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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. -
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. -
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. -
Moby-Dick: a Picture Voyage
Moby-Dick A Picture Voyage Library of Congress Cataloging–in–Publication Data Melville, Herman, 1819-1891 Moby-Dick : a picture voyage : an abridged and illustrated edition of the original classic / by Herman Melville ; edited by Tamia A. Burt, Joseph D. Thomas, Marsha L. McCabe ; with illustrations from the New Bedford Whaling Museum. p. cm. ISBN 0-932027-68-7 (pbk.) -- ISBN 0-932027-73-3 (Cloth) 1. Melville, Herman, 1819-1891. Moby Dick--Illustrations. 2. Sea stories, American--Illustrations. 3. Whaling ships--Pictoirial works. 4. Whaling--Pictorial works. 5. Whales--Pictorial works. I. Burt, Tamia A. II. Thomas, Joseph D. III. McCabe, Marsha. IV. Title. PS2384.M6 A36 2002 813'.3--dc21 2002009311 © 2002 by Spinner Publications, Inc. All rights reserved. Printed in the United States of America Spinner Publications, Inc., New Bedford, MA 02740 Moby-Dick A Picture Voyage An Abridged and Illustrated Edition of the Original Classic by Herman Melville Edited by Tamia A. Burt, Joseph D. Thomas, Marsha L. McCabe with illustrations from The New Bedford Whaling Museum Acknowledgments / Credits Naturally, no serious book concerning the American whaling industry can be done with- out interaction with the New Bedford Whaling Museum. We are grateful to Director Anne Brengle and Director of Programs Lee Heald for their support. We are especially grateful to the Museum’s library staff, particularly Assistant Librarian Laura Pereira and Librarian Michael Dyer, for their energy and helpfulness, and to Collections Manager Mary Jean Blasdale, Curator Michael Jehle, volunteer Irwin Marks, Emeritus Director Richard Kugler, and Photo Archivist Michael Lapides. When we began work on this project, The Kendall Whaling Museum was an indepen- dent entity in Sharon, Massachusetts, and we were fortunate enough to receive the gracious assistance and eminent knowledge of the Kendall’s Director, Stuart M. -
Melville's Bibles
© 2008 UC Regents Buy this book University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2008 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data Pardes, Ilana. Melville’s Bibles / Ilana Pardes. p. cm. Includes bibliographical references and index. isbn 978-0-520-25454-1 (cloth : alk. paper) isbn 978-0-520-25455-8 (pbk. : alk. paper) 1. Melville, Herman, 1819–1891. Moby Dick. 2. Melville, Herman, 1819–1891—Religion. 3. Bible—Commentaries. 4. Bible—Hermeneutics. 5. Bible and literature. 6. Religion and culture. 7. Religion and literature—United States—History— 19th century. 8. American fi ction—19th century— History and criticism. I. Title. ps2388.b5p37 2008 813’.3—dc22 2007014870 Manufactured in the United States of America 17 16 15 14 13 12 11 10 09 08 10 9 8 7 6 5 4 3 2 1 This book is printed on New Leaf EcoBook 50, a 100% recycled fi ber of which 50% is de-inked post- consumer waste, processed chlorine-free. EcoBook 50 is acid-free and meets the minimum requirements of ansi/astm d5634–01 (Permanence of Paper). chapter 1 Playing with Leviathan Job and the Aesthetic Turn in Biblical Exegesis But if, in the face of all this, you still declare that whaling has no aesthetically noble associations connected with it, then am I ready to shiver fi fty lances with you there, and un- horse you with a split helmet every time. -
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. -
White Whale, Called “Old Tom,” Who Fought Back E? Against the Whalemen Who Were Trying to Kill Him for His Oil
A White n 1834 author Ralph Waldo Emerson was traveling W Ithrough Boston in a carriage. A sailor sitting beside him told h an extraordinary story. For many years the people of New Eng- al land knew of a white whale, called “Old Tom,” who fought back e? against the whalemen who were trying to kill him for his oil. Emerson wrote that this white whale “crushed the boats to small but covered in white patches, spots, and scratches. The white chips in his jaws, the men generally escaping by jumping over- whale that Reynolds described, however, might have been an al- board & being picked up.” The sailor explained that bino, meaning it was born without the normal pigment the whalemen eventually caught Old Tom in in its skin. Though rare, white or colorless individuals the Pacific Ocean, off Peru. occur in most animals, including birds, chimpanzees, Five years later, Jeremiah elephants, and humans. It seems that Amos Smalley, a Reynolds wrote a magazine ar- Native American whaler from Martha’s Vineyard, killed ticle about a sailor in the Pacific a white sperm whale in the South Atlantic in 1902. A few who said he had killed a white years ago, the author and adventurer, Tim Severin, wrote about a whale. This white whale was not white sperm whale witnessed by Pacific Islanders. At least two dif- called Old Tom but was known as ferent white sperm whales have been photographed in the Pacific, “Mocha Dick,” combining the name as have an albino whale shark and, just this winter, a white killer of a local island off Chile, Mocha Is- whale. -
“Tell Them He Jumped from a Whale-Boat!”: Moby-Dick's Pip
“Tell Them He Jumped from a Whale-Boat!”: Moby-Dick’s Pip, Black Childhood, and the Discord of American Slavery While nineteenth-century literary representations of black childhood are limited, one prominent example in a canonical text of American literature often goes without commentary in terms of what it tells us about the period’s cultural ideology of blackness or childhood. In Herman Melville’s Moby-Dick (1851), the African American ship-boy Pip becomes a prophetic jester-like character after he survives a plunge into the ocean. Following this incident, Pip refers to himself in the third person and refutes his identity, responding to shipmates who call for him by asking, “Pip? whom call ye Pip? Pip jumped from the whale-boat” (391). Pip suggests that while his physical body may be aboard the Pequod, his spirit remains in the watery fathoms below the sea’s surface. Pip’s break with reality happens shortly after second mate Stubb reminds Pip of his status as slave. Having been previously regarded favorably as the “tender-hearted,” “bright,” and “pleasant” tambourine-playing child (391), Stubb tells the boy, “We can't afford to lose whales by the likes of you; a whale would sell for thirty times what you would, Pip” (321). Here, the text crosses the binary ideas of identity that exist for a black child in antebellum America––that of idealized innocent and that of enslaved, dehumanized object. Confronted with this dissonance, Pip cannot remain rational when forced to see the irrationality and brutality of this reality. In my paper, I will explore the ways in which Moby-Dick confronts the discord of slavery to the American project of democracy through Pip, and I’ll consider how the ocean––the space where Pip understands his soul to be after his jump from the whale-boat–– functions as a liminal space to question American antebellum ideology as manifested through childhood, slavery, and whaling. -
Eminem 1 Eminem
Eminem 1 Eminem Eminem Eminem performing live at the DJ Hero Party in Los Angeles, June 1, 2009 Background information Birth name Marshall Bruce Mathers III Born October 17, 1972 Saint Joseph, Missouri, U.S. Origin Warren, Michigan, U.S. Genres Hip hop Occupations Rapper Record producer Actor Songwriter Years active 1995–present Labels Interscope, Aftermath Associated acts Dr. Dre, D12, Royce da 5'9", 50 Cent, Obie Trice Website [www.eminem.com www.eminem.com] Marshall Bruce Mathers III (born October 17, 1972),[1] better known by his stage name Eminem, is an American rapper, record producer, and actor. Eminem quickly gained popularity in 1999 with his major-label debut album, The Slim Shady LP, which won a Grammy Award for Best Rap Album. The following album, The Marshall Mathers LP, became the fastest-selling solo album in United States history.[2] It brought Eminem increased popularity, including his own record label, Shady Records, and brought his group project, D12, to mainstream recognition. The Marshall Mathers LP and his third album, The Eminem Show, also won Grammy Awards, making Eminem the first artist to win Best Rap Album for three consecutive LPs. He then won the award again in 2010 for his album Relapse and in 2011 for his album Recovery, giving him a total of 13 Grammys in his career. In 2003, he won the Academy Award for Best Original Song for "Lose Yourself" from the film, 8 Mile, in which he also played the lead. "Lose Yourself" would go on to become the longest running No. 1 hip hop single.[3] Eminem then went on hiatus after touring in 2005. -
BUG: Moby Special at BFI Southbank
PRESS RELEASE: May 2011 11/38 BUG: Moby Special at BFI Southbank On June 1 the smash hit, audio visual event BUG will celebrate the career of the multi-award- winning and internationally renowned musician Moby, with an exclusive event dedicated to his work, to date, at BFI Southbank. This month BUG is delighted to mark the arrival of Moby’s new album Destroyed, with a retrospective of the artist’s output and involvement in moving image, including memorable videos such as Natural Blues, We Are All Made of Stars, Bodyrock, Run On and Honey. This dedicated evening will reflect on Moby’s remarkable career and his collaborations with such directors as David Lynch, David LaChapelle, Mike Mills, Jonas Åkerlund and Roman Coppola. BUG host Adam Buxton will also reveal some of the videos made for the new album and talk to Moby on stage at BFI Southbank. Festivities continue into the evening with DJs and music in the benugo bar. After 4 years of sell-out shows at BFI Southbank and further afield, BUG continues to celebrate music video creativity and innovation with another artist-led special show. Previous artist specials have celebrated the work of Massive Attack, UNKLE and most recently, Royksopp. Now celebrating its fifth successful year, BUG events are presented on a bi-monthly basis at BFI Southbank, hosted by Adam Buxton and featuring leading guest directors from the world of music video. Tickets for this special event are in huge demand. Tickets are £13, with concessions at £9.75 (Members pay £1.50 less) at www.bfi.org.uk/southbank or by calling 020 7928 3232. -
Press Kit—Winter NAMM 2017 Booth #4618
Press Kit—Winter NAMM 2017 Booth #4618 CONTACT: Jodi Anderson—Director, Communications & Product Marketing #learnteachplay P: 818-891-5999 x259 / F: 818-830-6259 / [email protected] / alfred.com/NAMM Mailing address: P.O. Box 10003 • Van Nuys, CA 91410-0003 • Street address: 16320 Roscoe Blvd., Suite 100 • Van Nuys, CA 91406 • Phone: 818.891.5999 • Fax: 818.830.6259 • Web: alfred.com Who We Are We help the world experience the joy of making music. Alfred Music, the leader in music education for 94 years, produces educational, reference, pop, and performance materials for teachers, students, professionals, and hobbyists spanning every musical instrument, style, and difficulty level. Alfred Music’s home office is located in Los Angeles, with domestic offices in Miami and New York, as well as offices around the world, including Germany, Singapore, and the United Kingdom. Since 1922, Alfred Music has been dedicated to helping people learn, teach, and play music. Alfred Music currently has over 150,000 active titles and represents a wide range of well-known publications—from methods like Alfred’s Basic Guitar, Alfred’s Basic Piano Library, Premier Piano Course, Sound Innovations, and Suzuki, to artists like Bruce Springsteen, Bruno Mars, Cole Porter, Carrie Underwood, Garth Brooks, Jimmy Buffett, George and Ira Gershwin, John Lennon, Katy Perry, Led Zeppelin, The Rolling Stones, and The Who, to brands like Harry Potter, Lord of the Rings, Star Wars, The Wizard of Oz, James Bond, Rolling Stone magazine, and Billboard. In addition to its own titles, Alfred Music distributes products from over 150 companies, including advance music, Belwin, Cengage Learning, Dover Publications, Drum Channel, Faber Music, Guitar World, Highland/Etling, Jamey Aebersold Jazz, Kalmus, MakeMusic, Penguin, Schaum Publications, and WEA. -
"Name That Song!" a Probabilistic Approach to Querying on Music And
“Name That Song!”: A Probabilistic Approach to Querying on Music and Text Eric Brochu Nando de Freitas Department of Computer Science Department of Computer Science University of British Columbia University of British Columbia Vancouver, BC, Canada Vancouver, BC, Canada [email protected] [email protected] Abstract We present a novel, flexible statistical approach for modelling music and text jointly. The approach is based on multi-modal mixture models and maximum a posteriori estimation using EM. The learned models can be used to browse databases with documents containing music and text, to search for music using queries consisting of music and text (lyrics and other contextual information), to annotate text documents with music, and to automatically recommend or identify similar songs. 1 Introduction Variations on “name that song”-types of games are popular on radio programs. DJs play a short excerpt from a song and listeners phone in to guess the name of the song. Of course, callers often get it right when DJs provide extra contextual clues (such as lyrics, or a piece of trivia about the song or band). We are attempting to reproduce this ability in the context of information retrieval (IR). In this paper, we present a method for querying with words and/or music. We focus on monophonic and polyphonic musical pieces of known structure (MIDI files, full music notation, etc.). Retrieving these pieces in multimedia databases, such as the Web, is a problem of growing interest [1, 2]. A significant step was taken by Downie [3], who applied standard text IR techniques to retrieve music by, initially, converting music to text format.