomeadamente a epopeia. Associada a esta deriva encontra-se uma ética específica que reflecte os deveres e os direitos tradicionalmente atribuídos aos jovens do sexo masculino.