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1
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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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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Nishiura, Toru. "The description of the characters in Herman Melville's White-jacket, or the world in a man-of-war." Huntington, WV : [Marshall University Libraries], 2005. http://www.marshall.edu/etd/descript.asp?ref=589.
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Müller, Wolfgang. "Recht und Literatur als friedlose Konstellation eine Arbeit zu Herman Melvilles Bartleby und Billy Budd und zu William Dean Howells' An imperative duty /." [S.l. : s.n.], 2002. http://www.diss.fu-berlin.de/2002/219/index.html.
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Corner, Jason L. ""Monstrous Compounds": Genre and Value in Herman Melville." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1155666766.
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Wolford, Donald L. "Calvin Cohn : confidence man interpreting Bernard Malamud's God's grace as a parody of Herman Melville's The confidence-man /." Connect to resource online, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1253394734.
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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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Dively, Ronda S. "Empathy for Captain Ahab /." View online, 1989. http://repository.eiu.edu/theses/docs/32211131012518.pdf.
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Dunphy, Mark Raymond. "Double consciousness in Melville's middle novels /." Access abstract and link to full text, 1985. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/8522800.
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Peck, Elka Marie. "Melville's tattoos and disguises : society, identity, audience, and appearance /." View thesis, 2002. http://wilson.ccsu.edu/theses/etd-2002-17/ThesisTitlePage.html.
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Thesis (M.A.)--Central Connecticut State University, 2002.Thesis advisor: Robert Dunne. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English Literature." Includes bibliographical references (leaves 62-64). Also available via the World Wide Web.
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Evans, David B. "Scepticism at sea : Herman Melville and philosophical doubt." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:a842c507-0efc-4b73-9aaa-ccc36f54a7a5.
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This thesis explores Herman Melville’s relationship to sceptical philosophy. By reading Melville’s fictions of the 1840s and 1850s alongside the writings of Descartes, Berkeley, Hume, and Kant, I seek to show that they manifest by turns expression, rebuttal, and mitigated acceptance of philosophical doubt. Melville was an attentive reader of philosophical texts, and he refers specifically to concepts such as Berkeleyan immaterialism and the Kantian “noumenon”. But Melville does not simply dramatise pre-existing theories; rather, in works such as Mardi, Moby-Dick, and Pierre he enacts sceptical and anti-sceptical ideas through his literary strategies, demonstrating their relevance in particular regions of human experience. In so doing he makes a substantive contribution to a philosophical discourse that has often been criticised – by commentators including Samuel Johnson and Jonathan Swift – for its tendency to abstraction. Melville’s interest in scepticism might be read as part of a wider cultural response to a period of unprecedented social and political change in antebellum America, and with this in mind I compare and contrast his work with that of Dickinson, Douglass, Emerson, and Thoreau. But in many respects Melville’s distinctive and original treatment of scepticism sets him apart from his contemporaries, and in order to fully make sense of it one must range more widely through the canons of philosophy and literature. His exploration of the ethical consequences of doubt in The Piazza Tales, for example, can be seen to anticipate with remarkable precision the theories of twentieth-century thinkers such as Emmanuel Levinas and Stanley Cavell. I work chronologically though selected prose from the period 1849-1857, paying close attention to the textual effects and philosophical allusions in each work. In so doing I hope to offer fresh ways of looking at Melville’s handling of literary form and the wider shape of his career. I conclude with reflections on how Melville’s normative emphasis on the acknowledgement of epistemological limitation might inform the practice of literary criticism.
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Midan, Marc. "Milton & Melville : le démon de l'allusion." Paris 7, 2014. http://www.theses.fr/2014PA070086.
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Milton & Melville : Le Démon de l'allusion étudie la signification de l'allusion à Milton dans Taïpi, Moby¬Dick, L'Escroc à la confiance et Billy-Budd, Marin. Un état détaillé de la recherche sur les rapports entre les deux auteurs montre la prédominance d'une conception de l'allusion comme moyen d'identifier le sens d'un texte incertain à celui d'un autre, supposé stable ; or, il s'agit, en réalité, d'une relation dynamique et réciproque. Ludique, satirique, impie, ou érotique, l'allusion melvillienne est multiforme et variable ¬ondoiement qui la dérobe à une approche trop générale, mais en lequel réside justement un sens plus global, au-delà de simples effets locaux. Loin d'être un ornement ou un supplément, elle fait partie de la trame même du texte ; oblique, déroutante, elle n'en sert pas moins la grande ambition melvillienne d'« énoncer la Vérité ». C'est, en effet, allusivement — dans une relation, en particulier, au Paradis perdu — que Melville décrit à la fois les travers de la société contemporaine, l'aliénation du moi et la terreur des « sphères invisibles ». Le poème melvillien peut se concevoir comme un lieu où la vérité est, dans le même mouvement, dégagée et exhibée, par une chimie à la fois expérimentale et picturale. Le processus mobilise ¬selon un modèle fédéral où s'affirme une originalité américaine — une allusion complexe, dont le sens ne réside pas seulement dans les éléments importés par les textes simultanément convoqués, mais aussi dans leur interaction conflictuelle. Cet agôn allusif récurrent — qui définit notamment l'écrire-blanc de Moby-Dick — participe d'une violence relationnelle dont le Satan de Milton est le plus puissant symboleMilton & Melville: The Demon of Allusion studies the significance of allusions to Milton in Typee, Moby¬Dick, The Confidence-Man and Billy-Budd, Sailor. Examining the state of research shows that allusion tends to be seen as a way to identify the meaning of an ambiguous Melvillean text with a supposedly stable Miltonic one – when in fact the allusive relationship is dynamic and reciprocal. All at once playful, satirical, impious, and erotic, Melvillean allusion is protean and thus eludes generalization. However, its very elusiveness hints at a more global significance, going beyond merely local import. Far from being just a flourish or a supplement, it is the very stuff that the text is made of. However oblique and disconcerting, it plays a crucial part in Melville's ambition to master the "great Art of Telling the Truth". Indeed, it is through allusion—in particular to Paradise Lost—that he satirizes contemporary society, explores the alienation of the self and expresses the terror of the "invisible spheres". Melville's text can be conceived of as the locus where truth is both achieved and exhibited to the reader, through a chemistry that is experimental as well as pictorial in nature. Based on a uniquely American federal model, such a process involves a complex allusive mix, the meaning of which lies not only in what the different texts bring to their host, "'but also in the destructive interaction between them. This recurrent allusive agon – the "colorless all-color" of writing – speaks to the violence of Melvillean relationships, the most powerful symbol of which is Milton's Satan
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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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Hellén, Anna. "How to construct a temple : Melville and the architecture of romanticism /." Göteborg : Acta Univ. Gothoburgensis, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017724646&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Christodoulou, Constantine. "A critical dictionary of Herman Melville's Polynesian terms." Texas A&M University, 2006. http://hdl.handle.net/1969.1/4823.
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The dissertation is divided into five chapters and focuses primarily on MelvilleâÂÂs
Typee, Omoo, Mardi, and Moby Dick.
Chapter I introduces the idea that Melville understood Polynesian better than
what critics have demonstrated, and that he used the Polynesian language to develop his
own multicultural aesthetic.
Chapter II discusses how Melville attempts to resolve his aesthetic
preoccupations by opening his narratives to the literary potential of the Polynesian
language. The chapter examines representative examples of the orthographic
idiosyncrasies of MelvilleâÂÂs Polynesian adoptions and adaptations which describe his
new literary aesthetic. The chapter also investigates how MelvilleâÂÂs Polynesian aesthetic
affects the construction of meaning in his texts. The chapter finally discusses examples
of past editorial choices which have sidestepped MelvilleâÂÂs Polynesian aesthetic and,
thus, provided readers with a limited understanding of the Polynesian languageâÂÂs role in
MelvilleâÂÂs texts. Chapter III analyzes samples of MelvilleâÂÂs Polynesian adoptions and adaptations
from the above narratives to emphasize the role of the Polynesian language in his Pacific
experience. This chapterâÂÂs intention is to underline the interaction between MelvilleâÂÂs
Polynesian language and culture and his texts, which engendered a complex
multicultural aesthetic that permeated his first three works, continued to influence his
later writings, and contributed significantly to his cosmopolitan vision of American
cultural identity.
Chapter IV contains the dictionary, which incorporates approximately two
hundred entries. Each entry is divided into four sections. The first is a series of quotes
from MelvilleâÂÂs texts that illustrate the various meanings that Melville has given to the
term being examined. The second is a list of definitions from various dialects, intended
to underline the various Polynesian linguistic elements that Melville adopted or adapted
to construct each particular term. The third is an interpretative paragraph that explains
how each term is divided into its constituent parts based on MelvilleâÂÂs aesthetic. The
fourth section contains specific quotes from other sources of the particular term that
underline the significance of that source to MelvilleâÂÂs knowledge of the particular term.
Chapter V concludes with the idea that this dissertation is meant as a starting
guide to reexamining MelvilleâÂÂs Polynesian aesthetic.
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Hughes, T. "Sea-room : the early Pacific writing of Herman Melville." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604755.
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My dissertation examines the early writings of Herman Melville in the context of American representation of the Pacific produced during the first half of the nineteenth century. Starting from the premise that critical accounts of Melville's literary development have tended to overlook the Pacific contexts of his first three books - Typee, Omoo and Mardi - I attempt to situate them in terms of various traditions of western voyage, travel and historical writing on the region. The writing of nineteenth century American travellers on the Pacific has customarily been viewed within the purview of American continental expression and western history while Melville's Pacific writing has been interpreted predominantly within the critical parameters of American studies and literary history. Both these tendencies have neglected the often complex position of American travellers in the Pacific during this era. Looking at the voyage accounts of Benjamin Morrell, Amaso Delano and Charles Wilkes I trace their negotiations with the traditions of scientific voyaging established by earlier European explorers, highlighting their attempts to fashion authorial identities and generic conventions against the backdrop of those traditions. I then read Typee as the product of similar negotiations and offer the figure of the beachcomber as means of interpreting Melville's text and the model of authorship that underpins it. Towards the mid-nineteenth century, as exploration in the Pacific began to give way to more sustained processes of western colonisation, new representational forms emerged to describe those processes. Melville's Omoo is a response to just these developments and my analysis of it is based on an examination of the historical accounts of Hawai'i written by the American missionary Hiram Bingham and James Jackson Jarves. How Melville views the advent of colonisation and acculturation in Tahiti is thus filtered through the frameworks of American romantic historiography and providential history.
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Phillips, Jerry. "Herman Melville, and the politics and poetics of adventure." Thesis, University of Essex, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.279296.
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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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Harrison, Colin. "Heretical necessity : Herman Melville and the fictions of charity." Thesis, University of Nottingham, 1997. http://eprints.nottingham.ac.uk/11314/.
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Heretical Necessity explores the various ways in which an idea of value was established and debated through the literature of mid 19th century America. Above all, it concerns moral value, the language of personal virtue and social ethics; this includes notions of sympathy and self-sacrifice promoted in sentimental fiction, which I read alongside Melville's responses in his later work: the perversion of altruism in Pierre, his critique of benevolence in the short stories, and his ironization of trust in The Confidence Man. Charity is a key issue because it refers both to a notion of fellowship integral to the sentimental vision of society and to a principle of unreciprocated (hence antagonistic) action: giving one's all becomes incompatible with the more measured principles of justice on which a democracy has to be based. I argue that moral value is related to the production of value in the economic sphere, since charity is at once a religious and a financial practice, thus linking the Christian notions of fellowship and giving to ideas of utility and luxury in capitalist society. In this respect my work is informed by the idea of symbolic exchange, via the theories of figures like Mauss, Bataille, Baudrillard and Derrida; prompted by these thinkers, I attempt to identify different types of contract in the literature (commercial, social, masochistic, and literary) and incorporate them in the same general analysis, as a way of exploring the structural complexities of the moral narrative and the discourse of American community.
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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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Stedall, Ellie. "Herman Melville, Joseph Conrad and transatlantic sea literature, 1797-1924." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648378.
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Urbas, Joseph. "La contingence dans les romans de maturité de Herman Melville." Paris 7, 1993. http://www.theses.fr/1993PA070033.
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Cette étude vise à affirmer la place centrale de l'idée de contingence dans les romans de maturité de Herman Melville à travers une analyse de Moby-Dick, Pierre et l'Escroc à la confiance. Une brève lecture de l'oeuvre posthume Billy fait apparaître la persistance de ce thème dans la pensée de l'auteurThe aims of this study is to assert the key role of the idea of contingency in the late novels of Herman Melville through an analysis of Moby-Dick, Pierre, and the confidence-man. A brief reading of the posthumous work Billy shows the continuing importance of this theme in Melville's thought
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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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Kaplan, Richard Edward. "Dostoevsky, Melville and the conventions of the novel fictional alliances /." Diss., Restricted to subscribing institutions, 1993. http://proquest.umi.com/pqdweb?did=746557821&sid=5&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Banta, Bonnie L. "Melville and Dostoevsky a comparision [sic] of their writings /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2000. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 2000.Source: Masters Abstracts International, Volume: 45-06, page: 2822. Typescript. Abstract precedes thesis as preliminary leaves I-V. Includes bibliographical references (leaves 104-106).
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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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Maufort, Marc. "Visions of the American experience: the O'Neill-Melville connection." Doctoral thesis, Universite Libre de Bruxelles, 1986. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213576.
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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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De, Paul Lewis Stephen. "Self, sovereignty, and culture in the major fiction of Herman Melville." Thesis, University of Ottawa (Canada), 1986. http://hdl.handle.net/10393/4907.
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Wing, Jennifer Mary. "Resisting the Vortex: Abjection in the Early Works of Herman Melville." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04192008-191516/.
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Thesis (Ph. D.)--Georgia State University, 2008.Title from file title page. Robert Sattelmeyer, committee chair; Janet Gabler-Hover, Calvin Thomas, committee members. Electronic text (215 p.) : digital, PDF file. Description based on contents viewed June 10, 2008. Includes bibliographical references (p. 207-215).
31
Faustino, Elinore. "Toward An Ethic of Failure in Three Novels by Herman Melville." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_theses/144.
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Herman Melville’s final novel The Confidence-Man destabilizes conventional Western models of ethical behavior, particularly Kantian notions of moral agency, by exposing and challenging their basis in rationality and a progressivist model of history. The Confidence-Man shows rationality to be nothing more than one way, among many other possible ways, that human beings attempt to fix the world in their understanding and justify their moral choices. I use these insights from The Confidence-Man to illuminate Melville’s opposition to the missionaries’ work of civilizing and Christianizing the South Seas islanders in his earlier travelogues. In Typee, his first novel, Melville demonstrates that layers of existence—in fact, real human lives—are denied when the story of human relations is framed as a narrative of progress. This thesis concludes by proposing that Melville reworks the idea of failure as a potential strategy against the totalizing narrative of advancing rationalism.
32
Johnson, Bradley A. "The character of theology : Herman Melville and the masquerade of faith." Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/2463/.
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My task in this thesis is to assess the theological implications of Herman Melville’s aesthetic understanding of the modern Subject as a duplicitous self-creation. Although Melville is obviously not a theologian, either by discipline or confession, I will argue we find in the complex theatricality of his life and fiction a means of articulating the potential of a truly radical theological thinking. Such a thinking, I argue, ‘unthinks’ all previous grounds, in order then to recast them imaginatively. For Melville, we shall see, that which identifies theology ‘as theology’ is not simply an unattainable, transcendent Thing-in-Itself. It is, on the contrary, the active emergence of unthinkable excess from the materialistic immanence of its self-characterisation. The aesthetico-theological thinking in view here highlights the necessity of a repositioning of theological discourse from the binary perspective that inevitably leads to self present identification, be it in a discipline or a confession, to the radically decentered / desacralized interdisciplinarity of theology becoming-itself. I seek to achieve this end by situating Melville close to the Germanic philosophical climate that was sweeping across the American literary landscape of the mid-19th century. Melville’s ambivalent attitude toward his own desire for self-destruction, and thus, too, his desire for a non-subjective common pool of artistic genius, is strictly parallel to his misgivings about Transcendentalism and Romanticism. It is, I argue, in the dialectical materialism of Friedrich Schelling that we find Melville’s philosophical analogue, in their respective efforts to understand the self-becoming of the Absolute / God / Truth. Here we find an aesthetico-theological thinking attuned to the creative inadequacy of self-becoming, whereby the finite inadequacy and perspectival duplicity of theological self-presentation carry the potential of a self-creativity that makes all things new. As such, for aesthetico-theological thinking there is truly nothing behind or beyond the materiality of experience - i.e., no Ding an sich or transcendental determination of being. And precisely for this reason the awareness and actualisation of something new, indeed something miraculous because it was previously impossible, is made possible.
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Terzis, Timothy R. (Timothy Randolph). "Melville's Vision of Society : A Study of the Paradoxical Interrelations in Melville's Major Novels." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278456/.
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I hold that Melvillean society consists of paradoxical relationships between civilization and barbarianism, evil and good, the corrupt and the natural, the individual and the collective, and the primitive and the advanced. Because these terms are arbitrary and, in the context of the novels, somewhat interchangeable, I explore Melville's thoughts as those emerge in the following groups of novels: Typee, Omoo, and White-Jacket demonstrate the paradox of Melvillean society; Redburn, Moby-Dick, and Mardi illustrate the corrupting effects of capitalism and individualism; and The Confidence-Man, Israel Potter, and Pierre depict a collapsed paradox and the disintegration of Melville's society.
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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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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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Imbert, Michel. "L'esprit des échanges : les signes économiques et la foi dans l'oeuvre d'Herman Melville." Paris 7, 1993. http://www.theses.fr/1993PA070008.
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Rebours de l'evangile de lar richesse, melville met en lumiere l'experience de la depossession. Alors que triomphe le messianisme nationaliste, il devoile les deviations de la "destinee manifeste" et les captations illegitimes de l'heritage religieux. Il demasque la volonte de puissance qui opere sous le voile de la foi partagee. Or, paradoxalement, le monde despiritualise du marche pourrait etre malgre ces travestissements de la foi le theatre d'une revelation ambigue dans la mesure ou le destin christique du depuillement semble s'y rejouer. Mais en derniere instance, on ne saurait departager la foi de la falsificationMelville's narratives run counter to the gospel of wealth as they highlight a basic experience of dispossession. Whereas the young nation invests itself witha messianic mission, melville discloses the deviations from "manifest destiny" and the appropriation of the religious legacy by would be prophets. He unmasks posessive individualism under the guise of faith and confidence. And yet, paradoxically enough, the debased world of the market place might be the seene of an ambiguous revelation in spite of the religious masquerade in the sense that the christic experience of deprivation seems to be re-enacted by the social players against their will. But, in the last resort, it turns out to be impossible to distinguish genuine faith from counterfeiting
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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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McGettigan, Katherine Ellen. "The material text and the literary marketplace in the novels of Herman Melville." Thesis, Keele University, 2014. http://eprints.keele.ac.uk/4161/.
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This thesis examines Herman Melville's representations of the material text and the literary marketplace in the novels he published between 1846 and 1857. Thus far, scholarship has emphasized Melville's hostility towards literary production in mid-nineteenth century America, and positioned the book object as a constraint on his imagination. However, this thesis argues that the industrially produced and commercially circulated book was also a powerful source of inspiration for Melville, and that the printed book is both the subject of and a tool for literary representation in his novels. Combining book history and literary criticism, the thesis considers Melville's aesthetic engagements with the material text in order to provide new perspectives on central concerns in Melville's writing: authenticity, ambiguity, irony, and originality. Chapter 1 gives an overview of the technological, economic and social conditions of literary production in antebellum America, contemporary responses to those conditions, and previous studies of Melville's representations of and relations with the literary marketplace. Chapter 2 examines Melville's ludic uses of print in Typee and Omoo, and Chapter 3 considers the relationship between book covers, the market, and selfhood in Redburn and White-Jacket. Chapter 4 explore's the circulation of the book object in markets and metaphors in Moby-Dick. Chapters 5 and 6 return to the materiality of the text, examining the ambiguities of paper and papermaking in Pierre, and The Confidence-Man's construction of original writing through technologically reproducibility. The Conclusion then suggests that the material text and literary marketplace can be best understood as embodying potential for Melville, functioning as partial and contingent spaces in his works, in which a union of aesthetic and economic value is never fully realized, but is always possible.
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Cruz, Susana Maria dos Santos R. da. "(Des)encontros com Adão : Alusões Bíblicas em Billy Budd, Sailor de Herman Melville." Master's thesis, Porto : [Edição do Autor], 1996. http://hdl.handle.net/10216/53814.
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Cruz, Susana Maria dos Santos R. da. "(Des)encontros com Adão : Alusões Bíblicas em Billy Budd, Sailor de Herman Melville." Dissertação, Porto : [Edição do Autor], 1996. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000046188.
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Marsoin, Edouard. ""Capabilities of enjoyment" : plaisirs et jouissance dans l'oeuvre en prose de Herman Melville." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC168.
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Prenant le contre-pied d’une certaine tradition critique qui privilégie la vision d’unMelville sombre et désincarné, ce travail cherche à souligner les potentialités, possibilités etpuissances du plaisir dans la fiction melvillienne. Il s’agit d’étudier les représentations etproblématisations de cet affect qui signale la rencontre du corps sentant et des matières. Cetterencontre est elle-même prise dans des formes et des codes culturels déterminant les conditions depossibilité du plaisir, et dont les traces sont disséminées dans le texte littéraire. En cela, la fictionmelvillienne est à la fois matérialiste et affective. Dans les mondes fictifs melvilliens, le plaisir et lajoie entrent dans des relations de contraste dynamique avec la souffrance et la mort, ce qui peutdonner naissance à des formes complexes de jouissance. L’oeuvre en prose de Melville produit ainsiun discours qui interroge, inquiète ou célèbre la possibilité du plaisir et des plaisirs sous différentsangles : esthétique, épistémologique, éthique, diététique, genré, politique et économique. Uneapproche à la fois textuelle, contextuelle et intertextuelle, mobilisant des outils d’analyse issus de laphilosophie, la psychanalyse ou la théorie littéraire, informe notre étude de l’usage des matières àplaisirs (nourriture, alcool, tabac) dans la poétique melvillienne (chapitre 1), des liens entreaffectivité et pensée, constitutifs de ce que l’on nomme une épistémè de la jouissance (chapitre 2),des éthiques et régimes élaborés par des sujets fictifs pour régler leurs plaisirs (chapitre 3), et de lacomposante collective (sociale, politique et économique) des plaisirs possibles (chapitre 4)This thesis counters a commonly held critical view according to which Melville is a darkand disembodied author; in contrast, it aims to highlight the possibilities, potentialities andcapabilities of enjoyment in his fiction. Its object is to study the representations andproblematizations of pleasure as an affect which signals the encounter of a feeling body with matter.Such an encounter is enmeshed in cultural forms and codes that determine pleasure’s conditions ofpossibility and whose traces are disseminated through the literary text. Melville’s fiction is thereforematerialistic and affective. In melvillean fictional worlds, pleasure and joy enter into dynamic,contrasting relationships with pain and death, which can give rise to complex forms ofenjoyment/jouissance. Melville’s prose work consequently produces a discourse that interrogates,troubles or celebrates the possibility of pleasure and pleasures from aesthetic, epistemological,ethical, dietetical, gendered, political, and economic viewpoints. A textual, contextual andintertextual approach, mobilising analytical tools drawn from philosophy, psychoanalysis, andliterary theory, informs my study of the use of pleasurable matters (food, alcohol, tobacco) inMelville’s poetics (chapter 1), the links between feeling and thinking in what I call an episteme ofenjoyment (chapter 2), the ethical and dietetical systems elaborated by fictional subjects to regulatetheir pleasures (chapter 3), and the collective (social, political and economic) dimensions ofavailable pleasures (chapter 4)
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Augustyniak, Virginie. "Les travestissements de la foi dans the confidence-man : his Masquerade d'Herman Melville." Paris 7, 2010. http://www.theses.fr/2010PA070072.
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A l'origine du roman est le constat d'un retrait du sacré de la société capitaliste américaine (où l'économique prend le pas sur l'éthique) et la perte des valeurs que ce retrait entraîne (sans étalon-or, tout devient monnaie de singe). En découlent une contingence et une ambiguïté radicales, tant aux niveaux formel, identitaire que linguistique ou esthétique. La volonté de croire est ainsi confrontée à la difficulté, voire à l'impossibilité, de toute croyance. La foi, privée d'objet, est confrontée à la croyance en un Dieu trompeur, un Fripon divin, et à l'idée selon laquelle la vérité est subjective, voire multiple. La confiance est malmenée par l'hypocrisie ambiante et par la prolifération des imposteurs et des menteurs ; avec à la clé : le scepticisme et la misanthropie. Et pourtant, la volonté de croire semble inexpugnable. Nous offrons une lecture pascalienne de l'œuvre, qui emprunte aussi à la pensée de David Hume et de William James dont nous retiendrons surtout ici sa conférence sur la Volonté de croire : face à la tentation de l'indifférence et du scepticisme, nous réaffirmerons la nécessité de l'investissement, d'un engagement porté par la charité. Dans cette optique, « il faut parier ». La croyance ressurgit de ses cendres. C'est l'Oméga (d) de la croyance. La croyance revient, ressuscite, égale à elle-même et pourtant autre. « Something further may follow of this Masquerade. » L'acte de foi de Melville consiste en cette réaffirmation de la croyance et en son inscription dans des valeurs essentiellement humanistes, telles l'amitié et la convivialitéThe Confidence-Man; His Masquerade springs from a realization that the sacred has withdrawn from the American capitalist society, where economic matters prevail over ethical issues, which, in turn, results in the collapse of ail values - for without a gold standard ail currencies become funny money. Some general and basic contingency and ambiguity affecting form, identity, language and aesthetics presently ensue. Indeed, to believe becomes not only a very uncertain wager, but one that, at a pinch, cannot in any way be laid. Faith is faced with the possibility of the godhead being a deceiving Trickster, and with the idea that truth is entirely subjective and relative. Trust is likewise roughly put to the test by a widespread hypocrisy and the undiminishing number of swindlers and liars traipsing aboard the Fidèle. Scepticism and misanthropy are the usual and natural protecting devices men contrive. However, the "will to believe" (W. James) abides. No matter how tempting isolation and indifference may be, commitment is a necessity no human being can eschew. One "must wager. It is not optional" (Pascal). Thus, confidence returns when and where it was least expected. In the meantime, its essential nature has changed. "Something further may follow of this Masquerade. " Melville's autodafé is encapsulated in this new confidence that is intrinsically blended with such humanistic values as friendship and "geniality. "
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Saari, Juhani. "Power and Resistance in Herman Melville’s Three B’s." Thesis, Stockholms universitet, Engelska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-91131.
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This essay examines three of Herman Melville’s shorter fictions: Bartleby, Benito Cereno and Billy Budd. An analysis and comparison is made of the forces of power relations and resistance between the main characters in the three stories. Foucault’s theories of power are used as a basis for the analysis. Apparent power structures such as law and military hierarchy are analysed, but the focus is on more subtle relations based on language, knowledge, conformity with norms, silence, capitalism and position. It is argued that, apart from the apparent power structures, one needs to consider the more subtle power relations and acts of resistance for an understanding in the shifts of power positions. The study examines how the resisting oppressed party in each of the three works of fiction ends up dead, and that on a first reading resistance may seem futile. A further examination of the seemingly re-established conventional order, however, reveals shifts in power positions, shifts that indicate instability in the norms of society. It is argued that positions of power are to some extent reversed in the studied works of fiction, where the dominant party ends up suffering.
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Kanzler, Katja. "Architecture, writing, and vulnerable signification in Hermann Melville's "I and My Chimney"." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-162997.
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The following essay discusses Herman Melville’s “I and My Chimney” (1856) as a text that engages architecture and writing as interrelated systems of signification. Fueled by a variety of historical developments, domestic architecture emerges as a powerful purveyor of meaning in the antebellum decades. Architecture, in this cultural context, is construed in analogy to writing (and, to some extent, vice versa), as creating houses-as-texts that tell stories about their inhabitants in terms of their individual, familial, and national identities. Thus conceived, domestic architecture is characteristically enlisted in the articulation and stabilization of hegemonic narratives of, e. g., gender and nationhood. Melville’s text invokes this cultural convention to cast the signifying function that architecture and writing perform as being vulnerable and in crisis.
This crisis is narrated by an idiosyncratic narrator for whom the semiotic instability documented by his narrative resonates with the social and cultural vulnerability that he experiences—his authority as master of his house and family is challenged in the course of the tale, along with the structural integrity of his chimney with which he wants to symbolically reinforce his authority.
I argue that this crisis of signification performs double work in the text. On the one hand, it serves to articulate the anxiety of mid-nineteenth-century cultural elites about what they perceive as a cultural decline. On the other hand, allegedly dysfunctional signification unfolds a critical potential, bringing to light things which ‘functional’ signification had worked to conceal and thereby unlocking hermetic narratives of self, family, and nation.
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McGlamery, Thomas Dean. "Writing one's age : protest and the body in Melville, Dos Passos, and Hurston /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Sulic, Dijana. "Deux visages du mal : Hermann Melville et Albert Camus." Paris 4, 1996. http://www.theses.fr/1995PA040174.
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Cette étude se propose d'établir, à la lumière du thème principal du mal, une corrélation entre Melville et Camus. Tous deux étaient obsédés par le problème du mal, chacun trouve la propre manière d'exprimer cette obsession. Malgré toutes les différences, la comparaison entre les deux auteurs est, non seulement possible, mais s'impose presque en raison des nombreux parallèles. Ainsi, nous avons poursuivi une analyse comparative à plusieurs niveaux : le plan formel, le plan artistique littéraire et le plan philosophique. Notre recherche s'est ensuite orientée vers une analyse concrète des ouvrages des deux auteurs. Nous avons constaté que le thème du mal a déjà trouvé sa place dans les premiers ouvrages (Typee, Omoo, Mardi, Redburn, White jacket, et L'Envers et l'endroit, et Noces). Le concept du mal dans Moby Dick et la peste est la partie centrale de cette étude. Ensuite nous avons essayé d'établir les comparaisons entre Achab et Caligula, ainsi qu'une analyse des correspondances entre Bartelby, L'Étranger et Billy Budd. Notre dernier point porte sur les mondes ambigus de The Confidence man et La Chute. Une fois de plus on constate que le mal est omniprésent dans l'œuvre de Melville et CamusThis study proposes to demonstrate, in light of the theme of evil, a correspondence between Herman Melville and Albert Camus. Both were obsessed by the problem of evil, and each found a way of expressing that obsession. In spite of their many differences, the comparison between the two is not only possible, but invited by the many parallels in their life and work. This entails a comparative analysis on several levels: formal, literary and philosophical. There follows a comparison of selected works from the authors respective oeuvres. The theme of evil is shown to be present in the early works (Typee, Omoo, Mardi, Redburn, White jacket, L'Envers et l'endroit, and Noces). An analysis of evil in Moby Dick and La Peste is the main focus of the study. The subject is then examined as it is manifested in the characters of Achab and Caligula, and pursued in the correspondences between Bartelby, L'Étranger and Billy Budd. The final section is devoted to the confidence man and la chute, followed by a conclusion asserting the omnipresence of evil in both authors' work
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Leroux, Jean-François. "Modernity after holiness: Time and its other in Herman Melville and Victor-Levy Beaulieu." Thesis, University of Ottawa (Canada), 1996. http://hdl.handle.net/10393/9937.
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The first part of the present work elaborates the "problem" that concerns the study as a whole, namely the crisis in historical consciousness that figures prominently in the fiction of Herman Melville and Victor-Levy Beaulieu. This crisis has as its zero degree the humiliation of historical paradigms and the failure of traditional theodicy that Pierre, or The Ambiguities and Sagamo Job J narrativize. The apprehension of a nonsensical totality of being results in the "horror of history" (Eliade), which dread precipitates various modes of forgetfulness and uchronia. A stalemate emerges from the readings in Chapter One: on the one hand, a solipsistic textual infinite is opened by the death of the fiction of the end; on the other hand, the will to sainthood and eternity portends a form of Western nihilism. It is this "dead wall" of metaphysics that inspires the effort to think more and differently in the chapters that follow. (Abstract shortened by UMI.)
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Amaral, Arminda João de Seabra do. "Visões da história e da arte em Herman Melville : Timoleon : uma metáfora da América." Master's thesis, Porto : [Edição do Autor], 1999. http://hdl.handle.net/10216/13018.
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Porta da "(Re)Naissance" Americana, Herman Melville apresenta em Timoleon uma nova mundividência filtrada pela História e pela Arte. Partindo da sua interacção com o mundo, recorre ao passado como refúgio à insegurança da modernidade e confronto de contradições e ambiguidades a que o optimismo americano se alheava. Coloca a História e a Arte em relação dialógica e aberta permitindo, perante os pólos inconciliáveis de que o real se reveste, uma constante renovação de sentidos de que a América é o centro gerador.
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MARCAIS, ARNAUD DOMINIQUE. "Race, couleur, ecriture : le blanc et le noir dans l'oeuvre romanesque de herman melville." Paris 8, 1988. http://www.theses.fr/1988PA080315.
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Le blanc et le noir constituent une des structures dominantes de l'imaginaire de herman melville (1819-1891). Le presente etude se propose de degager la relation complexe du blanc et du noir dans l'oeuvre romanesque de melville, en analysant d'abord ses implications raciales puis les liens etablis par melville lui-meme entre race, couleur et ecriture. La vision de l'autre exprimee dans ses premiers romans semi-autobiographiques a teneur anthropologique s'accompagne de preoccupations sur la signification de la couleur, sur les problemes de communication, le langage et l'ecriture, preoccupations qui iront en grandissant jusqu'a son dernier roman. Dans moby-dick; or, the whale fusionnent de facon magistrale tous les themes esquisses dans les romans precedents. Trois chapitres sur les six que comporte notre travail lui sont consacres. Le renversement des valeurs traditionnellement attachees au blanc et au noir dans la culture puritaine et la remise en question de la validite de la notion de couleur comme marque d'identite deviennent inseparables d'un bouleversement des structures linguistiques. Melville, a la recheche d'une langue nouvelle, se tourne vers les techniques des sciences occultes: astrologie, numerologie, alchimie; il joue sur la forme et le son des graphies, utilise lettres majuscules, caracteres italiques, chiffres et couleurs pour demontrer le caractere changeant et peu fiable de l'ecriture. Couleur et ecriture qui tour a tour masquent et revelent la nature double de l'univers servent a melville a abolir les polarites sterilisantes. Une approche mythocritique du texte melvillien inspiree par les travaux de gaston bachelard, mircea eliade et gilbert durand et influencee par les recherches etBlack and white constitute one of the dominant structures of herman melville's imagination. My dissertation analyses the complex relationship between black and white in the novels of herman melville (1819-1891), beginning with its racial implications to finally pointing to the links established by melville himself between race, color and writing. From his first semi-autobiographical novels to his later works, the presentation of "otherness" is inseparable from preoccupations on the significance of color, on the problem of communication, on language and writing. There is in moby-dick; or, the whale a fusion of all the earlier themes. Three chapters out of six in our dissertation focus on this novel. The reversal of values traditionally associated with black and white in puritan culture and the questioning of color as a significant mark of racial identity become inseparable from the questioning of language and writing. Melville, in search of a new language capable of abolishing polarities, turns to the techniques of the occult: astrology, numerology and alchemy; he plays on the shape and sound of letters, on the use of capitals and italics, on numbers and colors to reveal the ever changing and unreliable character of language. Color and writing are masks which both hide and disclose the dual nature of the universe. Our mythocritical approach of the melvillean text inspired by the works of gaston bachelard, mircea eliade and gilbert durand and influenced by the research and analysis of professor viola sachs of paris viii university has enabled us to reconcile the personal, cultural and mythical dimensions of an ever dynamic and challenging work
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Marcais, Dominique. "Race, couleur, écriture le blanc et le noir dans l'oeuvre romanesque de Herman Melville /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37615676p.
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