Moby-Dick: a Man's Story
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Mashantucket Pequot 87
Mashantucket Pequot 87 MASHANTUCKET PEQUOT ^ I %e Pequot Indians have Uved JL in southern New England for centuries. They frequently fought the neighboring Niantics and Narragansets for control of territory and in turn received a fitting name. Pequot or Pequod means "Destroyers" (ENAT, 184¬ 185); Herman Melville named Ahabs ship The Pequod m his novel Moby-Dick The Pequot fought the British in 1630s in the Pequot War, with disastrous consequences. Massacred and enslaved, the few remaining members were freed in 1655 and settled near Mystic, Connecticut, just south of the present-day Foxwoods Reservation of the Mashantucket Pequot. Their flag is white with the round seal in the center. The seal depicts a ^ prominent knoll with a lone black tree silhouetted against a green-blue sky. The knoll and tree represent Mashantucket, the "much-wooded land" where the Pequot once hunted and where they kept their identity alive for hundreds of years. A white fox stands in front of the tree—in their native language, the Pequot are known as "the Fox People". The combination of fox and tree recalls the name of the reservation—Foxwoods. On the black knoll beneath the tree is a glyph—the sign of Robin Cassasinnamon, the Mashantucket Pequot s first leader after the massacre at Mystic Fort in 1637 {The Mashantucket Pequot, pamphlet, n.d.). Today, with earnings from their Foxwoods casino complex, the Mashantucket Pequot may well be the most commercially successful Indian nation in the United States. In 1994 the Pequot generously donated US$10 million to the Smithsonian Institution for the planned 88 Flags of the Native Peoples of the United States National Museum of the American Indian on the National Mall in Washington, DC. -
I Pledge Allegiance to the Embroidered Scarlet
I PLEDGE ALLEGIANCE TO THE EMBROIDERED SCARLET LETTER AND THE BARBARIC WHITE LEG ____________ A Thesis Presented to the Faculty of California State University Dominguez Hills ____________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Humanities ____________ by Laura J. Ford Spring 2018 ACKNOWLEDGEMENTS I would like to acknowledge the people who encouraged and assisted me as I worked towards completing my master’s thesis. First, I would like to thank Dr. Patricia Cherin, whose optimism, enthusiasm, and vision kept me moving toward a graduation date. Her encouragement as my thesis committee chair inspired me to work diligently towards completion. I am grateful to Abe Ravitz and Benito Gomez for being on my committee. Their thoughts and advice on the topics of American literature and film have been insightful and useful to my research. I would also like to thank my good friend, Caryn Houghton, who inspired me to start working on my master’s degree. Her assistance and encouragement helped me find time to work on my thesis despite overwhelming personal issues. I thank also my siblings, Brad Garren, and Jane Fawcett, who listened, loved and gave me the gift of quality time and encouragement. Other friends that helped me to complete this project in big and small ways include, Jenne Paddock, Lisa Morelock, Michelle Keliikuli, Michelle Blimes, Karma Whiting, Mark Lipset, and Shawn Chang. And, of course, I would like to thank my four beautiful children, Makena, T.K., Emerald, and Summer. They have taught me patience, love, and faith. They give me hope to keep living and keep trying. -
The Tragedy of the Whaleship Essex
THE CREW of the ESSEX 0. THE CREW of the ESSEX - Story Preface 1. THE CREW of the ESSEX 2. FACTS and MYTHS about SPERM WHALES 3. KNOCKDOWN of the ESSEX 4. CAPTAIN POLLARD MAKES MISTAKES 5. WHALING LINGO and the NANTUCKET SLEIGH RIDE 6. OIL from a WHALE 7. HOW WHALE BLUBBER BECOMES OIL 8. ESSEX and the OFFSHORE GROUNDS 9. A WHALE ATTACKS the ESSEX 10. A WHALE DESTROYS the ESSEX 11. GEORGE POLLARD and OWEN CHASE 12. SURVIVING the ESSEX DISASTER 13. RESCUE of the ESSEX SURVIVORS 14. LIFE after the WRECK of the ESSEX Frank Vining Smith (1879- 1967) was a prolific artist from Massachusetts who specialized in marine painting. His impressionistic style made his paintings especially beautiful. This image depicts one of his works—a whaleship, like the Essex, sailing “Out of New Bedford.” Leaving Nantucket Island, in August of 1819, the Essex had a crew of 20 men and one fourteen-year-old boy. The ship’s captain was 29-year-old George Pollard, a Nantucket man, who had previously—and successfully—sailed on the Essex as First Mate. This was his first command aboard a whaling ship. Because so many whalers were sailing from Nantucket, by 1819, Pollard and the Essex’s owners had to find crew members who were from Cape Cod and the mainland. In Nantucket parlance, these off-island chaps were called “coofs.” There were numerous coofs aboard the Essex when she left the harbor on August 12, 1819. Viewed as outsiders, by native Natucketers, coofs were not part of the island’s “family.” Even so, working on a whaler—which, by 1819, was both a ship and a factory—African-American crewmen experienced the relative equality of shipboard life. -
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. -
Captain Ahab and Her Crew
Illinois Wesleyan University Digital Commons @ IWU Outstanding Gateway Papers Writing Program 2016 Captain Ahab and Her Crew Abigail Kauerauf '19 Illinois Wesleyan University, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/gateway Part of the English Language and Literature Commons, and the Rhetoric and Composition Commons Recommended Citation Kauerauf, Abigail '19, "Captain Ahab and Her Crew" (2016). Outstanding Gateway Papers. 11. https://digitalcommons.iwu.edu/gateway/11 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by Writing Program Committee at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Abigail Kauerauf Gateway 100 22 February 2016 Captain Ahab and Her Crew In One Flew Over the Cuckoo’s Nest, the novel’s anti-hero R.P. McMurphy unexpectedly parallels Moby-Dick. In the infamous Melville classic, Moby-Dick bites off the leg of Captain Ahab. Ahab thusly convinces his crew to join him in a revenge-filled quest to kill the white whale. The life of R. P. McMurphy presents a similar journey. -
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. -
Moby Dick in 50 Objects
Dear Reader, Reading Moby-Dick is an adventure. The narrative takes you to MOBY DICK the deepest and strangest recesses of the human mind and through the daily life of a nineteenth-century whaleman. You’re in for a wild—sometimes dull, and other times queer—ride. Like any good adventure, a map will help you on your journey. IN These fifty objects will help you decode the literary symbolism of Moby Dick, a novel laden with meaningful images and motifs. This guidebook will also help animate the nineteenth-century context in which the novel emerged. The world looked different to Herman Melville in the nineteenth-century, and these objects 50 OBJECTS will help you better understand the text within its context. Of course, your best guide to Moby-Dick—whether it’s your first, second, or fifth read—is your own mind. Let the novel challenge A GUIDE THROUGH THE GREAT, WEIRD, AND LONG you, bore you, and take you outside of yourself. AMERICAN CLASSIC Good luck and bon voyage! BY Josh Ameen, Jacob Beaudoin, Laura Byrd, Isabelle Carter, Austin Cederquist, Isabella Conner, Sam Cooper, Tori Corr, Marissa Cuggino, Gianna Delaney, Kyle Erickson, Taylor Galusha, Jackie Ireland, Mathew Lannon, Melissa Lawson, Emma Leaden, Kathryn Mallon, Caroline May, Emily Nichols, Conrrad Ortega, Daniel Proulx, Dan Roussel, Krista Sbordone, Dustin Smart, Bobby Tolan, Sarah Tripp, Brianna Wickard, & Dr. Christy Pottroff A carpet bag is specifically made for travelling and is usually made out of the same material as an oriental rug. It was perfect for people who did not want to carry enough luggage that would require a heavier trunk. -
From Mocha Dick to Moby Dick: Fishing for Clues to Moby's Name and Color
From Mocha Dick to Moby Dick: Fishing for Clues to Moby's Name and Color Ben Rogers University of Delaware Melville's fictional whale Moby Dick appears to derive from the real whale Mocha Dick, yet the differences in names and colors between these two suggest that Moby's name may be intimately connected to his symbolic role. One meaning of mob is 'to wrap in a cowl or veil'. Creating an adjective by adding -y produces moby 'having the qualities of being hooded, especially about the head', a definition reflected in Ishmael's "grand hooded phantom." Dick may be a shortening of Dickens, a euphemism for the devil. Dick may also suggest Dicky 'an officer acting on commission', an appropriate meaning for Ahab' s and Starbuck's conception of Moby as God or an agent of God. Lexicons available to Melville reveal the meaning of the name and illuminate the characteriza- tion of Moby as both commodity and Zeus of the sea, both "dumb brute" and divine Leviathan. The 1929 discovery of a narrative about a white whale named Mocha Dick began 70 years of speculation as to the extent of Mocha as Moby's prototype. The narrative, written by J.R. Reynolds in 1839, described a "renowned monster, who had come off victorious in a hundred fights ... [and was] white as wool." Typical of the reaction of literary critics at the time was Garnett's remark that "Moby Dick ... was but Mocha Dick in faery fiction dressed" (1929, 858). Critical editions of Moby-Dick often include the Reynold's narrative and today scholars generally agree that Melville probably knew of Mocha.1 The obvious sibling qualities of the two whales has tended to center onomastic study on the name Mocha Dick, and subsequent research has attempted to demonstrate that Melville knew of Mocha Dick or, assuming this, to explain why Mocha changed to Moby. -
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. -
The Role of Pagans and Pagan Gods in Moby Dick •|With Special Reference to Ishmael and Ahab•|
CORE Metadata, citation and similar papers at core.ac.uk Provided by Iwate University Repository (35) 35 The Role of Pagans and Pagan Gods in Moby Dick •|With Special Reference to Ishmael and Ahab•| Katsutoshi HOSHINO Introduction It is generally accepted that Herman Melville (1819-91), born and bred as a son of the parents who were members of the Dutch Reformed Church in America, was influenced by the Calvinistic tradition of New England.1) Of course the Calvinistic emphasis on the sovereignty of God and the depravity of Man admits no room for any idolatry. Nevertheless, Melville presented many pagan aspects in his sixth novel Moby Dick (1851), and even made one of the characters confess that "it's a wicked world in all meridians; I'll die a pagan" (56).2> Furthermore, in his letter to Nathaniel Hawthorne (1804-64), to whom Moby Dick was dedicated, he wrote that he had written "a wicked book."3) The aim of the present paper is to examine the role of some of the influential pagans and pagan gods presented in the narrative with special emphasis on their relation to the two dominant characters, Ishmael and Captain Ahab. This will serve to illustrate at least one of the pagan aspects of this book and of its author who admitted wicked- ness that it implied. I. Ishmael and Queequeg Melville's love of "Rousseau's Child of Nature and Chateaubriand's Noble Savage" in his early works has already been pointed out by D.H. Lawrence.4) In Moby Dick, however, it is not Melville but Ishmael, the first person narrator and character, that first shows a sympathetic response to a savage with a noble nature, a pagan called Queequeg who worships a wooden idol Yojo. -
Bible Leaves! Hellenism and Hebraism in Melville's Moby-Dick
Bible Leaves! Bible Leaves! Hellenism and Hebraism in Melville's Moby-Dick The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation New, Elisa. 1998. Bible leaves! Bible leaves! Hellenism and hebraism in Melville's Moby-Dick. Poetics Today 19(2): 281-303. Published Version http://dx.doi.org/10.2307/1773443 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:4726201 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Bible Leaves!Bible Leaves! Hellenismand Hebraism in Melville'sMoby-Dick Elisa New English,Pennsylvania Abstract "'Bible Leaves! Bible Leaves!': Hebraism and Hellenism in Melville's Moby-Dick"argues that Herman Melville is Hellenism's severest American critic, and his greatest book, a sustained defense of the Hebraic "letter."Using a range of devices to link his monomaniac, Ahab, with the Greek and Christian subordi- nation of history to reason, Melville exposes the damage to historical knowledge, as well as the characterological and institutional damages, that too singleminded a pursuit of the "spirit"may wreak: In Melville's version, Unitarian ministers and revivalist preachers as well as his own later, allegorizing critics join with Ahab in violent depredations on historical truth. On the other hand, Ishmael, as the essay goes on to argue, is Melville's Hebraist par excellence. Melville draws on Carlyle, on John Kitto's classically historicist Cyclopaediaof BiblicalLiterature, and on the Book of Ecclesiastes to fashion Ishmael as a hero of Hebraic restraint and a champion of Hebraic prolixity. -
Dissertation Rough Draft Final
UNIVERSITY OF CALIFORNIA RIVERSIDE Melville on the Beach: Transnational Visions of America A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Ikuno Saiki December 2018 Dissertation Committee: Dr. Jennifer Doyle, Chairperson Dr. Steven Gould Axelrod Dr. Traise Yamamoto Copyright by Ikuno Saiki 2018 The Dissertation of Ikuno Saiki is approved: Committee Chairperson University of California, Riverside Acknowledgments This project would not have been finalized without the invaluable assistance of many people. First of all, I would like to express my sincere gratitude to my exam advisor and former dissertation chairperson, Professor Emory Elliott. Throughout the irregular and tedious process of completing my degree, he constantly encouraged me and supported me by frequent e- mail messages, writing from his office in early morning, or from a hotel in China at midnight, until a month before his sudden demise. I learned, and am still learning, from his enthusiastic and humanitarian approach to literature and from his pure devotion to help his students. Professor Jennifer Doyle was on my exam committee, and kindly succeeded Professor Elliott as chair. She made it possible for me to finish the dissertation within a limited amount of time, and her advice gave me a framework within which to integrate all my ideas. Professor Steven Gould Axelrod and Professor Traise Yamamoto supported me in the first difficult quarter at UC Riverside in 2001. I learned scholarship and the art of research from Professor Axelrod’s meticulous and warm suggestions on my seminar papers. Professor Yamamoto, who provides energetic guidance and affectionate care for her students, is one of my unattainable role models.