Littérature scientifique sur le sujet « Melville, Herman (1819-1891). Clarel »

This dissertation argues that Herman Melville’s Clarel: A Poem and Pilgrimage in the Holy Land (1876) is a universalist poem which analyzes the necessity, political potentiality, and challenges of intersubjectivity to the creation of more democratic human relationships beyond the walls of individualism and of traditional communities such as those organized around the notions of nation-state, ‘race’, culture, religious affiliation, or sexual identities. My argument is that, in Clarel, Melville conceives what I have termed ‘intersubjective universalism’ as an ethicopolitical process subjected to the potentialities and limitations of those who may either develop or neutralize it: human beings conditioned by their fears, egocentric behaviors, and ultimately, by their imperfect, limited, human nature. In this respect, Clarel, I claim, gives continuity to Melville’s recurrent exploration of the dangers, beauties, and interlacing of the (im)possibilities of intersubjectivity, universalism, and democracy, always torn between the democratizing potentiality the author located in interpersonal relationships and the bleak realization that human beings might never materialize such democratic project. My dissertation is divided into two chapters, which correspond to the two principal axes of my study: the defense and articulation of the intersubjective universalism I conceive in Melville’s Clarel from a theoretical perspective, on the one hand, and my interpretation of Clarel: A Poem and Pilgrimage in the Holy Land as a universalist poem, representative of Herman Melville’s political literary project, on the other. In order to justify my defense of Clarel as a universalist poem, my dissertation incorporates the points of view of contemporary theorists such as Hannah Arendt, Etienne Balibar, Zygmunt Bauman, Martin Buber, Judith Butler, Jacques Derrida, Ernesto Laclau, Emmanuel Levinas, Jean-Luc Nancy, Martha Nussbaum, and Linda Zerilli, among others, whose analyses on community, intersubjectivity, interpersonal relationships, global ethics, and universalism, from the perspectives of poststructuralism, sociology, philosophy, or politics, have been enabling to my own work.<br>Esta tesis doctoral analiza el caso de "Clarel: A Poem and Pilgrimage in the Holy Land (1876)" , un poema universalista de Herman Melville, que analiza la necesidad, el potencial politico, y los desafíos de la intersubjetividad para el desarrollo de relaciones humanas más democráticas fuera de los muros del individualismo y de comunidades tradicionales organizadas sobre nociones como estado-nación, “raza”, cultura, afiliación religiosa, o identidades sexuales. Mi argumento es que, en Clarel, Melville concibe lo que he llamado “universalismo intersubjetivo” como un proceso eticopolítico sujeto al potencial y a las limitaciones de aquellos que pueden tanto desarrollarlo como neutralizarlo: seres humanos condicionados por sus miedos, comportamientos egocéntricos y, últimamente, por su imperfecta y limitada naturaleza humana. En este sentido, mi tesis argumenta que Clarel da continuidad a la exploración recurrente de Melville de los peligros, las bellezas, y las interconexiones de las (im)posibilidades de la intersubjetividad, el universalismo, y la democracia. Estas exploraciones están divididas entre el potencial democratizador que el autor situaba en las relaciones interpersonales y en la triste conciencia de que los seres humanos quizás nunca materializarían tal proyecto democrático. Mi tesis se divide en dos capítulos, que corresponden a los dos ejes principales de mi estudio: la defensa y la articulación del universalismo intersubjetivo que concibo en el poema de Melville Clarel desde un punto de vista teórico, por un lado, y mi interpretación de Clarel: A Poem and Pilgrimage in the Holy Land como poema universalista, representativo del proyecto político literario de Herman Melville, por otro lado. Con tal de justificar mi defensa de Clarel como poema universalista, esta tesis doctoral incorpora los puntos de vista de teóricos contemporáneos como Hannah Arendt, Etienne Balibar, Zygmunt Bauman, Martin Buber, Judith Butler, Jacques Derrida, Ernesto Laclau, Emmanuel Levinas, Jean-Luc Nancy, Martha Nussbaum, y Linda Zerilli, entre otros, cuyos análisis sobre comunidad, intersubjectividad, relaciones interpersonales, ética global, y universalismo, desde las perspectivas del postestructuralismo, la sociología, la filosofía, y la política, fundamentan mi propio trabajo.

Milton &amp; 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 symbole<br>Milton &amp; 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

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.<br>Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences.<br>"May 2006."<br>Includes bibliographic references (leaves 32-35)

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.

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 falsification<br>Melville'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

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'auteur<br>The 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

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.<br>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.