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Journal articles on the topic 'Herman Melville'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 March 2023

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1

Olsen-Smith, Steven. "Herman Melville's Planned Work on Remorse." Nineteenth-Century Literature 50, no. 4 (March 1, 1996): 489–500. http://dx.doi.org/10.2307/2933925.

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Thomas Powell, an English-born journalist, claimed in April 1856 that Melville once announced to him a plan for a work "intended to illustrate the principle of remorse, and to demonstrate that there is, very often, less real virtue in moral respectability than in accidental crime." Powell was a thief and a forger who took refuge in Manhattan in 1849 after being banished from the London literary establishment, where he had been an intimate of Dickens and Browning. A crative liar, Powell could have fabricated his claim about the planned work on remorse. Yet he had ample opportunity to hear Melville discourse about a projected work that had not been printed by 1856. Upon his arrival in New York, Powell had attached himself to Melville's friend Evert A. Duyckinck, then quickly made Melville's acquaintance. In June 1849 he was a guest in Melville's house, perhaps the day Melville gave him a copy of the newly published Mardi. The theme was congenial to Melville, who had used "Remorse" as the title of a chapter in Mardi. Melville's later works, moreover, including what we know of the lost The Isle of the Cross, bear close affinities with the planned work as Powell described it. Unless further evidence corroborates Powell's claim, we cannot know for certain that Melville ever discussed writing a work on remorse. Still, considering the highly Melvillean nature of the theme as Powell recalled it, the words of this English scoundrel will ring true to many lovers of Melville.

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2

Spindler, Robert. "Herman Melville." Zeitschrift für Anglistik und Amerikanistik 68, no. 2 (June 25, 2020): 217–19. http://dx.doi.org/10.1515/zaa-2020-0021.

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3

Tally Jr., Robert. "Herman Melville: Between Charlemagne and the Antemosaic Cosmic Man: Race, Class, and the Crisis of Bourgeois Ideology in the American Renaissance Writer." Historical Materialism 17, no. 3 (2009): 235–43. http://dx.doi.org/10.1163/146544609x12469428108781.

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AbstractTally reviews Loren Goldner's Herman Melville: Between Charlemagne and the Antemosaic Cosmic King, which posits that Melville was the American Marx, exposing the crisis of bourgeois ideology in the revolutionary period around 1848. In this, Goldner follows a tradition of Marxian scholarship of Melville, notably including C.L.R. James, Michael Paul Rogin, and Cesare Casarino. Tally concludes that Goldner's argument, while interesting, is limited by its focus on American exceptionalism and by ignoring the postnational force of Melville's novels.

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4

Qi, Wenjin. "Transcendentalism in Herman Melville’s Moby-Dick." Journal of Language Teaching and Research 12, no. 2 (March 1, 2021): 275. http://dx.doi.org/10.17507/jltr.1202.08.

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Ralph Waldo Emerson's Transcendentalist beliefs had dominated American literature in the Romantic period. It has remained an appealing interest in exploring whether Herman Melville had been influenced by Transcendentalism and in what ways it is embodied in his work. Therefore, this study carries out a detailed analysis of Melville's Transcendentalist tendency in his masterpiece of Moby-Dick. It is found that the characterization of Ahab as a Transcendentalist hero and Ishmael as an Emersonian Individualist are two cases in the point. Furthermore, it also reveals the embodiment of Oversoul in the narration. Altogether, they testify the sign of Transcendental influence over Melville in this novel.

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5

Bryant, John L. "Melville and the Indians: Reading, Cosmopolitanism, and the Biographical Condition." Er(r)go. Teoria - Literatura - Kultura, no. 43 (December 30, 2021): 65–86. http://dx.doi.org/10.31261/errgo.11687.

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Responding to the distrust in biography, widely accepted in literary studies, this article attempts to rethink the relationship between the reader and the author, with a special emphasis put on the role of the biographer. Such a task might help us read such texts authored by Herman Melville as Pierre; or The Ambiguities, which tend to raise our amazement and anxiety with their autobiographical entanglement. Moreover, the analyses of reading habits of the Melville family are crucial if we endeavour to understand Herman Melville’s progressing cosmopolitism and cultural empathy, influenced by the black legend of his grandfather and his involvement in the genocide of Native Americans.

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6

Clinton, Daniel. "Line and Lineage." Nineteenth-Century Literature 73, no. 1 (June 1, 2018): 1–29. http://dx.doi.org/10.1525/ncl.2018.73.1.1.

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Daniel Clinton, “Line and Lineage: Visual Form in Herman Melville’s Pierre and Timoleon” (pp. 1–29) This essay examines Herman Melville’s reflections on form, line, and perspective in his novel Pierre (1852) and his poems on art and architecture in Timoleon (1891), a late book of verse partly inspired by his tour of the Mediterranean during 1856–57. I argue that Melville arrives at his understanding of literary form through the language of optical perspective, particularly the terms of “foreshortening” and “outline.” I compare Melville’s figurative conception of outline with the artistic theories and practices of William Blake, George Cumberland, John Ruskin, and the artist John Flaxman, whose illustrations of Homer and Dante feature prominently in Pierre. Widely circulated as engravings by Tommaso Piroli and others, Flaxman’s clean-lined drawings fascinate Melville because they emphasize implied narrative rather than optical verisimilitude. Melville responds to a romantic discourse that positions “outline” on the conceptual boundary between sense-perception and free-floating thought, as a mediating term between competing notions of art’s truth. In both his fiction and poetry, Melville’s reflection on the materiality of pictures doubles as a reflection on the materiality of thought. The formal features of visual art suggest the workings of the mind as it flattens unconscious possibilities and disparate truths into a manageable picture of the world.

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7

Davis, Clark, and Robert L. Gale. "A Herman Melville Encyclopedia." South Atlantic Review 61, no. 1 (1996): 135. http://dx.doi.org/10.2307/3200775.

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8

Morowitz, Harold J. "Herman Melville, Marine Biologist." Biological Bulletin 220, no. 2 (April 2011): 83–85. http://dx.doi.org/10.1086/bblv220n2p83.

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9

Hay, John. "Broken Hearths: Melville's Israel Potter and the Bunker Hill Monument." New England Quarterly 89, no. 2 (June 2016): 192–221. http://dx.doi.org/10.1162/tneq_a_00528.

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When he dedicated Israel Potter to the Bunker Hill Monument, Herman Melville gestured to an eminent national memorial which took so long to build that it appeared to be in ruins before it was finished. Melville's novel addresses the temporal quirks of both patriotic communal commemoration and posthumous personal recognition.

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10

PARKER, HERSHEL. "The Isle of the Cross and Poems: Lost Melville Books and the Indefinite Afterlife of Error." Nineteenth-Century Literature 62, no. 1 (June 1, 2007): 29–47. http://dx.doi.org/10.1525/ncl.2007.62.1.29.

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Reviewers of Hershel Parker's Herman Melville: A Biography, 1851––1891 in the New York Times and other influential papers expressed disbelief that The Isle of the Cross and Poems (1860) had ever existed. In fact, Melville scholars had known much about The Isle of the Cross (but not the name) for decades and since 1922 had known almost everything about Poems. Like these reviewers, many other modern critics no longer perform archival research themselves and fail to acknowledge decades of basic documentary work done on Melville. It is as if critics believe nothing new could have been discovered after 1921, the year of Raymond Weaver's biography of Melville. The consequence of this ignorance, manifest in much literary criticism, is a pernicious distortion of the trajectory of Melville's whole literary career.

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11

FURUI, YOSHIAKI. "Bartleby's Closed Desk: Reading Melville against Affect." Journal of American Studies 53, no. 2 (November 2, 2017): 353–71. http://dx.doi.org/10.1017/s0021875817001402.

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To reconsider the affective turn in American literary studies, this essay reads Herman Melville's “Bartleby, the Scrivener” (1853), with reference to “Benito Cereno” (1855) andThe Confidence-Man(1857), as an anti-affect story. By shedding light on silent characters in these works – Bartleby, Babo, and Black Guinea – it argues that Melville endeavors to adumbrate, not articulate, their private interiorities through language. Calling the inner recesses of his silent characters “secret emotions,” Melville probes into the boundaries between the effable and the ineffable by testing the limits of literary language. If “affect” refers to the kind of emotion that eludes signification through language, reading Melville in this manner encourages a reappraisal of the relationship between affect as a non-linguistic emotion and literature as a linguistic construct.

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12

Clymer, Jeffory A. "Property and Selfhood in Herman Melville's Pierre." Nineteenth-Century Literature 61, no. 2 (September 1, 2006): 171–99. http://dx.doi.org/10.1525/ncl.2006.61.2.171.

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In Pierre; or, the Ambiguities (1852) Herman Melville analyzes the intricacies of subjectivity and economics by way of two concrete and quite different forms of antebellum American property relations-the residual estates of the landed gentry in upstate New York and the emergent urban market economy of New York City. A condition of unassailability,of timelessness and imperviousness, infuses the family estate in Pierre, while incessant exchange characterizes the novel's urban finale. Taken together, these opposed economic arrangements represent Melville's meditation on how the very concept of alienability, the definitive aspect of modern property relations, impacted forms of non-slave identity in the antebellum United States. The condition of inalienability that structures the patrimonial estates presents the initially attractive possibility of removal from the turbulent world of property relations, exchange, and commodification,but it turns out to be an ideological fantasy supported primarily by violence and death. Melville, always one to brood about selfhood, and faced in Pierre with his realization of the rottenness at the core of his fantasy of a subjectivity not riven by alienability,responds with the novel's urban section. This second portion of the novel presents market relations as a horror wreaked principally on the self. Pierre, ultimately, represents Melville's monument to the desirability, and his dismay at the impossibility, of imagining identity outside the syntax of a market economy's version of property relations.

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13

COLLINS, MICHAEL JAMES. "“The Master-Key of Our Theme”: Master Betty and the Politics of Theatricality in Herman Melville's “The Fiddler”." Journal of American Studies 47, no. 3 (August 31, 2012): 759–76. http://dx.doi.org/10.1017/s0021875812001259.

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In what is by now among the more famous personal histories in American studies, by 1852 Herman Melville was facing bankruptcy and personal ruin after the financial failures of Moby-Dick and Pierre. Under the guidance of the new editor of Putnam's Magazine, Charles Briggs, Melville turned to writing magazine fiction. Building upon work that seeks to show how Melville in his short stories negotiated the terrain between the riotous world of the popular press and the sanctified realm of high art, this article looks at a frequently neglected work by Melville from 1854, “The Fiddler,” as a response to this personal crisis. I show how Melville's story resurrects a forgotten transatlantic history (the life of the Irish actor Master William Henry West Betty) as a means to explore his own search for an aesthetic that could adequately serve both the demands of the spectacular world of antebellum publishing and his own high literary ambitions.

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14

Stanguennec, André. "Herman Melville ou l'impossible subversion." Littérature 133, no. 1 (2004): 83–112. http://dx.doi.org/10.3406/litt.2004.1842.

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15

Kelley, Wyn. "The Writings Of Herman Melville." Resources for American Literary Study 19, no. 1 (January 1, 1993): 134–37. http://dx.doi.org/10.2307/26366971.

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16

Marovitz, Sanford E. "HERMAN MELVILLE: THE CONTEMPORARY REVIEWS." Resources for American Literary Study 24, no. 1 (January 1, 1998): 130–33. http://dx.doi.org/10.5325/resoamerlitestud.24.1.0130.

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17

Kelley, Wyn. "The Writings Of Herman Melville." Resources for American Literary Study 19, no. 1 (January 1, 1993): 134–37. http://dx.doi.org/10.2307/resoamerlitestud.19.1.0134.

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18

Gretchko, John M. J. "The Will of Herman Melville." Leviathan 20, no. 2 (2018): 95–96. http://dx.doi.org/10.1353/lvn.2018.0022.

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19

Coleman, Dawn. "Benito Cereno by Herman Melville." Leviathan 22, no. 3 (2020): 112–14. http://dx.doi.org/10.1353/lvn.2020.0045.

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20

Crimmins, Jonathan. "Nested Inversions: Genre and the Bipartite Form of Herman Melville's Pierre." Nineteenth-Century Literature 64, no. 4 (March 1, 2010): 437–64. http://dx.doi.org/10.1525/ncl.2010.64.4.437.

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Jonathan Crimmins, "Nested Inversions: Genre and the Bipartite Form of Herman Melville's Pierre" (pp. 437––464) In this essay I suggest that Herman Melville constructed Pierre (1852) as a diptych, an early example of the form that he later employed in his stories for Harper's and Putnam's magazines. He characterized Pierre's two halves by their settings, countryside and city, and used the locales allegorically to represent the ideological value systems associated with the mode of production of each. Further, I argue that Melville constrained the scope of the mixed form, more freely practiced in Mardi (1849) and Moby-Dick (1851), by carefully aligning the generic elements of Pierre with its bipartite structure: the sentimental and the Gothic with the first half of the novel, the urban and romantic with the second half. subordinating the generic elements to the structure, Melville built a novel in which each half operates according to different laws, each as its own separate stage, enacting the drama of its treasured beliefs and the inescapable hypocrisies of those beliefs. Each half of Pierre presents the justice of its values as natural and the logic of its values as complete. And yet, set side-by-side as a diptych so as to suggest equal measure, the competing claims to totality collapse; while each ideological stage acts as if its value systems are unified and whole, side-by-side they are seen as inverted schematics, as two halves of a single crisis. Melville shows the contradictory dependence of capitalism's ideology of historical contingency and feudalism's faith in an idealist grounding of the historical, offering up the insolubility of the crisis as the empty indicator of a real solution.

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21

Zhao, Yue, and Mengyang Zhang. "An Eco-critical Analysis of Moby Dick." Journal of Innovation and Social Science Research 8, no. 9 (September 30, 2021): 86–90. http://dx.doi.org/10.53469/jissr.2021.08(09).18.

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Moby Dick is well acknowledged as a world masterpiece by the American author Herman Melville. This paper attempts to analyze Melville’s Moby Dick by the theory of eco-criticism. In order to better approach the American society before the 1950s, the author aims to scrutinize the novel with eco-criticism from three such aspects as nature, society and spirit so that the present society can gain some insights in preventing and solving similar problems. Divided into several parts as follows, this paper introduces Melville and Moby Dick as well as eco-criticism first and then interprets the novel via eco-criticism in three aspects, and finally ends with its realistic significance as a conclusion.

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22

MONTEIRO, GEORGE. "Herman Melville: Fugitive References (1845–1922)." Resources for American Literary Study 33, no. 1 (January 1, 2008): 19–93. http://dx.doi.org/10.2307/26367040.

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23

MONTEIRO, GEORGE. "Herman Melville: Fugitive References (1845–1922)." Resources for American Literary Study 33, no. 1 (January 1, 2008): 19–93. http://dx.doi.org/10.2307/resoamerlitestud.33.2008.0019.

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24

Hayes, K. J. "WYN KELLEY, Herman Melville: An Introduction." Notes and Queries 56, no. 2 (May 7, 2009): 298–300. http://dx.doi.org/10.1093/notesj/gjp031.

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25

Osborne, Gillian. "Herman Melville, Queen of the Flowers." Leviathan 18, no. 3 (2016): 129–48. http://dx.doi.org/10.1353/lvn.2016.0044.

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26

Monteiro, George. "Herman Melville: Fugitive References (1845–1922)." Resources for American Literary Study 33, no. 1 (June 1, 2010): 19–93. http://dx.doi.org/10.7756/rals.033.002.19-93.

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27

Chari, V. K. "Herman Melville: Stargazer by Brett Zimmerman." ESC: English Studies in Canada 26, no. 4 (2000): 505–8. http://dx.doi.org/10.1353/esc.2000.0046.

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28

Poole, Gordon M. "Lettere a Hawthorne by Herman Melville." Leviathan 24, no. 3 (October 2022): 114–18. http://dx.doi.org/10.1353/lvn.2022.0037.

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29

Vivar Mendoza, Aldo. "Melville y Grau: Navegaciones paralelas." Acta Herediana 61 (May 28, 2018): 82. http://dx.doi.org/10.20453/ah.v61i0.3297.

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El presente texto repasa las experiencias marinas de dos eminentes personajes: Herman Melville, escritor norteamericano, y Miguel Grau, marino peruano. En ellos, el Océano Pacífico dejó huellas indelebles en sus vidas y en sus obras.

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30

Oppo, Andrea. "Black Holes: A Philosophical View on and." Samuel Beckett Today / Aujourd'hui 23, no. 1 (August 1, 2012): 307–17. http://dx.doi.org/10.1163/18757405-023001020.

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This article focuses on two significant texts revealing the crisis and stalemate of narrative during the nineteenth and twentieth centuries: Herman Melville's short tale Bartleby, The Scrivener and Samuel Beckett's Endgame. Particular attention is paid to Gilles Deleuze's and Theodor Adorno's philosophical interpretations of these two authors. Overall, the interruption and impasse of narrative are shown to happen in two radically different ways in Melville and Beckett, leading to two equally different consequences for the definition of subjectivity in contemporary aesthetics.

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31

Rebhorn, Matthew. "Billy’s Fist." Nineteenth-Century Literature 72, no. 2 (September 1, 2017): 218–44. http://dx.doi.org/10.1525/ncl.2017.72.2.218.

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Matthew Rebhorn, “Billy’s Fist: Neuroscience and Corporeal Reading in Melville’s Billy Budd” (pp. 218–244) This essay explores the relationship between Herman Melville’s Billy Budd (published 1924) and late-nineteenth-century neuroscience—particularly works by Alexander Bain and George Henry Lewes—to argue that this novel advances a new way of reading the body. Inflected by Melville’s late encounter with Arthur Schopenhauer’s ruminations on “will power,” Melville uses neuroscience to develop Schopenhauer’s idea into what I am calling a “corporeal reading” practice. This is a reading practice, I argue, that erodes the ontological distinction between the mind and body, between the mind as subject and the body as mere object. Yet because Melville set this novel in wartime, this new reading practice also reveals the deep, and often deadly, tensions that accompany understanding the body as having a mind of its own. In this way, Billy Budd becomes a primer not only for expanding the notion of the bodily consciousness, but also for learning to read the political inflections of the animate body and its “will (to) power.”

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32

Wang, Na, and Zhenhua Lyu. "Religious Ambiguity of Herman Melville in Moby Dick." Global Academic Journal of Linguistics and Literature 4, no. 6 (November 11, 2022): 175–78. http://dx.doi.org/10.36348/gajll.2022.v04i06.001.

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The representative work of Herman Melville Moby Dick is a profoundly religious novel. Under the cover of the novel, Melville reveals his loyalty and rebellion to Christianity. This paper intends to reveal his religious ambiguity from three different perspectives: the white whale that is the combination of a divine and a demon, Ahab who is both the king and slave, and Ishmael who is both abandoned and saved.

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33

Ford, Sean. "Authors, Speakers, Readers in a Trio of Sea-Pieces in Herman Melville's John Marr and Other Sailors." Nineteenth-Century Literature 67, no. 2 (September 1, 2012): 234–58. http://dx.doi.org/10.1525/ncl.2012.67.2.234.

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Much recent interest in Herman Melville's poetry involves reassessing its position both within the Melville canon and within or against various literary traditions. This essay considers the range of stances, speakers, and personae in John Marr and Other Sailors With Some Sea-Pieces (1888) and its resonances of past works as evidence that Melville is more committed to a public audience and less oppositional or adversarial to established traditions than a number of scholars have proposed. A study of topical and rhetorical interdependencies in a sequence of poems in the volume uncovers dynamic affinities, whether by direct influence or otherwise, with William Shakespeare, Samuel Taylor Coleridge, Alfred Tennyson, and Walt Whitman, participants in Melville's own recurring urge to tell of things that cannot be told. Through a communion of voices, “The Æolian Harp,” “To the Master of the ‘Meteor,’” and “Far Off-Shore” display varying and alternating expressions of this urge as part of a rhetorical project that invites readers to interact and ultimately acquiesce in essential limits of accessing and telling the truth.

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34

BERTHOLD, DENNIS. ""The Italian Turn Of Thought"." Nineteenth-Century Literature 59, no. 3 (December 1, 2004): 340–71. http://dx.doi.org/10.1525/ncl.2004.59.3.340.

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Studies of Herman Melville's epic poem Clarel (1876) have understandably emphasized the work's theological content. When studied in its immediate historical context, however, the poem's multiple references to Rome and Catholicism take on speci�c political meanings, particularly those centered in the Risorgimento, Italy's century-long quest for independence and unity. In 1870, when Melville began to write the poem, the Risorgimento achieved its �nal goal, making Rome Italy's capital and stripping the Pope of his temporal power. Melville, like many Americans, supported Italy's moderate, anti-papal, nationalistic ideals, and in Clarel he embodied them in the Roman orphan Celio. Celio represents skepticism, present experience, and historical circumstance in opposition both to the intolerant religious politics of orthodox Catholicism (represented in the poem by Brother Salvaterra and the Dominican priest) and the violent extremism of secular revolutionists (represented by Mortmain and Ungar). Through Celio, Melville offers a trans-national perspective on issues of nationhood by engaging speci�c current events and critiquing those who substitute failed ideologies for the uncertainties of experience.

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35

WERTHEIMER, ERIC. "Jupiter Underwritten: Melville's Unsafe Home." Nineteenth-Century Literature 58, no. 2 (September 1, 2003): 176–201. http://dx.doi.org/10.1525/ncl.2003.58.2.176.

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ABSTRACT Eric Wertheimer, ““Jupiter Underwritten: Melville's Unsafe Home”” (pp.176––201) Taking Herman Melville's short story ““The Lighting-Rod Man”” (1854) as my interpretive reference point, in this essay I seek to understand how the idea of accidental loss was critical to the unfolding of Melville's career as a writer. The story manages to satirize commercial language as well as the discourses of safety and insurance underwriting that were part of Melville's bitter experience with his own property——whether as a homeowner or author. Moreover, the thematics of safety are discussed in the contexts of the legal and philosophical currents within the historical period, showing how Melville participates in a response to modernity that was uniquely centered on a critique of language.

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36

O'Donnell, Marcus. "Following the Balibo massacre’s whale." Pacific Journalism Review : Te Koakoa 15, no. 2 (October 1, 2009): 210–13. http://dx.doi.org/10.24135/pjr.v15i2.993.

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Early on in Tony Maniaty’s Shooting Balibo we come across Herman Melville, Michelangelo Antonioni and John Dos Passos. We quickly get the message that this is as much a journey of the imagination as it is a travelogue, memoir or investigation. Maniaty tells us that when he went to East Timor as an ABC reporter in 1975, just before the ill-fated journalists, his travel reading was Melville’s Moby Dick. Here we get a sense of the young journalist’s ambition, his questing commitment to follow the story, just as Ahab follows his whale.

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37

Sheffield, Marcus L. "Melville's Puritan Imagination." Prospects 25 (October 2000): 69–114. http://dx.doi.org/10.1017/s0361233300000582.

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To a remarkable degree the literary works of Herman Melville (1819–91) have been read as subversive to traditional American religious aspirations. Some early reviewers, while praising the vivid recreations of the smell of salt air and the taste of hardtack, noted the blasphemy, perversion, and immoral elements they perceived in Melville's narratives of life among the peoples of Polynesia. Especially prominent for reviewers were Melville's literary assaults on Christian missionaries. Later, as his career progressed, he appeared to abandon the vivid for the mystifying and turned to regaling his readers with profundities, allegory, and metaphysics, or so the critics said. Melville's literary reputation glowed warmly for a short while, cooled, then died. As from the dead, the reputation was reborn in the 1920s.

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38

GANDER, CATHERINE. "Muriel Rukeyser, America, and the “Melville Revival”." Journal of American Studies 44, no. 4 (February 5, 2010): 759–75. http://dx.doi.org/10.1017/s0021875809991435.

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Whilst Muriel Rukeyser's poetic affinity with Walt Whitman is generally acknowledged, the close relation of her work and poetic sensibility to the thought and writing of Herman Melville has somehow gone relatively unnoticed, and almost wholly unexamined. In 1918, Van Wyck Brooks called for the creation of a usable past that would energize America by recasting its cultural tradition. His plea addressed the need to rebuild a national heritage via the rediscovery of culturally “great” figures. By the late 1930s, many scholars and writers had answered the call, and the new discipline of American studies was beginning to take shape, aided by a reclamation of one of the country's greatest, most neglected, writers – Herman Melville. This was also the period in which Rukeyser “came of age”; a time when political and international conflicts and economic crises generated both the stark, documentary representation of present social realities and the drive to retrieve or reconstruct a more golden age that might mobilize a dislocated nation. The following article examines the importance of Melville to Rukeyser's work, and situates her within the “Melville revival” as an important figure in the movement throughout the first half of the twentieth century to reconstruct an American cultural character.

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39

Reynolds, David S., and Stanton Garner. "The Civil War World of Herman Melville." American Historical Review 100, no. 2 (April 1995): 586. http://dx.doi.org/10.2307/2169156.

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40

Kalinichenko, Mychailo. "Herman Melville, an Artist without a Biography." Pitannâ lìteraturoznavstva 89 (November 27, 2014): 17–28. http://dx.doi.org/10.31861/pytlit2014.89.017.

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41

Herbert, T. Walter, and Stanton Garner. "The Civil War World of Herman Melville." Journal of American History 81, no. 4 (March 1995): 1733. http://dx.doi.org/10.2307/2081736.

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42

Milder, Robert, and Stanton Garner. "The Civil War World of Herman Melville." American Literature 68, no. 1 (March 1996): 239. http://dx.doi.org/10.2307/2927557.

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Silva, Álvaro. "Melville, Herman, Complete Poems (Hershel Parker, editor)." Mayéutica 46, no. 101 (2020): 251–52. http://dx.doi.org/10.5840/mayeutica20204610127.

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Hirsch, Irene. "A Baleia Traduzida: Traduções de Herman Melville." Cadernos de Literatura em Tradução, no. 1 (October 1, 1997): 93–106. http://dx.doi.org/10.11606/issn.2359-5388.i1p93-106.

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Griffin, Gerald R. "The Civil War World of Herman Melville." Studies in American Fiction 23, no. 2 (1995): 249–52. http://dx.doi.org/10.1353/saf.1995.0014.

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Simms, L. Moody. "The Civil War World of Herman Melville." History: Reviews of New Books 22, no. 3 (April 1994): 105. http://dx.doi.org/10.1080/03612759.1994.9948945.

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Noel, James. "Herman Melville and the Emergence of Trumpism." Leviathan 20, no. 3 (2018): 145–48. http://dx.doi.org/10.1353/lvn.2018.0043.

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Kelley, Wyn. "Of August: Six Sonnets For Herman Melville." Leviathan 21, no. 1 (2019): 141–44. http://dx.doi.org/10.1353/lvn.2019.0004.

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Riley, Peter. "Critical Lives: Herman Melville by Kevin Hayes." Leviathan 22, no. 1 (2020): 103–5. http://dx.doi.org/10.1353/lvn.2020.0004.

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Verheul, J. P. "Herman Melville and the Moral-Formal Dilemma." Netherlands International Law Review 37, no. 03 (December 1990): 397. http://dx.doi.org/10.1017/s0165070x00006823.

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