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Journal articles on the topic 'Moby Dick'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

Schlesinger, S., and Ch Petersen. "Moby Dick." Adipositas - Ursachen, Folgeerkrankungen, Therapie 03, no. 01 (2009): 22–26. http://dx.doi.org/10.1055/s-0037-1618656.

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ZusammenfassungMoby Dick bietet ein ambulantes einjähriges Therapieprogramm für übergewichtige und adipöse Kinder und Jugendliche an, mit dem Ziel einer langfristigen Gewichtsstabilisierung sowie der Verbesserung der Lebensqualität. Die Kinder treffen sich wohnortnah einmal in der Woche für drei Stunden nachmittags in festen Gruppen. Inhalte sind Verhaltens- und Ernährungstraining sowie Bewegungsangebote. Für die Eltern gibt es verschiedene Fortbildungsangebote. Durch Veränderung der Lebensweise und Stärkung des Selbstwertgefühls werden die gesundheitliche Disposition der Kinder und Jugendlichen sowie ihr subjektives Wohlbefinden verbessert (17). Nach einem Jahr regelmäßiger Teilnahme an dem Moby-Dick-Therapieprogramm sind 67 % erfolgreich (Senkung bzw. keine Steigerung des BMI-SDS-Werts). Diese 67 % halten ihren Erfolg zwei bis vier Jahre nach Therapiebeginn.

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2

Wooden, Rod. "Moby Dick." Contemporary Theatre Review 5, no. 3-4 (January 1996): 97–151. http://dx.doi.org/10.1080/10486809608568396.

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3

Cook, Jonathan A. "Moby-Dick." Resources for American Literary Study 44, no. 1-2 (October 2022): 385–89. http://dx.doi.org/10.5325/resoamerlitestud.44.1-2.0385.

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4

Thompson, Terry W. "Melville's Moby-Dick." Explicator 59, no. 3 (January 2001): 130–32. http://dx.doi.org/10.1080/00144940109597110.

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5

Elliott, Geoffrey. "Melville's MOBY-DICK." Explicator 67, no. 4 (September 30, 2009): 252–54. http://dx.doi.org/10.1080/00144940903250201.

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6

Rothman, Irving N. "Melville's Moby Dick." Explicator 57, no. 3 (January 1999): 148–52. http://dx.doi.org/10.1080/00144949909596851.

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7

Hamilton, Christopher T. "Melville’s Moby-Dick." Explicator 49, no. 3 (April 1991): 152–53. http://dx.doi.org/10.1080/00144940.1991.11484047.

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8

Onishi, Naoki. "Melville's Moby-Dick." Explicator 50, no. 3 (April 1992): 148–50. http://dx.doi.org/10.1080/00144940.1992.9937938.

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9

Phillips, Rod. "Melville's Moby Dick." Explicator 53, no. 2 (January 1995): 92–95. http://dx.doi.org/10.1080/00144940.1995.9937238.

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10

Doty, Benjamin. "Digesting Moby-Dick." Leviathan 19, no. 1 (2017): 85–101. http://dx.doi.org/10.1353/lvn.2017.0006.

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11

Marques, Bruno, and Ana Catarina Caldeira. "Queering Moby Dick." Miguel Hernández Communication Journal 15 (January 31, 2024): 113–37. http://dx.doi.org/10.21134/mhjournal.v15i.2096.

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As same sex marriage emerged at centre of the social and political debate in Portugal, the film Hero, Captain, and Stranger (2009), by João Pedro Vale (JPV) and Nuno Alexandre Ferreira (NAF), intersected art, identity politics and pornography in a manner hitherto unseen in Portugal. A homoerotic adaptation of Herman Melville’s 1851 novel Moby-Dick; or, The Whale, the film confronts a series of aesthetical and political taboos (and prejudices) which have never been analysed in depth despite their topicality. Initially conceived to survey the references to Portuguese seaman from Massachusetts in Herman Melville’s novel, the project by JPV and NAF is an irreverent provocation to a ‘semi-peripheral’ milieu, which still denied juridical recognition of homosexual marriage thirty-five years after the demise of the dictatorial regime (1926-1974).Basing itself on the overcoming of the incompatibility between art and pornography, and the specific nexus between the concept of democratic eros and the model of a more egalitarian gay pornography, this article will address the following questions: what are the political implications of de-metaphorizing homoerotic sexuality in the Great American Novel? And how does gay pornography serve this affirmative purpose?

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12

Gallo, Antonella. "Scenografia per Moby Dick alla Prova." Firenze Architettura 26, no. 1 (September 26, 2022): 182–89. http://dx.doi.org/10.36253/fia-13946.

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Una dimostrazione potente di quello che il teatro può ‘far vedere’ lo offre lo spettacolo prodotto dalla compagnia dell’Elfo per la regia di Elio De Capitani, scegliendo di riportare in scena Moby Dick – Rehearsed, ‘adattamento’ teatrale del Moby Dick di Melville scritto da Orson Welles. Come ricorda De Capitani, Orson Welles «preferì non dare al pubblico né mare, né balene né navi». In questa ambizione ostinata sta la prova, perché il tentativo di trasformare un romanzo polifonico come Moby Dick in un dramma teatrale equivale a cacciare la Balena bianca. A powerful demonstration of what theatre can 'make us see' is offered by the show produced by the dell'Elfo theatre company under the direction of Elio De Capitani, who chose to stage, under the title Moby Dick alla Prova, Orson Welles' theatrical 'adaptation' of Melville's novel Moby Dick. As recalled by De Capitani, Orson Welles “preferred to give the public neither sea, nor whales, nor ships”. In this obstinate ambition lies the feat itself, because the attempt to transform a polyphonic novel such as Moby Dick into a theatrical play is tantamount to hunting the White Whale.

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13

Al Disuqi, Rasha. "Orientalism in Moby Dick." American Journal of Islam and Society 4, no. 1 (September 1, 1987): 117–25. http://dx.doi.org/10.35632/ajis.v4i1.2741.

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This article aims to correct some of the basic errors in Melvillian Islamiccriticism. One of the classics of Western literature is Herman Melville’s MobyDick. the allegorical story of one man’s pursuit of a great white whale.4 Likeall great novelists, Melville was struggling with the great moral issues thattranscend individuals and even civilizations. This contrasts with most ofmodem literature, which exhibits journalistic habits of mind and tends to dealin superficial analysis rather than with the reflective process that gives contentto meditation and thought.Modem literary criticism exhibits the same shallowness. George Orwellexplained the problem perhaps when he observed that applying the same standardsto such novelists as Dickens and Dostoyevsky and to most contemporarywriters is like weighing a flea on a spring-balance intended forelephants.” Critics, he added, don’t do this, because it would mean having tothrow out most of the books they get for review.The value of Melville’s work is that it is possessed of the moral imperativeand is designed to lead the forces of wisdom and balance against the spiritualbankruptcy and anarchy of the encroaching materialism in modem Westerncivilization.The tragedy of Melville’s work is the superficiality of its reliance onIslamic sources, which Melville had read but only in Orientalist distortion.This tragedy has been compounded by later generations of Orientalists whohave used the distortions of Melville to generate their own. Perhaps the mostinsidious of these latter-day Orientalists is Dorothy Finklestein, author ofMelville’s Oriendu, who we shall refer to simply as “the critic."Her study of Melville’s Islamic references devotes a complete section to“Muhammad and the Arabs” in the chapter on “Prophets and Conquerers.”Following this, she presents an exhaustive analysis of “Islamic Characters andSymbols.” She harshly rejects Melville’s immature resort to secondary Islamicsources; namely Carlyle’s Hero, Heroworship, and Heroic History, Goethe’s ...

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14

백준걸. "Piratical Ahab: Moby-Dick." English & American Cultural Studies 11, no. 1 (April 2011): 129–59. http://dx.doi.org/10.15839/eacs.11.1.201104.129.

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15

Waddell, Thomas G., and R. Reed Sanderlin. "Chemistry in "Moby Dick"." Journal of Chemical Education 63, no. 12 (December 1986): 1019. http://dx.doi.org/10.1021/ed063p1019.

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16

Armstrong, Philip. "Moby-Dick and Compassion." Society & Animals 12, no. 1 (2004): 19–37. http://dx.doi.org/10.1163/156853004323029522.

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AbstractBecause the notions of "anthropomorphism" and "sentimentality" often are used pejoratively to dismiss research in human-animal studies, there is much to be gained from ongoing and detailed analysis of the changing "structures of feeling" that shape representations and treatments of nonhuman animals. Literary criticism contributes to this project when it pays due attention to differences in historical and cultural contexts. As an example of this approach, a reading of the humanization of cetaceans in Herman Melville's Moby-Dick - and more broadly in nineteenth-century whaling discourse - demonstrates how radically human feelings for nonhuman species are affected by shifting material and ideological conditions.

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17

Christuman, David C. "ARTISTS AFTER MOBY-DICK." Leviathan: A Journal of Melville Studies 3, no. 2 (October 2001): 3–4. http://dx.doi.org/10.1111/j.1750-1849.2001.tb00105.x.

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18

Meißner, Thomas. "Geisteskrank nach „Moby Dick“." CME 12, no. 5 (May 2015): 34–35. http://dx.doi.org/10.1007/s11298-015-1308-7.

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19

Christman, David C. "Artists after Moby-Dick." Leviathan 3, no. 2 (October 2001): 3–4. http://dx.doi.org/10.1353/lvn.2001.a491522.

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20

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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21

Kelly, Shirley. "Moby Dick Was No Figment." Books Ireland, no. 227 (1999): 355. http://dx.doi.org/10.2307/20631959.

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22

Kimball, Samuel. "Uncanny Narration in Moby-Dick." American Literature 59, no. 4 (December 1987): 528. http://dx.doi.org/10.2307/2926610.

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23

Yannella, Donald, and Kerry McSweeney. "Moby-Dick: Ishmael's Mighty Book." American Literature 59, no. 4 (December 1987): 658. http://dx.doi.org/10.2307/2926624.

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24

Markels, Julian. "The Moby-Dick White Elephant." American Literature 66, no. 1 (March 1994): 105. http://dx.doi.org/10.2307/2927435.

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25

Abbott, C. M. "Melville's Redburn and Moby-Dick." Explicator 48, no. 3 (April 1990): 190–91. http://dx.doi.org/10.1080/00144940.1990.9933985.

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26

Pease, D. "Pip, Moby-Dick, Melville's Governmentality." NOVEL A Forum on Fiction 45, no. 3 (September 1, 2012): 327–42. http://dx.doi.org/10.1215/00295132-1722980.

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27

Ebright, Ryan. "Moby-Dick by Jake Heggie." Notes 71, no. 1 (2014): 140–41. http://dx.doi.org/10.1353/not.2014.0102.

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28

Elmore, Owen. "Melville's Typee and Moby-Dick." Explicator 65, no. 2 (January 2007): 85–88. http://dx.doi.org/10.3200/expl.65.2.85-88.

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29

SCHLEIFER, NEAL. "Fear, Loathing, and Moby-Dick." Leviathan: A Journal of Melville Studies 2, no. 2 (October 2000): 111–14. http://dx.doi.org/10.1111/j.1750-1849.2000.tb00040.x.

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30

Levine, Jeffrey. "Illustrated Editions of Moby-Dick." Leviathan 3, no. 2 (October 2001): 36. http://dx.doi.org/10.1353/lvn.2001.a491525.

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31

Furui, Yoshiaki. "Lonely Individualism in Moby-Dick." Criticism 62, no. 4 (September 2020): 599–623. http://dx.doi.org/10.1353/crt.2020.a774762.

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32

de Queiroz, Rachel. "Moby-Dick , the Sea Beast." Leviathan 25, no. 3 (October 2023): 123–25. http://dx.doi.org/10.1353/lvn.2023.a913126.

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33

Cook, Jonathan A. "Melville, Moby-Dick , and Blasphemy." Studies in American Fiction 49, no. 2 (September 2022): 145–73. http://dx.doi.org/10.1353/saf.2022.a920136.

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34

Ye, Xiaoni. "A Biblical Archetypal Study on Moby Dick." Theory and Practice in Language Studies 12, no. 12 (December 1, 2022): 2620–25. http://dx.doi.org/10.17507/tpls.1212.19.

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Moby Dick, one of Herman Melville’s masterpieces, has received tremendous concern for its profound and multiple symbolic and metaphoric meanings. And the pervasive biblical terms and allusions deserve particular attention. This paper, based on Frye's archetypal theory, studies Moby Dick from the perspective of biblical archetypal criticism. The association between the characters and their biblical archetypes helps to reproduce the ancient matrix of The Bible, such as the crime of human beings, themes of sin, the fall, and redemption. The exploration of the biblical archetypal theme in Moby Dick provides us a new perspective to understand the profound significance of the novel. Melville reveals the opposition between good and evil in human beings and shows his contradictory religious outlook as well as his spiritual reflections of his time.

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35

Génin, Isabelle. "Giono, Translator or Reader of Moby-Dick?" TTR 27, no. 1 (July 27, 2016): 17–42. http://dx.doi.org/10.7202/1037117ar.

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The article discusses the interaction between reading and translating, in the case of the first unabridged translation of Moby-Dick into French by Jean Giono, Lucien Jacques and Joan Smith, published by Gallimard in 1941. After a brief survey of the status of that translation—an important cultural landmark in France—the paper examines what the paratext (Giono’s diary, notes and letters) and the typescripts reveal about a seemingly paradoxical situation: Giono’s keen reading of Moby-Dick on the one hand and the simplification and clarification strategies adopted in the translation on the other hand. A selection of stylistic analyses illustrates both the choices made by the translators and the part played by each participant in the project. It appears that Giono did not necessarily misread Moby-Dick, underestimating its scope and significance. Instead, after reading the novel, he grew indifferent to its translation and concentrated his energy on his own writing in which he re-invested his reading experience. As to the other co-translators, Joan Smith provided a word-for-word translation of the text that made no attempt at interpreting the text, while Lucien Jacques strove to re-write Smith’s literal first draft, in spite of his difficult position as a non-reader (albeit an enthusiastic one) of Moby-Dick.

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36

Edelstein, Sari. "Teaching Moby-Dick in the Anthropocene." Radical Teacher 119 (April 17, 2021): 68–70. http://dx.doi.org/10.5195/rt.2021.876.

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37

Cook, Jonathan A. "Moby-Dick and Twenty-First Century Theodicy." Christianity & Literature 70, no. 4 (December 2021): 361–81. http://dx.doi.org/10.1353/chy.2021.0047.

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Abstract: This essay examines Moby-Dick as a mid-nineteenth-century fictional response to the Christian tradition of theodicy, or the attempt to justify the goodness and justice of God in the face of evil and unmerited human suffering. Given Moby-Dick 's grounding in the traditions of theodicy going back to the book of Job, it is a potentially revealing exercise to compare Melville's novel to more recent examples of this form of discursive analysis, which have greatly proliferated over the last half-century. By examining a representative sample of early twenty-first century Christian theodicies by writers of varying denominational backgrounds, I seek to demonstrate that Moby-Dick dramatizes many of the same issues as discussed by these works, but by framing the issues in narrative and dramatic form, Melville's novel becomes significantly more compelling as an extended exhibition of the problem of evil than any discursive rationalization of its existence within the confines of Christian dogmatism.

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38

Hoberek, Andrew. "Melville, Insurrection, and the Problem of the Nation." American Literary History 35, no. 1 (February 1, 2023): 23–37. http://dx.doi.org/10.1093/alh/ajac158.

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Abstract In contrast with the standard reading of Moby-Dick (1851) as marking a turn in Melville’s writing from the realist to the symbolic, this chapter focuses on Melville’s realistic representation of insurrection in the chapter entitled “The Town-Ho’s Story.” It does so to argue that Melville understands insurrection as both central to democracy and at odds with politics organized around the nation. Moby-Dick is thus global not only in its setting, but in its formal engagement with the problem of democracy.Moby-Dick strongly suggests that Melville understands the politics of insurrection in opposition to the politics of the nation.

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39

Bilicki, Z., J. Kestin, and M. M. Pratt. "A Reinterpretation of the Results of the Moby Dick Experiments in Terms of the Nonequilibrium Model." Journal of Fluids Engineering 112, no. 2 (June 1, 1990): 212–17. http://dx.doi.org/10.1115/1.2909390.

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The topological pattern of the set of measured pressure distributions included in the Moby Dick series of experiments on critical flow through a slender channel provided with a throat does not agree with that expected on the basis of the rigorous mathematical theory which predicts the appearance of a singular point, most likely, of a saddle point at or near the throat. This is considered to be paradoxical. The paper provides an alternative interpretation of these results. The Moby Dick experiments have clearly demonstrated the profound influence of the existence of metastable conditions near the flash point. For this reason, among others, the paper undertakes a re-evaluation of some of the Moby Dick results in terms of the nonequilibrium model first suggested by L. J. F. Broer in 1958 for use in flows of chemically reacting gases. Since the Moby Dick data contain measurements of the distribution α(z) of void fractions, it becomes possible to calculate local relaxation times, θ[α(z)], and so to close the system of differential equations of the model. Extensive numerical calculations reproduce the measured pressure distributions with an error of 6–10 percent at most. More importantly, the topological features of the calculated pressures, Pth(z), turn out to be identical with the measured ones, Pex(z). The most important, and totally unexpected, result is that the flow in the Moby Dick channel remained subcritical everywhere. In particular, the channel was not choked at the throat. Since the mass-flow rates were independent of back-pressure, it is concluded that the flows were choked at or near the exit. The paper advances additional reasons for the feasibility of this alternative interpretation, but emphasizes and re-emphasizes its provisional nature.

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40

Morgan, Jeff. "The Constructive Marginal of Moby-Dick: Ishmael and the Developmental Model of Intercultural Sensitivity." Frontiers: The Interdisciplinary Journal of Study Abroad 21, no. 1 (August 15, 2011): 1–16. http://dx.doi.org/10.36366/frontiers.v21i1.301.

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The following article presents a discussion about Melville’s book Moby-Dick and the ways in which conversation about the development model of intercultural sensitivity can be shifted. The author suggests that reading, discussing, and writing about Melville’s Moby-Dick would be helpful activities for those preparing to go abroad, and for those who cannot travel to experience different cultures. The novel and Ishmael’s characterization particularly, would, at least, expose them to the necessity of cultural sensitivity.

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41

Gradert, Kenyon. "Windmills, Whales, and Democracy’s Mad Enchanters." Leviathan 26, no. 1 (March 2024): 5–29. http://dx.doi.org/10.1353/lvn.2024.a925508.

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Abstract: Melville’s debts to Cervantes have received scant attention, but Moby-Dick bears the deep imprint of Don Quixote . In particular, Cervantes helped Melville clarify a problem he sensed in democracy and modernity: pervasive feelings of loneliness, aimlessness, and prosaicness leave individuals susceptible to madmen who promise to reenchant life with the regal fullness of fiction. While Don Quixote celebrates the comic possibilities of this hunger for fictionality, Moby-Dick highlights its tragic potential for disaster.

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42

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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43

Ketterer, David. "Moby-Dick and Fluid-Text Editing." PMLA/Publications of the Modern Language Association of America 126, no. 2 (March 2011): 500–501. http://dx.doi.org/10.1632/pmla.2011.126.2.500.

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44

Moonsu Shin. "Whales, Moby-Dick, and Ecological Vision." Literature and Environment 7, no. 2 (December 2008): 23–52. http://dx.doi.org/10.36063/asle.2008.7.2.002.

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45

Mercier, Christophe. "Un nouveau Moby Dick." Commentaire Numéro 116, no. 4 (December 1, 2006): 1104–6. http://dx.doi.org/10.3917/comm.116.1104.

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46

Gowen, Emily. "Dead Fish: On Rereading Moby-Dick." J19: The Journal of Nineteenth-Century Americanists 9, no. 2 (2021): 277–82. http://dx.doi.org/10.1353/jnc.2021.0027.

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47

Chun, Kook-suh. "The Gnostic Influence on Moby-Dick." Journal of Modern British & American Language & Literature 34, no. 2 (May 31, 2016): 195. http://dx.doi.org/10.21084/jmball.2016.05.34.2.195.

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48

HOWARTH. "Homage to Melville: Project "Moby-Dick"." Princeton University Library Chronicle 54, no. 2/3 (1993): 225. http://dx.doi.org/10.2307/26403818.

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49

Schultz, E. "Melville's Environmental Vision in Moby-dick." Interdisciplinary Studies in Literature and Environment 7, no. 1 (January 1, 2000): 97–113. http://dx.doi.org/10.1093/isle/7.1.97.

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50

Derail-Imbert, Agnès. "Moby-Dick : la fable du ventre." Revue Française d'Etudes Américaines 44, no. 1 (1990): 11–22. http://dx.doi.org/10.3406/rfea.1990.1389.

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