Tesi: "Melville, Herman (1819-1891). Clarel"

1

Hildebrandt, Caroline. "Du Confidence-Man à Clarel : sécularisation et démythologisation dans l'oeuvre de Herman Melville (1857-1876)". Electronic Thesis or Diss., Lyon, École normale supérieure, 2024. http://www.theses.fr/2024ENSL0071.

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Ce travail propose une lecture de l’œuvre tardive de Herman Melville, afin de faire émerger une pensée de la sécularisation dans ses textes, tout en interrogeant la pertinence de la notion et des théories afférentes. Le corpus analysé comporte la dernière œuvre en prose publiée de Melville, The Confidence-Man (1857), le recueil de poésie Battle-Pieces (1866) et, enfin, le long poème épique Clarel (1876). L'analyse s'appuie sur la théologie herméneutique de Rudolf Bultmann et son concept central de « démythologisation », conçue comme une réinterprétation sceptique des textes bibliques et de leur contexte de réception, afin de dégager leur fondement existentiel. Complétée par la philosophie politique de Hannah Arendt, l’analyse dialogue avec les approches contemporaines de la sécularisation et, enfin, avec le champ de la philosophie et de la théorie littéraire. Il s'agit de cerner les phénoménologies religieuses, existentielles et politiques exprimées dans les textes melvilliens, qui s’articulent autour d’un pluralisme religieux en crise et de changements épistémiques majeurs. The Confidence-Man explore la rhétorique théologique de la sphère publique états-unienne et ses enchevêtrements avec les structures du capitalisme de marché naissant. Battle-Pieces révèle la crise de l’eschatologie que représente la guerre de Sécession, et formule une critique de l’idée de religion civile. Dans Clarel, la généalogie des liens entre théologie et politique aboutit à la formulation d’une disjonction totale des deux plans, non sans mettre en œuvre une forme d’amitié politique entre les protagonistes, fruit inattendu de leur quête spirituelle
This work offers a reading of Herman Melville’s later works, in order to delineate a philosophy of secularization in the author’s texts, while questioning the accuracy of the notion and its multiple theories. The texts chosen are The Confidence-Man (1857), the poetry collection Battle-Pieces (1866) and the long epic poem Clarel (1876). The analysis relies on Rudolf Bultmann’s hermeneutical theology and his key concept of “demythologization”, which consists of a skeptical reinterpretation of the biblical texts and the context of their reception, in order to uncover their existential basis. The analysis is supplemented by Hannah Arendt’s political philosophy and dialogues with the contemporary approaches of secularization, and finally with literary theory. The idea is to discern the religious, existential and political phenomenologies to be found in Melville’s texts, which revolve around a crisis of religious pluralism and major epistemic changes. The Confidence-Man explores the theological rhetoric of the American public sphere and its links with the structures of a nascent market capitalism. Battle-Pieces reveals the eschatological crisis that the Civil War represents, and expresses a criticism of the idea of civil religion. In Clarel, the genealogy of the links between theology and politics traces a total disjunction between the two plans, while enabling the performance of a type of political friendship between the characters, which arises as the unexpected outcome of their spiritual quest

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2

López, Peña Laura. "Beyond the Walls-Potentiality Aborted. The Politics of Intersubjective Universalism in Herman Melville’s Clarel". Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/128332.

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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.
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.

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3

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 symbole
Milton & 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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4

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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5

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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6

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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7

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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8

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 falsification
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

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9

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'auteur
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

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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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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 convivialité
The 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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Landeck, Jeffrey. "The vine and the rose : towards an aesthetics of incompleteness in Melville's sketch pieces, 1853-1856". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0025/MQ50534.pdf.

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13

Weltman-Aron, Brigitte. "Les procédés narratifs : étude contrastive de Bartleby et benito Cereno de Herman Melville et leurs traductions françaises". Paris 3, 1987. http://www.theses.fr/1987PA030169.

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Dans les nouvelles, la narration propose l'histoire de bartleby et de benito cereno en soulignant un manque d'informations sur l'objet du recit et la necessite, a cause de l'histoire, d'un agencement par la narration des elements du recit. L'objet de cette etude est d'analyser les procedes qui indiquent une prise de pouvoir de la narration aux depens du personnage principal et leur impact dans les traductions francaises. L'alternance de types de discours, parfois ignoree dans les traductions, permet par exemple d'attribuer a un personnage des paroles en realite filtrees par l'instance enonciatrice (discours indirect (ou direct) libre). Nous etudions aussi comment la narration perpetue une structure enigmatique qui masque un contenu asserte faible ou inexistant. En particulier, les nombreuses repetitions diegetiques contribuent a instaurer une structure circulaire et une progression paradoxale du recit. Le recit fait coexister un mode fortement hypotaxique et des passages tres elliptiques, pas toujours rendus avec rigueur par les traductions. Deux procedes syntaxiques recurrents, les nominalisations et la passivation, marquent la preponderance de l'instance enonciatrice dans l'enonce; par contrainte ces procedes sont souvent reajustes en francais. L'etude des champs thematiques permet de degager un certain nombre de themes recurrents qui renforcent le sentiment de faiblesse, voire de folie ou d'inexistence du personnage principal, ou creent une situation paradoxale, comme lorsqu'un lexique de vision intervient dans un contexte ou elle est impossible ou plus garante de realite. Nous montrons les limites des recurrences dans les traductions. Enfin l'etude de quelques procedes stylistiques et rhetoriques montre l'imprecision deliberee ou la coexistence dans un meme terme d'un concept et d'un element privatif qui le nie, qui manifestent encore l'approche indirecte caracteristique de l'attitude narrative, parfois mal rendue par les traductions
In the short stories, the narration sets forth the stories of bartleby and benito cereno while underlining a lack of information about the object of the narrative and the necessity, because of the story, to organize the elements of the narrative. The aim of this study is to analyze those devices whereby the narration assumes power at the expense of the main character and their impact in the french translations. For example, the alternation of types of discourse, sometimes not accounted for in the translations, makes it possible to attribute words to a character which are actually filtered by the enunciator (free indirect (or direct) speech). We shall also see how the narration perpetuates a structure of enigma which conceals weak or inexistent contents. More specifically, the many diegetic repetitions help to set up a circular structure and a paradoxical progression of the narrative. The co-existence in the narrative of a highly hypotactic mode with elliptical passages is not always rendered in the translations with accuracy. Two recurring devices, nominalizations and passive forms, stress the predominance of the enunciator in the utterance; out of necessity these devices are often readjusted in french. The study of thematic patterns makes it possible to observe a certain number of recurring themes which only further weaken the main character, at times calling into question his sanity or even his existence, or establish a paradoxical situation, as when a lexis of vision appears in an inappropriate context, which is no warrant of reality. We show that at times, recurrences fail to appear in tl. Finally the study of various stylistic or rhetorical devices shows a deliberate imprecision as well as the co-existence within one term of a concept, and an element which negates it. Both again express the indirect approach characteristic of the narrative attitude, sometimes not well rendered in the translations

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14

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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15

Guillaume, Hélène. "L'écriture et la cohésion de l'oeuvre : une analyse des métaphores du corps et de la matière dans Pierre ou les ambigui͏̈tés". Paris 7, 1994. http://www.theses.fr/1994PA070064.

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Ce travail essaie d'expliquer les incohérences apparentes de Pierre en analysant l'organisation textuelle et le réseau métaphorique qui redouble l'action par sa propre chaine causative. L'histoire personnelle, littéraire et politique suggère un désir de vengeance de Melville contre une autorité oppressive : nous tentons de démontrer que le roman assouvit cette vengeance en détruisant les modèles qui se prêtent à l'argumentation autoritaire, en particulier la figure paternelle. Le corps des personnages, la famille Glendinning et le texte même apparaissent comme des ensembles corporels en instance de corruption, auxquels une autorité tyrannique donne une apparence de cohésion vitale en les moulant d'après un modèle idéal. Ces ensembles trompeurs prétendent détenir la parole véridique, mais se révèlent muets et creux. Contre leur mutité, la voix de la vérité et de la vie ne peut apparaitre que comme l'acte qui défait ce modèle. Elle surgit dans la voix narratrice qui parcourt ironiquement un texte fait d'un patchwork de brides stylistiques, mais aussi dans l'intrigue, sous la forme d'une influence magique associée à l'écriture, qui détermine la tragédie et précipite la concrétisation des qualifications morbides de la fausse cohésion de l'autorité latente depuis toujours dans les métaphores. C'est alors la représentation métaphorique du pouvoir de la littérature qui reprend la puissance divine de donner vie, sens et cohérence à la matière morte, mais en ayant au passage fui la substance et démantelé les structures de la filiation et la figure paternelle
We have tried to explain Pierre's complex symbols and special logic, analysing the textual organisation and the metaphors, which present an autonomous chain of causes. Death is associated with bodies made of material, passive and unrelated elements, shaped into reproductions of an ideal model by authority, which bases its power on this capacity. Thus the text is a patchwork of inconsistent styles and genres mocking popular models. The Glendinnings are a collection of reproductions of the father's empty identity, incapable of original action. The characters' bodies metaphorically appear as dead matter. All of those "bodies" are false appearances: the voice of truth and life exists only as an act of transformation of the tyrannical model. This voice appears in the narrator's ironical voice, and also in a mysterious influence which interferes with the plot, determining Pierre's tragic fascination. We think this influence, which is associated with writing, represents the power of literature. It reveals the 'bodies' of the novel as corpses. With the incest motif, Pierre finally makes sense as a symbolic destruction of father-centered authority. The magical, scriptural influence dismantles the tyrannical structure of filiation. The novel assumes again the divine power of breathing life, consistency and meaning into dead matter, but in doing so it disposes of the corporeal models used by authority, and of the father figure

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Pinnegar, Fred. "Women, marriage, and sexuality in the work of Herman Melville: A cultural/gender study". Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185319.

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This dissertation examines the problem of women, marriage, and sexuality in Melville's work. The general absence of female characters in his stories, his frequent depiction of horrific marriages, and his seeming reticence about sexuality have all contributed to the long-standing critical view that his writing reveals a deep-seated hatred and fear of women. In disputing these critical commonplaces, the study argues that Melville always reinforces the importance of the sexual element in human relations. His ideas about women, marriage, and sexuality are informed by his perception of a disturbing tension between men and women in his society, and he makes the paradoxes of his culture concerning gender relations central to his work. The dissertation is organized thematically to isolate and explore the primary manifestations of sexualized human relations in Melville's work: desire, frustration, marriage, transgression, and homoeroticism. Close readings of specific stories, poems, and sections of novels suggest new interpretative trajectories based primarily on considerations of how culture influences gender and sexual meaning. The introduction surveys the tradition of Melville scholarship on the problem of women and sexuality. The sources of the prevailing negative impression concerning his attitudes are traced largely to the demands of the theoretical approaches which have dominated discussion of the sexual issues in Melville's writing. Evidence from Melville's marginalia is then offered to establish the ground for a more balanced view of his perceptions. The second chapter asserts that, for Melville, much of the difficulty of human experience can be attributed to sexual desire. Within his work he probes the psychological nature of these desires, and he interrogates the cultural codes by which desire is regulated. The next chapter, on the marriage theme, locates Melville within the nineteenth century turmoil in marriage ideologies, while chapter four is an analysis of the sexual transgression motif. The violation of cultural rules through which sexual pleasure is licensed and controlled is used metaphorically by Melville to represent the individual quest for personal or artistic freedom. The final chapter describes Melville's consistent use of figurative language associated with negative homoeroticism to dramatize disproportionate power relations between men.

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Wicke, Anne. "Le combat avec l'ange : figures et trajectoires : le désir et la loi dans l'oeuvre en prose de Herman Melville". Paris 7, 1995. http://www.theses.fr/1995PA070042.

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A partir d'une analyse textuelle serree de la production en prose de herman melville, ce travails'attache a degager les figures et les trajectoires majeures de l'univers melvillien, en les articulant autour du conflit entre les forces du desir et celles de la loi. C'est ainsi qu'est tout d'abord etudiee la goegraphie symbolique de l'oeuvre, en particulier l'ocean, en tant qu'il constitue le cadre dans lequel s'est elaboree une figure essentielle, le plongeon, qui represente le m0uvement de la quete fusionnelle structurant l'oeuvre. La presente these se propose alors de cerner les principaux traits de l'objet du desir et de sa representation emblematique, la baleine blanche. Le puissant appareil de la loi, venant entraver et borner la trajectoire des personnages, fait ensuite l'objet d'une etude systematique, qui permet a la fois de montrer l'ambivalence complexe liee a la foi et l'importance fondamentale de la question du pere dans cet univers imaginaire. Enfin, le present travail se penche sur les grandes strategies - souvent proches de certaines strategies romantiques - mises en place dans l'oeuvre face a ces forces conflictuelles, l'ensemble de ces strategies visant a la recherche d'un equilibre au coeur du "combat avec l'ange", ce que fut la creation litteraire pour herman melville. Cette recherche s'est egalement appliquee a restituer herman melville tant dans son contexte americain que dans celui, plus vaste, de son siecle
Grounded on a meticulous textual analysis of herman melville's prose production, this study aims at highlighting the major figures and trajectories of melville's imaginary universe, in connection with the conflict between the forces of desire and those of the law. This research first focuses on melville's symbolical geography, with a specific chapter devoted to the ocean, inasmuch as it constitutes the frame within which an essential image, that of diving, takes shape, representing the movement of the fusional quest structuring melville's works. The study is then centered on the major features of the object of desire and of its emblematic representation, the white whale. The powerful forces of the law, framing and limiting the course of the characters, is then the object of a systematic study that enables one to show up both the complex ambivalence linked to those forces and the essential role of the father question in melville's imaginary universe. Finally, this study concentrates on the various strategies - often close to some romantic strategies - at work in reaction to the conflictiong forces of desire and law, which can be considered altogether as an attempt to achieve a workable balance in the heart of the "wrestling with the angel", as melville named literary creation. This study also seeks to replace herman melville and his works within both his american context and the wider frame of his century

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Ramírez, Paredes Roberto Marcos. "Ese aire de mágico aislamiento: Herman Melville y la construcción de Latinoamérica en el siglo XIX". Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/673683.

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La tesis doctoral propone un recorrido por la prosa de ficción y de viaje de Herman Melville, en la que construye imaginarios regionales de identidad latinoamericana. La investigación inicia con el análisis de las ficciones Taipí y Omú, ambientadas en islas “no civilizadas”, para contrastarlas con los tres textos literarios que versan sobre o se desarrollan en América Latina: Las Encantadas, Benito Cereno y Moby Dick, además de otros textos más cortos de su acervo, como el cuento “La veranda”, que dialogan sobre todo de ámbitos peruanos y ecuatorianos. En las tres ficciones mencionadas se develan los motivos que Melville erige sobre Latinoamérica: se trata de una tierra que encarna el exotismo de los Cronistas de Indias, pero atravesada por las corrientes científicas y naturalistas de los siglos XVIII y XIX. La región buscaba afianzar su identidad tras la independencia del Imperio español, mientras era seguida de cerca, con intereses expansionistas, por otra potencia que se consolidaba en el mapa geopolítico decimonónico: Estados Unidos. Esto es claro sobre todo en el análisis de las Islas Galápagos creadas por Melville. Asimismo, se propone una reflexión sobre personajes latinoamericanos, que aparecen en las ficciones como una conexión globalizante del país del norte con las regiones del sur: la tapada limeña, la viuda chola, el ermitaño Oberlus, el criollo cubano, etc. En este sentido se propone también el estudio del uso de los términos de tratamiento en la región, el sistema de blanqueamiento, el uso del español en ámbitos anglófonos, entre otros aspectos. Por último, se estudia todo lo que implica la incursión de un doblón ecuatoriano de oro en el negocio ballenero: la historia real de dicha moneda y cómo esta une Moby Dick con Ecuador, Estados Unidos con la Vieja España y Latinoamérica, en la historia del siglo XIX.
This dissertation examines those works of fiction and travel writing by Herman Melville in which the author constructs regional imaginaries of a Latin-American identity. The research starts with an analysis of the novels Typee and Omoo, which take place in ‘uncivilized’ islands, and contrast their depictions with those of three texts that deal with Latin America: The Encantadas, Benito Cereno, and Moby-Dick, as well as with other shorter texts such as “The Piazza”, always focusing on Peruvian or Ecuadorian themes. All three longer pieces display the motives of Melville’s vision of Latin America as a land that epitomizes the exoticism of the Indian Chroniclers, and whose depiction is also permeated by the scientific and naturalist inquiries of the 18th and 19th centuries. The region is presented as seeking its own identity after achieving its independence from the Spanish empire, while being closely haunted by the expansionist interests of another consolidating power in the nineteenth-century geopolitical map: the United States. This is especially the case in Melville’s presentation of the Galápagos islands. The dissertation also provides an analysis of the Melville’s Latin-American characters that are presented as a globalizing connection of the U.S. with its southern neighbors, and which include figures such as the ‘tapada’ from Lima, the chola widow, the hermit Oberlus, the Cuban creole, etc. The study also analyzes aspects such as the modes of address in the region, the system of whitening, and the use of Spanish in Anglophone contexts. Finally, the thesis provides a case study of a specific feature: the Ecuadorian gold doubloon in the context of the whale industry, offering an account of the real history of the coin and of how it connects Moby-Dick with Ecuador, the United States, Old Spain, and Latin America within the history of the nineteenth century.

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Goddard, Kevin Graham. "Versions of confinement: Melville's bodies and the psychology of conquest". Thesis, Rhodes University, 2003. http://hdl.handle.net/10962/d1002259.

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This thesis explores aspects of Melville’s presentation of both the whale and the human bodies in Moby-Dick and human bodies in other important novels. It argues that Melville uses his presentation of bodies to explore some of the versions of confinement those bodies experience, and by doing so, analyses the psychology which subtends that confinement. Throughout Melville’s works bodies are confined, both within literal spatial limits and by the psychology which creates and/or accepts these spatial limits. The thesis argues that perhaps the most important version of bodily confinement Melville addresses is the impulse to conquer bodies, both that of the other and one’s own. It adopts a largely psychoanalytic approach to interpreting bodies and their impulse to conquer, so that the body is seen to figure both in its actions and its external appearance the operations of the inner psyche. The figure of the body is equally prevalent in Melville’s exploration of nationalist conquest, where, as with Manifest Destiny and antebellum expansionism, the psychological and physical lack experienced by characters can be read as motivating factors in the ideology of conquest. A final important strand of the thesis is its argument in favour of a gradual shift in Melville’s interpretation of the value and possibility of genuine communion between human beings and between humans and the whale. One may read Typee as an attempt by Melville to explore the possibility of a this-worldly utopia in which human beings can return to a version of primitive interconnectedness. This exploration may be seen to be extended in Moby-Dick, particularly in Ishmael’s attempts to find communion with others and in some moments of encounter with the whales. The thesis uses phenomenology as a theory to interpret what Melville is trying to suggest in these moments of encounter. However, it argues, finally, that such encounter, or ‘intersubjectivity’ is eventually jettisoned, especially in the works after Moby-Dick. By the end of Melville’s life and work, any hope of an intersubjective utopia he may have harboured as a younger man have been removed in favour of a refusal actually to assert any final ‘truth’ about social, political or even religious experience. Billy Budd, his last body, is hanged, and his final word is silence.

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Simonnin-Garevorian, Véronique. "Lelangage des fleurs. Voyage dans l'inconnu. Au-delà des frontières culturelles et linguistiques dans Mardi : and a voyage thither de Herman Melville". Paris 8, 1997. http://www.theses.fr/1997PA081889.

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@Cette étude est basée sur le décryptage des messages de fleurs qui jalonnent le récit de Mardi. Mardi, nom français d'un jour, est le nom d'un archipel imaginaire, crée par Melville qui désirait savoir si un monde utopique pouvait être accepté comme une réalité et où les notions conventionnelles de temps et d'espace sont effacées. Pour donner sens aux messages, il fut recherché, derrière des sens apparents nombreux et futiles, les propriétés et vertus occultes des plantes. Ces messages, malgré leurs ambiguîtés envoient de nombreux signes d'appels : l'idée de Dieu, de double, double texte, êtres doubles et la notion d'interdit. . .

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21

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 Camus
This 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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De, Villiers Dawid Willem 1972. "Interregnum in Providence : the fragmentation of narrative as quest in the prose fictions of Heman Melville". Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53472.

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Thesis (PhD)--University of Stellenbosch, 2003.
ENGLISH ABSTRACT: Herman Melville (1819-1891) remains a recalcitrant and enigmatic presence in the Western canon. This dissertation explores the radical narrative strategies engaged by Melville in the composition of his prose fictions. It is my contention that Melville's writings to an important degree constitute a subversive response to the privileged apocalyptic and teleological narratives of the day-national, ontological, metaphysical, and literary, or aesthetic-and that he primarily engages these narratives in terms of the archetypal symbolism of the romantic quest. Against this linear and goal-oriented, or plotted, progress, Melville's own narratives assert the nonredemptive forces of time, change, and natural flux, which the quest is symbolically meant to conquer and subject to a redemptive pattern. Melville's critique of the quest takes the shape of a radical fragmentation of its agonistic, evolutionary force-its progress-which is always directed towards a resolvent end. In this sense, most of his protagonists may be defined as questers, characters who seek, by some (individuating) action, to achieve a monumental point of closure. But the Melvillean narrative (even when narrated by the protagonist) always resists this intention. His rhetoric is digressive and improvisational, his style heterogeneous and parodic, and his endings always indeterminate and equivocal. Significantly, this same quality renders his prose fictions highly resistant to an apocalyptic hermeneutics that strives to redeem the monumental "meaning" of the work from the narrative itself. The destabilising questions raised in Melville's work with regard to redemptive plot and progress ultimately centre on the idea of Providence, in other words, the authorising telos that informs, governs and justifies the quest. By fragmenting this quest, Melville undermines the effective presence of Providence, clearing away what he perceives to be an illusion of control harboured in a dual but related image of the providential God and the providential author as external, "metaphysical" authorities directing their worlds in terms of a master plan toward final and meaningful closure. Melville's fiction, then, imaginatively (and philosophically) engages a world in which such stable authorising centres are absent. It is in terms of this absence that I intend to examine the nature of Melville's prose fictions. The focus in this dissertation is specifically on Typee, Omoo, Mardi, Redburn, White-Jacket, Pierre, Israel Potter and The Confidence-Man. Throughout, however, the canonical Moby-Dick and the unfinished and posthumous Billy Budd, are also drawn into the discussion in order to clarify and extend the points raised.
AFRIKAANSE OPSOMMING: Herman Melville (1819-1891) bly 'n weerspannige en enigmatiese aanwesigheid in die Westerse kanon. Hierdie verhandeling ondersoek die radikale narratiewe strategiëe wat deur Melville ingespan is tydens die komposisie van sy fiksie in prosa. Ek gaan van die standpunt uit dat Melville se werk tot 'n groot mate gedefinieer word deur 'n ondermynende reaksie teen die bevoorregte apokaliptiese en teleologiese narratiewe diskoerse van sy tyd-nasionaal, ontologies, metafisies, en literêr, of esteties-en dat hy hoofsaaklik hierdie diskoerse ondersoek in terme van die argetipiese simboliek van die romantiese soektog of "quest." Teenoor hierdie lineêre en doelgerigte, of beraamde ("plotted"), vooruitgang, beklemtoon Melville se eie verhale die nie-verlossende kragte van tyd, verandering, en natuurlike stroming, dit wat die "quest" simbolies beoog om te oorwin en onderwerp aan 'n verlossings-patroon. Melville se kritiese beoordeling van die "quest" neem die vorm aan van 'n radikale fragmentering van die opposisionele, evolusionêre krag---die progressie-wat altyd op 'n beslissende slot gerig is. In hierdie sin kan ons die meerderheid van sy protagoniste as soekers ("questers") definieer, karakters wat poog, deur middel van die een of ander (individuerende) handeling, om 'n monumentale slot te behaal. Maar die Melvilliese verhaal (selfs wanneer deur die protagonis vertel) werk altyd dié voorneme teë. Sy retorika is uitwydend en improvisatories, sy styl heterogeen en parodies, en sy slotte altyd onbeslis en dubbelsinnig. Dit is aanmerklik dat hierdie einste eienskap sy fiksie hoogs weerstandig maak teen 'n apokaliptiese hermeneutiek wat poog om die monumentale "betekenis" van die werk uit die narratief self te herwin of "verlos." Die ondergrawende vrae wat in Melville se werk ten opsigte van die beslissende verloop ("plot") en progressie geopper word word uiteindelik grotendeels gekoppel aan die idee van die Voorsienigheid, met ander woorde, die outoriserende telos wat die "quest" beïnvloed, regeer en regverdig. Deur die "quest" te fragmenteer, ondermyn Melville die effektiewe teenwoordigheid van die Voorsienigheid, en verwyder daarmee dit wat hy ervaar as 'n illusie van beheer wat behoue bly in die dubbele beeld van die bestierende God en die bestierende outeur as eksterne, "metafisiese" outoriteite wat hulle wêrelde in terme van 'n uitgewerkte plan na 'n finale en betekenisvolle einde lei. Melville se fiksie, dus, op verbeeldingsryke (en filosofiese) wyse, stel 'n wêreld daar waarin sulke outoriserende sentra afwesig is. Dit is in terme van hierdie afwesigheid wat ek beoog om die aard van Melville se fiksies te ondersoek. Hierdie verhandeling fokus op Typee, Omoo, Mardi, Redburn, White-Jacket, Pierre, Israel Potter en The Confidence-Man. Die kanonieke Moby-Dick en die onvoltooide en postume Billy Budd word egter deurgaans in die bespreking opgeneem ter wille van die duidelikheid en uitbreiding van die argument.

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Madeiro, Soraya Rodrigues. "Os matizes entre o dito e o não-dito: mistério silencioso em Bartleby, Billy Budd e Benito Cereno, de Herman Melville". www.teses.ufc.br, 2011. http://www.repositorio.ufc.br/handle/riufc/11172.

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MADEIRO, Soraya Rodrigues. Os matizes entre o dito e o não-dito: mistério silencioso em Bartleby, Billy Budd e Benito Cereno, de Herman Melville. 2011. 97f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2011.
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A escrita de Melville, mesmo com o passar do tempo e apesar de tantas análises de suas obras, ainda não deixou de inquietar leitores e estudiosos. Por essa razão, para preservar o que na obra literária faz dela sobrevivente, o objetivo de nosso estudo não é de forma alguma esgotar as visões que as obras permitem; pelo contrário, pretendemos contribuir para a abertura de mais possibilidades de questionamentos e de verdades acerca do dito e do não-dito intrínseco às obras do escritor estadunidense, no que concerne ao estudo de Bartleby, o escrivão, Benito Cereno e Billy Budd. Objetivamos em nossa dissertação investigar na escrita de Herman Melville os aspectos relacionados às personagens, as quais possuem destaque no título de cada obra, mas nunca são narradoras de sua história, de modo que são incapazes de ter domínio sobre ela. Nesse sentido, as personagens mais insinuam do que realmente dizem, estão no limite entre o dito e o não-dito.
L’écriture de Melville, même après tout le temps passé et avec diverses interprétations, alaissé inquiets les lecteurs et la critique. Pour cela, afin de préserver ce qui la permet survivre, nous n’avons pas comme but épuiser les visions possibles de l’oeuvre, bien au contraire, on prétend contribuer à l’overture des possibilités et des vérités à propos du dit e du non-dit présent chez l’oeuvre de l’écrivain américain, en ce que concerne les livres Bartleby, l’écrivain, Benito Cereno et Billy Budd. Dans notre étude, le but central est penser les trois écritures de Herman Melville à partir de leurs personnages-titres, mais qui ne sont pas les narrateurs de l’histoire, de façon à perdre le pouvoir de dominer le destin de l’écriture. De telle façon, les personnages donnent plutôt des indices que des paroles concrètes et sont entre le dit et le non-dit

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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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25

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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26

Pernelle, Beatrix. "La représentation dans Moby-Dick". Nice, 1993. http://www.theses.fr/1993NICE2019.

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Abstract (sommario):

Des nombreux tableaux et gravures évoqués dans le texte jusqu'aux tatouages et autres hiéroglyphes, Moby Dick est un roman marque par la multiplicité des représentations. Il semble que la représentation littéraire soit régie par la loi du narcissisme, qui règle tous les doubles et les jeux de miroir présents dans la fiction melvilienne. L'écriture permet en effet au moi de se représenter selon un processus qui, détruisant la plénitude narcissique de l'infans, contribue en même temps à la constitution du sujet. Mais la lettre en tant que trace écrite est loin d'établir une correspondance préétablie avec ce qu'elle désigne, laissant ainsi la place à une indétermination fondamentale. Cette conception contribue à la déconstruction d'une vision traditionnelle ontothéologique de la production de l'écriture. La question de la représentation ne peut être séparée de celle de la signification et du déchiffrement des signes, Moby Dick mettant en scène les processus interprétatifs mis en œuvre face à une image ou à un texte. Le sens n'est pas donné à l'avance mais reste à construire par l'interprète : le texte de Melville peut à ce titre être considéré comme la représentation d'un système linguistique, en l'occurrence la théorie énonciative de Culioli
Whether it deals with paintings and etchings or hieroglyphics, the novel is marked by a multiplicity of representations. Literary representation turns out to be under the rule of the principle of narcissism, which governs all the duplicates and mirroring effects in Melville fiction. The play of the writing allows the representation of the self according to a process which destroys the narcissistic plenitude of the "infans" subject but contributes at the same time to constitute the subject. But as a written mark, the letter is far from establishing a pre-determined relation with the object it refers to, and allows a fundamental indeterminacy. Such a conception contributes to the deconstruction of a traditional and theological vision of the production of the writing. The problem of representation cannot be separated from that of meaning and of the deciphering of sings. Moby-dick shows the process of the interpretation of an image or a text : meaning is not given, but has to be constructed by the interpret. In this sense Melville text can be considered as the representation of a linguistic system, in this case culioli's enunciative theory

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27

Pino, Morales Cristián. "Moby Dick and trascendental Decadence". Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/110469.

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28

Wright, Andrew James. "Dialecticism and 'negativity' in Melville, Kafka and Blanchot : a literature and language of conflict". Thesis, The University of Sydney, 2009. https://hdl.handle.net/2123/28213.

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This thesis approaches literature and language as processes of conflict. Conflict is defined according to the philosophy of ‘negativity’ and an applied understanding of Hegelian dialecticism. Conflict, in simple terms, is a process in which language simultaneously asserts and negates. The literary text, or object, is lisible both structurally and thematically in terms of conflict. The key texts examined in this thesis are Herman Melville’s Moby-Dick (1851); Franz Kafka’s The Castle (1926); and Maurice Blanchot’s Thomas the Obscure (1950) and Awaiting Oblivion (1962). Several features emerge in a literature of conflict. There is a textual ‘law of separation’ by which the literary object maintains a pretence or artifice of separation between the world of the real and the narrative world. Relations, and relationism, become primary modes of narrative progression, in place of cause and effect, or any logically orthodox telos. Although the parameters of this thesis are not broad enough to allow definitive conclusions to be drawn about the conflictual nature of language, some symmetries and correspondences do appear. For example, structural linguistic conflict (conflict at the level of grammar, voice, pronoun and so on) corresponds to the formal mode of the literary narrative, particularly in terms of separation and relationism. The central contribution of this thesis is to elaborate conflict as a new theoretical foundation for the reading of literary texts and for the understanding of language. In demonstrating this approach, several innovations are made in the more refined contexts of Melville, Kafka and Blanchot studies. Further scope for development of the analysis mounted by this thesis exists, not only in terms of the philosophy of ‘negativity’ and its relation to writing, but also in the context of the application of Hegelian dialecticism to language, writing and more generally, aesthetics.

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29

Moutet, Muriel. "Un homme de trop à bord : figuration du monde maritime dans les récits de fiction de Joseph Conrad, Herman Melville et Victor Hugo". Lyon 2, 2001. http://theses.univ-lyon2.fr/documents/lyon2/2001/moutet_m.

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Dans la seconde moitié du XIXe siècle, les écrivains se heurtent à un monde perçu comme chaotique, dont l'espace maritime va devenir une image privilégiée. Ce monde nouveau met en question leur pouvoir de représentation et ébranle les fondements de l'identité de l'individu occidental. L'espace ouvert de l'océan semble témoigner de la perte de tout centre signifiant, de toute vérité établie qui marque l'entrée dans la modernité. Face à cette découverte, exaltante et terrifiante à la fois, les auteurs vont avoir recours à l'image ancienne du navire. Ce dernier, représentant d'une nation conçue comme une entité stable, semble un refuge dans cet univers livré au désordre. Mais la micro-société de l'équipage peut aussi servir d'espace d'expérimentation pour le modèle démocratique et le navire peut être perçu comme un instrument technique porteur de Progrès, à même de faire advenir l'utopie. Le passage de la voile à la vapeur figure en ce sens une véritable rupture épistémologique. Le navire est, en somme, un lieu de transition entre deux mondes, où vont se révéler et s'amplifier les conflits (raciaux, sociaux ou culturels) qui déchirent le rivage. Ces conflits se cristallisent le plus souvent autour de la figure d'un individu "déviant" par rapport au groupe des hommes embarqués ou sont mis au jour par un narrateur marginal. Cet "homme de trop à bord", personnage ou narrateur, va obliger chacun, lecteur compris, à se siturer, à s'engager et à interroger les fondements de sa propre identité comme les valeurs qui sont les siennes
In the second half of the 19th century, the world begins to change and to appear in many ways chaotic, challenging the writer's power of representation and questioning the basis of an individual's identity in Western countries. In the literature of the time, the apparent incoherence and mystery of maritime space thus become significant metaphors for this New World. The open space of the sea also gives evidence of the loss of the centre, which signals the emergence of modernity. In order to face the horrifying but also exhilarating prospects generated by a new perception of the world, the authors resort to the old image of the ship. The ship represents the nation, which is conceived as an irremovable entity. She seems as such to be one of the last refuges in a disorderly universe. But the crew as a micro-society can also be used to experiment a democratic existence and the ship can be perceived as a technical instrument, bearing Progress all around the world. In a way, the ship functions as a transitional space between two worlds, where the conflicts of the shore come to light and grow in intensity. These conflicts develop around a deviant character or else are revealed by a marginal narrator. The presence of this " extra man on board ", character or narrator compels everyone, readers included, to commit themselves and to examine the grounds of their own identity and values

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30

Smiley, Gregory. "The subject of descriptive movement : intensities within narrative". Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61760.

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31

Figueira, Vinicius Duarte. "Jornada rumo ao crepúsculo : uma leitura nietzschiana de Moby-Dick". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/10975.

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Este trabalho é de natureza teórica e estuda a obra Moby-Dick, de Herman Melville, à luz da filosofia antimetafísica de Friedrich Nietzsche, mais especificamente como está concretizada em Sobre verdade e mentira em sentido extramoral e Crepúsculo dos ídolos. Demonstra-se que as indagações de fundo ontológico presentes na obra de Melville encontram resposta parcial na noção de impossibilidade metafísica do pensador alemão. Para tal demonstração, recorre-se, em primeiro lugar, a uma sistematização do pensamento de Nietzsche e, em segundo, a uma abordagem interpretativa e compreensiva do texto de Melville, acentuada por meio do diálogo com a filosofia do próprio Nietzsche e, alternativamente, de Heidegger. Em conformidade com Iser, a compreensão dos sentidos do texto literário aqui estudado é realizada pelo trabalho de interpretação e estabelecimento de sentidos perpetrado pelo leitor, seja na fixação do que está claramente dado no texto, seja na busca dos sentidos lacunares, não claramente formulados e verbalizados.
This is a theoretical work on Herman Melville’s Moby-Dick and its relation with the anti-metaphysical philosophy of Friedrich Nietzsche as found especially in Twilight of the Idols and On Truth and Lie in an Extramoral Sense. It is shown that the ontological nature of Moby-Dick, the novel, finds a partial answer in the notion of metaphysical impossibility developed by the German philosopher. In order to accomplish this goal, a systematization of Nietzsche’s thought was made, so that an interpretative approach of the literary text could be carried out emphasizing a dialogue with his philosophy, and, alternatively, Heidegger’s. In compliance with Iser, this study takes into consideration the fact that comprehension is achieved through interpretation and what the reader is able to perceive in the literary text, either reinforcing what is already given there, or searching for what is unformulated and non-verbalized in it.

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Chodat, Robert. "Games of circles : dialogic irony in Carlyle's Sartor resartus, Melville's Moby Dick, and Thoreau's Walden". Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23713.

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This thesis examines the connections between three frequently associated nineteenth-century texts, Carlyle's Sartor Resartus, Melville's Moby Dick, and Thoreau's Walden. It begins by reviewing the contexts normally offered for them, and then proposes an alternative one, "dialogic irony," that is based upon the complementary theoretical models of Friedrich Schlegel and Mikhail Bakhtin. After this conceptual background is outlined, the various modes of dialogic irony presented in the three works are discussed. That of Walden arises out of a close analogy between self and text: both are a series of inner voices juxtaposed with and often contradicting one another. Sartor complicates this relatively unobstructed form of selfhood through the inclusion of the Editor, whose unitary voice represents a challenge to the kind of selfhood sanctioned by Walden. Moby Dick also challenges dialogic irony, but its forms of opposition are more penetrating and various: while in Carlyle's text dialogic irony is ultimately affirmed through the figure of Teufelsdrockh, Ishmael is left stranded and displaced by the multitude of voices in his text. Melville's work therefore provides an excellent way to review and critique some of the prevailing assumptions about dialogue in contemporary criticism, a task sketched in the conclusion.

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33

Sandoval, Muñoz Catalina. "The Inaugural Status of Nathaniel Hawthorne’s 1852 The Blithedale Romance and Herman Melville’s 1853 “Bartleby, the Scrivener” in the development of the Topic of Alienation in American Literature: A Study of its Representations and a Comparison with its Treatment in Ernest Hemingway’s 1926 The Sun Also Rises". Tesis, Universidad de Chile, 2009. http://repositorio.uchile.cl/handle/2250/109903.

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34

Ludot-Vlasak, Ronan. "Une identité nationale à l'épreuve de son héritage : la réinvention de Shakespeare sur la scène littéraire américaine (1798-1857)". Paris 7, 2006. http://www.theses.fr/2006PA070052.

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La littérature américaine qui émerge dans la première moitié du XIXe siècle cherche à s'affranchir des modèles esthétiques européens. Elle ne cesse pourtant de faire référence à Shakespeare - incarnation même du génie britannique depuis le XVIIIe siècle. Ce travail, qui s'inscrit à la croisée de l'analyse intertextuelle et de l'histoire des idées, cherche à articuler cet intertexte shakespearien et l'émergence d'une littérature nationale américaine afin de montrer dans quelle mesure celle-ci se construit en réinventant l'œuvre du dramaturge élisabéthain. Au début du XIXe siècle, le recours à Shakespeare permet à Charles Brockden Brown, Joseph Dennie et Washington Irving d'interroger et de mettre en mots l'expérience américaine. Avec des textes aux accents nettement plus nationalistes, les enjeux du recours à Shakespeare prennent une tournure politique : dans leur souci de rompre avec l'héritage européen, dramaturges et essayistes peinent à réinventer les modèles shakespeariens. A travers l'étude de Moby-Dick, Pierre et L'escroc à la confiance, l'exemple de Melville permet, quant à lui, d'explorer un parcours individuel et de voir comment les modalités d'une réinvention de Shakespeare évoluent et offrent la possibilité à l'auteur de faire advenir sa propre écriture tout en engageant une réflexion sur la notion d'originalité littéraire. Loin de constituer un acte d'imitation, le recours à Shakespeare ne suscite donc pas nécessairement une angoisse de l'influence, et cette référence commune met en lumière la diversité d'une scène littéraire émergente
Although nineteenth-century American authors tried to break from European literary models, Shakespeare -who had been a symbol of Britain's literary genius since the 18th century - remained the literary figure they referred to and quoted most. Through an intertextual, contextual and ideological approach, the aim of this study is to show how American writers gave birth to a national literature by reinventing the works of Shakespeare. During the first two decades of the 19th century, Shakespeare enabled authors such as Charles Brockden Brown, Joseph Dennie or Washington Irving to question and to give shape to the American experience. With more nationalistic authors, the issues at stake took a political turn: as they tried to break from European political models, American essayists and playwrights failed to reinvent their literary models. Through the study of Moby-Dick, Pierre and The Confidence-Man, Melville's case shows the evolution of a specific and Personal approach to Shakespeare's works which enabled the American novelist to re-appropriate the concept of literary originality. Therefore, the use of Shakespeare by American authors is not a mere act of imitation; it does not necessarily reveal an anxiety of influence and sheds light on the diversity of the American literary scène of the time

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Roy, Sneharika. "The Migrating Epic Muse : conventions, Contraventions, and Complicities in the Transnational Epics of Herman Melville, Derek Walcott, and Amitav Ghosh". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030108.

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Cette thèse propose une lecture croisée des épopées traditionnelles et postcoloniales dans un cadre transculturel. Une analyse comparée de Moby Dick de Herman Melville, Omeros de Derek Walcott et la trilogie de l’Ibis d’Amitav Ghosh nous permet de cerner spécificités de l’épopée moderne postcoloniale. Celle-ci s’inscrit dans la lignée des épopées traditionnelles d’Homère, Virgile, Arioste, Camões et Milton, tout en rivalisant avec elles. Les épopées traditionnelles et modernes ont recours à des conventions qui esthétisent l’expérience collective comme les comparaisons épiques, la généalogie présentée sous forme de prophétie et la mise en abyme ekphrastique. L’épopée traditionnelle met en avant la vision d’une société unifiée grâce à des conjonctions harmonieuses entre le trope et la diégèse, des continuités généalogiques entre l’ancêtre et le descendant ainsi que des associations autoréflexives ekphrastiques entre l’histoire impériale et le texte qui la glorifie. Dans cette perspective, la spécificité de l’épopée postcoloniale semble résider dans l’articulation ambivalente de la condition postcoloniale. Ainsi, chez Melville, Walcott et Ghosh, le style héroï-comique contrebalance les comparaisons épiques opérant des transfigurations héroïques. De même, de nouvelles affiliations hybrides forgées par les personnages coexistent avec des généalogies discontinues, sans en combler toutes les lacunes créées par le déracinement et la violence coloniale. Cette vision équivoque trouve son expression la plus franche dans les séquences ekphrastiques où les textes sont confrontés au choix impossible entre commémoration de l’expérience et regard critique vis-à-vis d’elle
This thesis offers collocational readings of traditional and postcolonial epics in transcultural frameworks. It investigates the specificities of modern postcolonial epic through a comparative analysis of Herman Melville’s Moby Dick, Derek Walcott’s Omeros, and Amitav Ghosh’s Ibis trilogy. It explores how these works emulate, but also rival, the traditional epics of Homer, Virgil, Ariosto, Camões, and Milton. Both traditional and postcolonial epic rely on generic conventions in order to aestheticize collective experience, setting it against the natural world (via epic similes), against history and imperial destiny (via genealogy and prophecy), and against the epic work itself (via ekphrasis). However, traditional epic emphasizes a unified worldview, characterized by harmonious conjunctions between trope and diegesis, genealogical continuities between ancestor and descendant, and self-reflexive ekphrastic associations between imperial history and the epic text commissioned to glorify it. From this perspective, the specificity of postcolonial epic can be formulated in terms of its ambivalent articulation of the postcolonial condition. In the works of Melville, Walcott, and Ghosh, tropes of heroic transfiguration are held in check by the mock-heroic, while empowering self-adopted hybrid affiliations co-exist, but cannot entirely compensate for, discontinuous genealogies marked by displacement, deracination, and colonial violence. This ambivalence finds its most powerful expression in the ekphrastic sequences where the postcolonial texts are most directly confronted with the impossible choice between commemorating experience and being critical of such commemoration

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Wilkins, Peter Duncan. "The transformation of the circle : an exploration of the post-encyclopaedic text". Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/26939.

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Any text which criticizes, undermines and/or transforms the encyclopaedic ideal of ordering and textualizing the world in a closed, linear fashion can be defined as a post-encyclopaedic text. This thesis explores both theoretical and artistic texts which inhabit the realm of post-encyclopaedism. In the past, critical speculation on encyclopaedism in literature has been concerned with the ways in which artistic texts attempt to live up to the encyclopaedic ideal. In some cases, this effort to establish an identity between the artistic text and the encyclopaedia has led to an ignorance of the disruptive or even deconstructive effects of so-called fictional encyclopaedias. Once we recognize the existence of such effects, we must begin to examine the techniques and possibilities of post-encyclopaedism. Hence we can see post-encyclopaedic qualities in the condensed meta-encyclopaedism of Jorge Luis Borges' "Tlön, Uqbar, Orbis Tertius", the disrupted quests for encyclopaedic revelation in Herman Melville's Moby Dick and Thomas Pynchon's Gravity's Rainbow, and the principle of textualized world as fugue in Louis Zukofsky's "A"-12. In addition, we can create a theoretical space for the post-encyclopaedic text by weaving together Mikhail Bakhtin'sideas on the novel as opposed to the epic, Michel Foucault's notion of restructuring the closed circle of the text through mirrored writing, Jurij Lotman's theory of internal and external recoding in texts, and Umberto Eco's concept of the open text. By combining an investigation of theoretical and artistic texts which lend themselves to post-encyclopaedism, we can create a generic distinction between texts which attempt to be encyclopaedic in themselves: and texts which disrupt and/or transform the encyclopaedic ideal
Arts, Faculty of
English, Department of
Graduate

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Levet, Bérénice. "Hannah Arendt et la littérature". Caen, 2006. http://www.theses.fr/2006CAEN1469.

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Il n’est de lecteur d’Hannah Arendt qui ne soit frappé par la présence des poètes et des romanciers dans le cours de son oeuvre, par l’irrigation de sa pensée par la source littéraire. Sur fond de réconciliation de la philosophie et de la littérature, mise au crédit du XXe siècle, surgit ainsi l’énigme d’une façon proprement arendtienne d’acclimater la parole poétique et romanesque à l’écriture théorique. Afin d’élucider cette énigme, d’en dévoiler les enjeux, j’ai tenté de retrouver les fondements ontologiques du parti pris littéraire d’Arendt : Pourquoi des poètes et des romanciers ? Autour de quels concepts les affinités avec les écrivains se nouent-elles ? Quels écueils, contrairement aux philosophes, savent-ils éviter qui les rend dignes de jouir, auprès du penseur politique, d’une validité exemplaire? Il convenait ensuite, afin d’entrer plus avant dans cette pensée du roman et de la poésie jamais élaborée mais partout suggérée, de traiter séparément chacun des deux genres : la poésie d’abord, conservatoire d’une Stimmung et d’une modalité de la vérité pré-modernes, puis le roman, qu’Arendt goûte comme lectrice, accueille avec libéralité comme penseur mais qui lui demeure suspect comme genre littéraire. Il restait enfin à circonscrire les pouvoirs reconnus par Arendt à la littérature. A cette fin, j’ai pris soin de repasser à travers la sédimentation des fonctions du récit, des rôles qu’il joue dans la vie des corps politiques et dans les vies privées. Il est alors apparu que ces sédiments cristallisent autour de la notion épineuse - mais, selon mon hypothèse, insigne couronnement de l’anthropologie arendtienne -, de réconciliation avec ce qui est

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38

Long, Kim Martin. "The American Eve: Gender, Tragedy, and the American Dream". Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277633/.

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America has adopted as its own the Eden myth, which has provided the mythology of the American dream. This New Garden of America, consequently, has been a masculine garden because of its dependence on the myth of the Fall. Implied in the American dream is the idea of a garden without Eve, or at least without Eve's sin, traditionally associated with sexuality. Our canonical literature has reflected these attitudes of devaluing feminine power or making it a negative force: The Scarlet Letter, Moby-Dick, Adventures of Huckleberry Finn, The Great Gatsby, and The Sound and the Fury. To recreate the Garden myth, Americans have had to reimagine Eve as the idealized virgin, earth mother and life-giver, or as Adam's loyal helpmeet, the silent figurehead. But Eve resists her new roles: Hester Prynne embellishes her scarlet letter and does not leave Boston; the feminine forces in Moby-Dick defeat the monomaniacal masculinity of Ahab; Miss Watson, the Widow Douglas, and Aunt Sally's threat of civilization chase Huck off to the territory despite the beckoning of the feminine river; Daisy retreats unscathed into her "white palace" after Gatsby's death; and Caddy tours Europe on the arm of a Nazi officer long after Quentin's suicide, Benjy's betrayal, and Jason's condemnation. Each of these male writers--Hawthorne, Melville, Twain, Fitzgerald, and Faulkner--deals with the American dream differently; however, in each case the dream fails because Eve will not go away, refusing to be the Other, the scapegoat, or the muse to man's dreams. These works all deal in some way with the notion of the masculine American dream of perfection in the Garden at the expense of a fully realized feminine presence. This failure of the American dream accounts for the decidedly tragic tone of these culturally significant American novels.

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Goodrum, Emily A. "Herman Melville's Moby-Dick : hermeneutics and epistemology in Ishmael's seafaring". Thesis, 2002. http://hdl.handle.net/1957/27534.

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40

Jenkins, M. "The archetypal quest and Moby-Dick : Melville's "ecological, cosmic democracy"". Thesis, 1993. https://eprints.utas.edu.au/20304/1/whole_Jenkins1993_thesis.pdf.

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The quest is an archetypal theme of myth and literature, one which indicates the dreams, ideas and beliefs of a society. Our myths, and our literature, contribute to the way we are today, how we are shaped, how we think, and how we act. "Intentionally, or accidentally, [they have] been a major source of the models used to perpetuate our past". Much can be learnt from the wisdoms of these stories. However, we need to be aware of the fact that the dominant recorders of society's myths, literature, and history, including the Bible, have been men who, in many instances, have been able to achieve political and social ends by the manipulation of these recordings. Today we have the patriarchal, technocratic, inverted quest for domination and 'progress' at the cost of nature; and opposed to this, the ecosophic quest: that of "ecologically wise action and ecological wisdom" which seeks to regain harmony and egalitarian relationships between man and man, man and woman, and humankind and nature. The questers of Herman Melville's Moby-Dick, Captain Ahab and Ishmael, in their opposite roles (one heading towards disaster and the other towards survival) can be seen to represent the two kinds of quests described. Ahab is the tragic hero-quester. He is capable of greatness but is flawed by hubris and his dark desire for vengeance against the whale which has dismembered him, Moby Dick. Ishmael, the narrator of the novel, turns away from Ahab's mad, inverted quest. His progressive insights, his bonding with his dark partner, and his acknowledgement of the whale as a fellow being, contribute to his 'democratic' attitude and to his survival. It is through Ishmael's eyes that we see Melville's "ecological, cosmic democracy". If we are to change our direction from its present course, which seems to be one directed towards disaster, we need to learn from the past, but with a reminder of how the past has been transmitted to us. We need to actively strive towards reshaping our future, so that we perpetuate archetypes that are nature oriented. We need to consciously re-verse and re-quest a shaping of our present and our future, bearing in mind Melville's reminder of the "obstinate survival of old beliefs". Change will occur only with a change of our thinking patterns: The borders of our minds are ever shifting And many minds can flow into one another ... And create or reveal a single mind, a single energy. (W.B.Yeats).

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Goldfarb, Nancy D. ""Charity Never Faileth": Philanthropy in the Short Fiction of Herman Melville". Thesis, 2014. http://hdl.handle.net/1805/6298.

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Indiana University-Purdue University Indianapolis (IUPUI)
This dissertation analyzes the critique of charity and philanthropy implicit in Melville’s short fiction written for periodicals between 1853 and 1856. Melville utilized narrative and tone to conceal his opposition to prevailing ideologies and manipulated narrative structures to make the reader complicit in the problematic assumptions of a market economy. Integrating close readings with critical theory, I establish that Melville was challenging the new rhetoric of philanthropy that created a moral identity for wealthy men in industrial capitalist society. Through his short fiction, Melville exposed self-serving conduct and rationalizations when they masqueraded as civic-minded responses to the needs of the community. Melville was joining a public conversation about philanthropy and civic leadership in an American society that, in its pursuit of private wealth, he believed was losing touch with the democratic and civic ideals on which the nation had been founded. Melville’s objection was not with charitable giving; rather, he objected to its use as a diversion from honest reflection on one’s responsibilities to others.

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Loosemore, Philip. "The Politics of Security and the Art of Judgment in the Writings of Herman Melville and Janet Frame". Thesis, 2011. http://hdl.handle.net/1807/31841.

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This dissertation pairs a nineteenth-century American writer, Herman Melville, and a twentieth-century New Zealand writer, Janet Frame, to consider points of overlap between two novelists who were unusually sensitive to the problem of political thinking and decision in situations of state emergency. Consisting of three chapters on Melville’s later maritime fiction (Moby-Dick, Benito Cereno, and Billy Budd, Sailor) and two interleaving chapters on Frame’s late autobiographical and fictional writings (An Angel at My Table and The Carpathians), the dissertation explores how, in the work of these writers, figural work builds around interlinked questions of emergency and judgment. Both writers are interested in situations of peril when the fragility of bodily life is exposed and when the coherence of given political orders is tested. Both probe the response of the human legislative urge and the limits of the power of judgment in the time of crisis and exception, producing narratives of the tense moment of executive decision. Their literary forms heighten awareness of the mechanisms, frameworks, and effects of different modes of judgment--whether cognitive, moral, legal, aesthetic, or political--under emergency conditions. Out of this engagement with the nexus of judgment and security, both writers ask what might happen if we were to abide with precariousness and insecurity rather than default to the often destructive praxis of security. Melville and Frame also push the capacities of language and form in their attempt to represent the possibility of modes of judgment adequate to such political renewal. In their rhetoric and formal structures--including their experimental “disfiguration” of narrative lines--and in their creation of intricate, reflexive literary voices, these writers imagine what it would mean to come up against the limit of, and even to overturn, accepted categories of knowledge and thought, of calculation and judgment.

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Tillard, Patrick. "De Bartleby aux écrivains négatifs : une approche de la négation". Thèse, 2008. http://www.archipel.uqam.ca/1572/1/D1729.pdf.

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L'objet principal de cette thèse est d'étudier les postures du refus de plusieurs écrivains contemporains envers l'écriture, le texte et le livre et leur propension à la négation. Après Rimbaud et Kafka, touchés par des pulsions négatives, des écrivains contemporains ont amplifié leur mal et ont choisi d'être radicalement absents du panthéon littéraire à un moment particulier de leur parcours artistique. De leur négation se dégagent de troublantes formes d'absence et des agraphies irrévocables encore non élucidées par l'histoire de la littérature. Ces écrivains négatifs sont des bartlebys, comme les désigne Enrique Vila-Matas dans Bartleby et compagnie. La figure de Bartleby, issue de la nouvelle de Herman Melville, symbolise une alliance d'oubli, de refus, de parfaite renonciation et d'absence, une attirance vers le néant dont l'expression rejoint celle des écrivains négatifs. En effet, le scribe Bartleby se refuse à écrire. Il répond à chaque sollicitation « I would prefer not to» ; il s'emmure peu à peu comme si, par une écriture niée et refusée à la fois, l'univers se dérobait devant lui jusqu'au néant. Installé dans l'évidence du silence et de la tentation de l'oubli, apathique et indifférent, Bartleby sombre dans le labyrinthe de sa propre négation. Il meurt silencieux à la fin de la nouvelle. Avec ce Bartleby étudié, nous le verrons, par Agamben, Deleuze, Blanchot, etc., s'édifie la pertinence d'un mythe fondateur des écrivains négatifs contemporains. À partir de la figure de Melville, interprétée comme une réflexion sur l'écriture, notre analyse évalue les raisons de leur congé de la littérature, la qualité de leur silence, la force troublante de leur immobilité, car les bartlebys accèdent à une sorte de « vérité » dans la négation de l'écriture. Leur volonté de ne plus écrire est d'autant plus remarquable que les bartlebys contemporains sont des écrivains avant tout et non des écrivains ratés. Leurs publications ou leur expérience littéraire leur a valu éloge ou reconnaissance de leurs pairs. Le processus créatif et les stratégies de l'écriture leur sont familiers. Tout comme Bartleby, ils ont cessé d'écrire ou ont délaissé, aidés de leur refus et de leur volonté d'absence, les valeurs propres à l'écriture et la littérature leur apparaît comme un repoussoir. Nous analyserons une partie significative de l'oeuvre de l'écrivain catalan Enrique Vila-Matas, qui a permis dans ses ouvrages de suivre les traces des bartlebys dans la littérature contemporaine occidentale. Cette exploration nous amènera à considérer un effet-bartleby dans cette même littérature contemporaine. Dans l'approche théorique de notre thèse, nous identifierons tout d'abord la dimension esthétique de ces écrivains du refus, sortes de fantômes de la littérature contemporaine. D'une part, nous cernerons selon quels critères ils prolongent l'ombre du Bartleby a scrivener de Melville. D'autre part, nous chercherons comment les bartlebys invoquent un imaginaire tourné vers l'inspiration et ayant renoncé aux formes. Nous nous risquerons en premier lieu sur le versant d'une écriture intrinsèquement porteuse d'espérance, puis nous aborderons le manque d'issues constaté par les bartlebys, ainsi que le caractère d'échec qu'ils confèrent à l'écriture face à la vie. Nous considérerons ensuite les raisons propres à la littérature dans le mouvement de sa négation. L'histoire littéraire montre en effet la constitution d'un processus interne de dévalorisation qui semble le moteur des thèmes et le ressort narratif de la littérature contemporaine. Cette dévalorisation est porteuse de tensions négatives intenses dont nous analyserons les répercussions sur le renoncement des écrivains négatifs. Corollairement, l'évolution de la fonction d'auteur vers une image et un rôle éloignés dans la représentation met également à mal une certaine éthique de la création en littérature. Au centre des pulsions négatives, nous entendons distinguer particulièrement les formes de l'absence propres à plusieurs écrivains négatifs. Elles montrent les ressorts multiples de la négation et se situent au-delà des limites admises de la littérature; leur expression n'est pas sans implication sur la littérature et nous chercherons dans leur matérialisation l'énigme de l'effacement des écrivains négatifs. Enfin, nous montrerons où s'élaborent leurs modes de confrontation (avec l'écriture, avec soi-même, avec le monde, avec l'institution littéraire, etc.) et comment ils indiquent aussi la nécessité d'une écriture préoccupée de sens afin de remédier à leur propre déchirement. Ce faisant, nous traiterons des carences de l'écriture et des tourments de ces créateurs littéraires. Nous nous attacherons particulièrement à comprendre les motivations du silence de l'écrivain suisse Robert Walser. Son silence de vingt-trois ans dans un asile, son étonnante spécificité littéraire, son rapport littéraire au vécu, l'utilisation de la glose comme ressort narratif, sa conception littéraire de la promenade, la création de son territoire du crayon et l'écriture dissimulée de ses microgrammes constituent un espace de négation particulièrement riche et stable, une forme novatrice de la clandestinité et du renoncement à la littérature. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Bartleby, Herman Melville, Enrique Vila-Matas, Robert Walser, écriture, négation, Littérature contemporaine, Dévalorisation, Refus, Absence, Silence.

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Lam-Saw, Norma. "Heroic passivity in “Bartleby, the scrivener”". Thesis, 2019. http://hdl.handle.net/1959.7/uws:56766.

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Herman Melville’s Bartleby is a fundamentally passive character who has nonetheless been regularly presented as carrying out a heroic resistance. This paradoxical conjunction of passivity and heroic action is particularly acute in philosophical readings of Melville’s novella. Philosophers have identified Bartleby as a “New Messiah,” or new “New Christ” whose passive resistance offers a form of revolutionary emancipation from existing political structures, thereby affirming the paradox that Bartleby is a hero who does not act.By examining the paradox of Bartleby’s heroic passivity through the structuralist theories of Vladimir Propp and Louis Althusser, this thesis contends that Bartleby is not an enigmatic, heroic or political subject. Instead, these structuralist approaches to Bartleby’s heroic passivity elucidate a particular, exceptional and aleatory passage through which Bartleby’s passivity becomes resistance. By tracing Giorgio Agamben’s and Gilles Deleuze’s political valorisation of Bartleby’s paradoxical heroism due to his passive resistance, and by examining the criticisms of their work by Antonio Negri, Alain Badiou and Jacques Rancière, this thesis contends that, although Bartleby’s passive resistance cannot be constitutive towards any corporeal collectivisation of politics, the singularity of its expression necessarily implicates a thought of the political at the junction of literature and philosophy.

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Tesi sul tema "Melville, Herman (1819-1891). Clarel"

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