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Character and the Space of Clarel
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sussex Research Online Character and the Space of Clarel MICHAEL JONIK Cornell University Needs be my soul, Purged by the desert’s subtle air From bookish vapors, now is heir To nature’s influx of control; (NN Clarel 1.1.67–70) Character and the Impersonal rom Ahab to Bartleby, and Isabel to Billy Budd, Melville’s characters seem unmoored from personhood, cast into the “whelming sea” of the Fimpersonal or the inhuman (NN Clarel 4.35.33).1 In Clarel: A Poem and Pilgrimage in the Holy Land, they are not so much characters in the traditional literary sense—that is, individual “persons” who move through settings and perform a set of characteristics—as they are a series of intertwined “personae” whose characteristics blur with the space of the poem. As in his other works, Melville’s characterization in Clarel is a process not of developing distinct persons but of opening a transactive space in which human characteristics can become unbound and thus permeable to the extra-personal. Yet in Clarel, given the symbolically charged landscape of the Holy Land, Melville’s emptying out of character also involves a forceful deromanticization of the landscape. Melville postulates a world in which traditional guarantees of human value are removed, and wherein the traditional barriers that divide self and nature and the human and inhuman are rendered inconsequential. Melville gestures past Romantic conceptions of landscape and self into an uncertain post- Darwinian territory in which the sublime education is no longer an ecstatic self-abandonment but one of suspension and doubt. -
Bartleby's Lawyer and the Common Law Nathan M
Osgoode Hall Law Journal Article 5 Volume 24, Number 3 (Fall 1986) "Plus 'IL' Change, Plus 'IL' Reste Le Meme:" Bartleby's Lawyer and the Common Law Nathan M. Greenfield Follow this and additional works at: http://digitalcommons.osgoode.yorku.ca/ohlj Article Citation Information Greenfield, Nathan M.. ""Plus 'IL' Change, Plus 'IL' Reste Le Meme:" Bartleby's Lawyer and the Common Law." Osgoode Hall Law Journal 24.3 (1986) : 635-666. http://digitalcommons.osgoode.yorku.ca/ohlj/vol24/iss3/5 This Article is brought to you for free and open access by the Journals at Osgoode Digital Commons. It has been accepted for inclusion in Osgoode Hall Law Journal by an authorized editor of Osgoode Digital Commons. "Plus 'IL' Change, Plus 'IL' Reste Le Meme:" Bartleby's Lawyer and the Common Law Abstract This article responds in part to Bryan Schwartz's "A Meditation on 'Bartleby'" published in volume 22(3) of this Journal. The uthora here suggests that the Lawyer narrator of Herman Melville's "Bartleby, the Scrivener" is not transformed by his contact with Bartleby. Rather, the story exemplifies the Lawyer's unchanging reliance on and approval of common-law contract theory in order to identify and deal with societal problems. This article is available in Osgoode Hall Law Journal: http://digitalcommons.osgoode.yorku.ca/ohlj/vol24/iss3/5 19861 "Plus 'il' change, plus 'il' reste le nzme:" "PLUS 'IL' CHANGE, PLUS 'IL' RESTE LE MIEME:" BARTLEBY'S LAWYER AND THE COMMON LAW By NATHAN M. GREENFIELD* This article responds in part to Bryan Schwartz's "A Meditation on 'Bartleby'" published in volume 22(3) of this Journal. -
An Exploration of Social Knowledge in Herman Melville's Moby- Dick
“We account the whale immortal in his species, however perishable in his individuality” An Exploration of Social Knowledge in Herman Melville’s Moby- Dick ELLEN JAMIESON Herman Melville’s Moby Dick, or, The Whale is a book about ways of knowing. The authority of experience is front and centre: the author had been to sea and several times and had seen great whales close up, and his novel places the reader in a whaleboat within reach of a whale’s powerful flukes. But Moby Dick opens with a long list of quotations, “higgledy- piggledy whale statements,” giving the reader fair warning that the author’s reading will be as important as his whaling. Bookish science blends with the practical knowledge of men whose job is to transform whales into a valuable commodity. Ellen Jamieson compares the collective, cultural knowledge of whalers to the behaviour, and culture, of whales, exploring the analogies, in some cases very deliberate, that Melville constructs. She concludes: “Perhaps by showing both the whales and the men as social units in their respective species, and subsequently depicting their interspecific interactions and responses to each other, Melville is anticipating an environmentalist claim about the importance of preserving the diversity of the natural world to the maximization of various forms of knowledge.” —Dr. Bruce Greenfield erman Melville’s novel Moby-Dick is well-known for being about a whale; however, the extent to which H Melville dissects the whale both symbolically and physically cannot be understood without analysing the scientific content of the novel. Contrary to what the title suggests, Moby Dick is not the sole whale in the novel, or even the primary character. -
Laura López Peña Walt Whitman and Herman Melville.Pdf
Màster en Construcció i representació d’identitats culturals (Curs 2007/2008) Especialitat: Estudis de parla anglesa The Role of the Poet in the American Civil War: Walt Whitman’s Drum-Taps (1865) and Herman Melville’s Battle-Pieces (1866) TREBALL DE RECERCA Laura López Peña Tutor: Dr. Rodrigo Andrés González Universitat de Barcelona Barcelona, setembre 2008 CONTENTS INTRODUCTION 4 WALT WHITMAN’S DRUM-TAPS (1865) 1.1 Introduction 8 1.2 “[M]y book and the war are one” 10 1.3 The Poet as Instructor and Wound-Dresser 14 1.4 Whitman’s Insight of the War: The Washington Years 17 1.5 The Structure of Drum-Taps : Whitman’s 1891-92 Arrangement 21 1.6 The Reception of Drum-Taps 27 HERMAN MELVILLE’S BATTLE-PIECES (1866) 1.1 Introduction 30 1.2 America’s Enlightening Nightmare: Melville’s Perception of the Civil War 33 1.3 Melville, Poet? 35 1.4 Herman Melville and the Civil War 37 1.5 The Structure of Battle-Pieces : A Symmetrical Asymmetry 42 1.6 The Poet as Mediator: The “Supplement” to Battle-Pieces 50 1.7 The Reception of Battle-Pieces 52 CONCLUSIONS: COMPARING DRUM-TAPS AND BATTLE-PIECES 1.1 Introduction 55 1.2 Why Poetry? What Poetry? 56 1.3 Immediacy vs. Historical Perspective; Praying vs. Warning 60 1.4 The Role of the Poet 64 WORKS CITED 69 To them who crossed the flood And climbed the hill, with eyes Upon the heavenly flag intent, And through the deathful tumult went Even unto death: to them this Stone— Erect, where they were overthrown— Of more than victory the monument. -
ANALYSIS Typee
ANALYSIS Typee: A Peep at Polynesian Life During a Four Months’ Residence in a Valley of the Marquesas (1846) Herman Melville (1819-1891) “Whether the natives are actually maneaters or noble savages, enemies or friends, is a doubt sustained to the very end. At all events, they are the most ‘humane, gentlemanly, and amiable set of epicures’ that the narrator has ever encountered. He is welcomed by mermaids with jet-black tresses, feasted and cured of his wound, and allowed to go canoeing with Fayaway, a less remote enchantress than her name suggests. But danger looms behind felicity; ambiguous forebodings, epicurean but inhumane, reverberate from the heathen idols in the taboo groves; and the narrator escapes to a ship, as he had escaped from another one at the outset…. He has tasted the happiness of the pastoral state. He has enjoyed the primitive condition, as it had been idealized by Rousseau… As for clothes, they wear little more than ‘the garb of Eden’; and Melville…is tempted to moralize over how unbecoming the same costume might look on the civilized. Where Poe’s black men were repulsive creatures, Melville is esthetically entranced by the passionate dances of the Polynesians; and his racial consciousness begins to undergo a radical transposition when he envisions them as pieces of ‘dusky statuary.’ On the whole, he believes, ‘the penalty of the fall presses very lightly upon the valley of Typee.’… If there is any serpent in the Marquesan garden, it is the contaminating contact of the white men. If the children of nature are losing their innocence, that is to be blamed upon their would-be civilizers. -
Celebrating the 200Th Birthday of Herman Melville
*Pop-up Moby Dick read-aloud contest. Visit HERM each of the ten sites, take a selfie of you reading AN M ELVILLE Celebrating the the Moby Dick selection from the podium. 200th Birthday Post it to Instagram and include the hashtag, 200th Birthday #ACKMobyDick. Winners will be selected NANTUCKET weekly for a gift certificate to one of the 1819 - 2019 of Herman Melville participating restaurants. List of locations to visit: Melville at 200/Essex at 200 Artists Association of Nantucket Participating Organizations 19 Washington Street Artists Association of Nantucket Greenhound Station Department of Culture and Tourism 10 Washington Street The Dreamland Maria Mitchell Association Egan Maritime Institute 2 Vestal Street Greenhound Station/ReMain Nantucket Maria Mitchell Association Museum of African American History Museum of African American History 29 York Street Nantucket Atheneum Nantucket Atheneum Nantucket Historical Association 1 India Street Nantucket Lightship Basket Museum Or, The Whale Restaurant Nantucket Lifesaving and Queequeg’s Restaurant Shipwreck Museum Sconset Trust 158 Polpis Road Theatre Workshop of Nantucket Nantucket Lightship Basket Museum 49 Union Street Queequeg’s Restaurant 6 Oak Street Sconset Trust 1 New Street, Sconset Nantucket Department of Culture and Tourism Herman Melville Whaling Museum 25 Federal Street Nantucket, MA 02554 15 Broad Street 508-228-0925 1819 - 1891 August Thursday, Aug. 1 About Herman Melville Calendar of Events 200th birthday of Herman Melville Born on August 1, 1819, into a once-prominent April Lecture by Joe and Kathy Galllichio on the Moby Dick New York family, Herman Melville was raised in Friday, April 26 basket at Nantucket Lightship Basket an atmosphere of financial instability and genteel Opening of the Whaling Museum’s Essex Disaster Museum, 49 Union Street pretense. -
Melville's Quarrel with the Transcendentalists
-. MELVILLE'S QUARREL WITH THE TRANSCENDENTALISTS A Monograph Pl:>esented to the Faculty of the Department of English Morehead State University ' . In Partial Fulfillmen~ of the Requirements for the Degree ''I Master-of Al>ts by Ina Marie Lowe August 1970 ' Accepted by the faculty of the School. of ft,,._11114.4 ; f:i~ 5 • Morehead State University, in partial. fulfil.l.ment of the require- ments for the Master of _ _,_A,.l'.._t".._.:i._ ____ degree, TABLE OF CONTENTS CHAPTER PAGE I. Introduction . ••...••..••.•.••..••.•.•........•..•.• , .•.•.•• l II. Melville and Transcendental Idealism ••••••••••••••••••••••• 3 III. Melville and Transcendental Intellectualism •••••••••••••••••• 18 IV. Melville and 'l'X'anscendental Optimism and Innocence ••••••••• 36 v. Summary and Conclusion ••••••••••••••••••••••••••••••••••••• 56 BIBLIOGRAPHY • •••••••••••• , ••••••••••••••••••••••••••• , , •••••• , • , • 59 CHAPTER I INTRODUCTION Melvill.e has usually been considered either as one of the Trans cendental writers or as having been influenced by Transcendental thought. There has been a critical acceptance of the thesis that Melville began as a Transcendentalist; then, as he grew older and presumably less wise in the romantic sense, he eschewed his early idealism and opted for an acceptance of moral expediency and com plicity. The beginning hypothesis of this study will be that Melville, although he could be said to share some of Transcendentalism's secondary ideas and attitudes, objected to many of the Transcend alists' most cherished beliefs. In fact, one can say that, rather than being a Transcendentalist writer, Melville was an anti Transcendentalist writer, constitutionally and intellectuall.y unable to accept the Transcendental view of life. In advancing the argument of this study, the critical works of Melvillean scholars will be considered for the light they may throw upon Transcendental influence on Melville's work. -
"No Life You Have Known": Or, Melville's Contemporary Critics Hester Blum
"No Life You Have Known": Or, Melville's Contemporary Critics Hester Blum Leviathan, Volume 13, Issue 1, March 2011, pp. 10-20 (Article) Published by Johns Hopkins University Press For additional information about this article https://muse.jhu.edu/article/493026/summary Access provided at 9 Apr 2019 00:59 GMT from Penn State Univ Libraries “No Life You Have Known”: Or, Melville’s Contemporary Critics HESTER BLUM The Pennsylvania State University id-nineteenth century evaluations of Herman Melville’s work share acommonattentiontowhatmanyreviewers—anditcanseem Mlike all of them—called the “extravagance” of his writing and his imagination. Critics remarked on his general “love of antic and extravagant speculation” (O’Brien 389) and found that his imagination had a “tendency to wildness and metaphysical extravagance” (Hawthorne and Lemmon 208). In their estimation the “extravagant” Mardi featured “incredibly extravagant disguises” (“Trio” 462) and contained “a world of extravagant phantoms and allegorical shades” (Chasles 262), while Redburn was notable for “episodic extravaganzas” (“Sir Nathaniel” 453). “Unlicensed extravagance” (454) char- acterized even White-Jacket;and“theextravaganttreatment”(454)givento whaling in Moby-Dick stood in for the novel’s “eccentric and monstrously extravagant” nature (“Trio” 463), containing as it did “reckless, inconceivable extravagancies” (“Trio” 463) in addition to “purposeless extravagance” (A.B.R. 364). These surpassed the only “passable extravagancies” of his earlier works (“Book Notices” 93). The critical account offered above was assembled from fragments of criticism of the novels of Melville’s mid-career; readers of Pierre will hear in it the echo of Mary Glendinning’s equally insistent—and equally regulatory— catalogue of her son’s qualities: “A noble boy, and docile.. -
ANALYSIS Omoo (1847) Herman Melville (1819-1891) “One Can Revel in Such Richly Good-Natured Style…. We Therefore Recommend T
ANALYSIS Omoo (1847) Herman Melville (1819-1891) “One can revel in such richly good-natured style…. We therefore recommend this ‘narrative of adventure in the south seas’ as thorough entertainment—not so light as to be tossed aside for its flippancy, nor so profound as to be tiresome.” Walt Whitman Brooklyn Daily Eagle (5 May 1847) “Omoo is a fascinating book: picaresque, rascally, roving. Melville as a bit of a beachcomber. The crazy ship Julia sails to Tahiti, and the mutinous crew are put ashore. Put in the Tahitian prison. It is good reading. Perhaps Melville is at his best, his happiest, in Omoo. For once he is really reckless…. For once he is really careless, roving with that scamp, Doctor Long Ghost. For once he is careless of his actions, careless of his morals, careless of his ideals: ironic, as the epicurean must be…. But it was under the influence of the Long Doctor. This long and bony Scotsman was not a mere ne’er-do-well. He was a man of humorous desperation, throwing his life ironically away…. He let his ship drift rudderless…. When he saw a white man really ‘gone savage,’ a white man with a blue shark tattooed over his brow, gone over to the savages, then Herman’s whole being revolted. He couldn’t bear it.” D. H. Lawrence Studies in Classic American Literature (1923; Doubleday 1953) “The play of fantasy in Omoo takes the form not of nightmarishness or even of daydreaming but of an easy and emotionally liberating current of humorous narrative, always slightly in excess, as one sees with half an eye, of the sober autobiographical facts. -
Beyond the Walls - Potentiality Aborted
Beyond the Walls - Potentiality Aborted. The Politics of Intersubjective Universalism in Herman Melville’s Clarel Laura López Peña ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) i a través del Dipòsit Digital de la UB (diposit.ub.edu) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX ni al Dipòsit Digital de la UB. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX o al Dipòsit Digital de la UB (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) y a través del Repositorio Digital de la UB (diposit.ub.edu) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR o al Repositorio Digital de la UB. -
The Autobiographical Writings of Lewis Mumford
The Autobiographical Writings of Lewis Mumford The Autobiographical Writings ofLewis Mumford A STUDY IN LITERARY AUDACITY Frank G. Novak, Jr. A Biography Monograph Publishedfor the Biographical Research Center by University of Hawaii Press General Editor: George Simson Copyright acknowledgments appear on page 64. Copyright © 1988 by the Biographical Research Center All rights reserved Manufactured in the United States of America Library of Congress Catalog Card Number 88—50558 ISBN 0—8248—1189—5 The Autobiographical Writings of Lewis Mumford A STUDY IN LITERARY AUDACITY The Autobiographical Texts I think every person of sensibility feels that he has been born “out of his due time.” Athens during the early sixth century B.C. would have been more to my liking than New York in the twentieth century after Christ. It is true, this would have cut me off from Socrates, who lived in the disappointing period that followed. But then, I might have been Socra tes! (FK 7)’ So wrote the nineteen-year-old Lewis Mumford in 1915. His bold proclamation—”I might have been Socrates!”—provides an important key to understanding the man and his life’s work. While this statement certainly reflects a good deal of idealistic and youthflul presumption, the undaunted confidence and high ambition it suggests are not merely the ingenuous boasts of callow youth. for the spirit of audacity reflected here has been an essential and enduring quality of Mum- ford’s thought and writing throughout his sixty-year career in Ameri can letters. Well before he began to establish a literary reputation, the aspiring young writer who so glibly imagines himself as Socrates reveals his profound confidence in his potential and destiny. -
Thar She Blows! Moby-Dick Meets the Digital Generation Spring 2018 Wednesdays, 5–6.30 P.M., SR34K1 (Attemsgasse 25, Basement) Dr
Topics in Anglophone Literary Studies Thar She Blows! Moby-Dick Meets the Digital Generation Spring 2018 Wednesdays, 5–6.30 p.m., SR34K1 (Attemsgasse 25, basement) Dr. Michael Fuchs 1. About the Course “Call me Ishmael.” Even if you haven’t read Moby-Dick, you will probably know the novel’s iconic open- ing line. Likewise, even if you haven’t read Moby-Dick, you will have a rough idea as to what its story is about—Captain Ahab’s frantic hunt of a white sperm whale. The very fact that people know about Moby-Dick without knowing Moby-Dick testifies to the book’s cultural relevance and power. Indeed, as we will see, Moby-Dick is about so much more than the mere conflict between man and nature. This undergraduate seminar will consist of two main parts: In the first half of the semester, we will engage in a close reading of what many literary scholars and also the general public consider one of the (if not the) “great American novels.” In the second half of the semester, we will look at the presence of Moby-Dick in popular culture. Accordingly, we will watch movie adaptations, read comic adaptations, listen to music adaptations, but also explore some other texts in which Moby-Dick (and/or Moby Dick) plays a dominant role. Since the first part of this undergraduate seminar will pursue a close reading of Moby-Dick, the main objective here will be that students gain a deeper understanding of Moby-Dick and its socio- economic environment; in particular, students will come to understand (and appreciate) what might be termed Moby-Dick’s postmodernism avant la lettre, its rhetorical strategies, its ecological subtexts, its engagement with scientific discourse, and nineteenth-century whale-hunting.