Visionary of the Word: Melville and Religion
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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. -
A Stylistics Analysis of the Works of Herman Melville
Striking Through the Pasteboard Mask: A Stylistics Analysis of the Works of Herman Melville By Kristal Eilein Metzger-Andersen, B.A. A Thesis Submitted to the Department of English California State University, Bakersfield In Partial Fulfillment for the Degree of Masters of English Spring 2012 Copyright By Kristal Eilein Metzger-Andersen 2012 Striking Through the Pasteboard Mask: A Stylistics Analysis of the Works of Herman Melville By Kristal Eilein Metzger-Andersen, B.A. This thesis has been accepted on behalf of the Department of English by their supervisory committee: Dr. Steven Frye This thesis is dedicated to Dr’s Charles MacQuarrie and Steven Frye. Without your constant reassurance and encouragement this thesis would never have seen the light of day. A special thanks to my husband, Chris Andersen, who gave me the confidence to continue when I wanted to quit. Thank you so much for being the light in the storm. Table of Contents Introduction 1 Chapter One: The Travel Narratives – Typee: A Peep at Polynesian Life, During a Four Months’ Residence in a Valley of the Marquesas 7 Chapter Two: The Philosophical Narratives – “Bartleby, the Scrivener: A Story of Wall Street” 17 Chapter Three: The Psychological Narrative – Moby Dick; or, The Whale 27 Chapter Four: The Satirical Narrative – The Confidence Man: His Masquerade 37 Conclusion 49 Glossary of Literary Terms 51 Bibliography 53 Metzger-Andersen 1 Introduction Herman Melville is arguably the most influential American writer of the nineteenth-century, yet he was not taken seriously by the critics of his time. Since the early twentieth-century, however, Melville’s oeuvre has been considered an important part of the Western canon and modern critics have been writing about his works at length. -
ED329985.Pdf
DOCUMENT RESUME ED 329 985 CS 212 735 AUTHOR Van Noate, Judith, Comp. TITLE Nathaniel Hawthorne and Herman Melville: A Research Guide. INSTITUTION North Carolina Univ., Charlotte. a. Murrey Atkins Library. PUB DATE 90 NOTE 20p.; For other guides in this series, see CS 212 732-739. Small print on some pages may affect legibility. PUB TYPE Guides - Non-Classroom Use (055) -- Reference Materials - Bibliographies (131)-- Reference Materials - Directories/Catalogs (132) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS English Literature; Higher Education; Library Guides; *Library Materials; Library Skills; *Literary Criticism; *Nineteenth Century Literature; *Reference Materials; Romanticism; *United States Literature IDENTIFIERS *Hawthorne (Nathaniel); *Melville (Herman); University of North Carolina Charlotte ABSTRACT This handout is a guide to library resources in the J. Murrey Atkins Library at the University of North Carolina-Charlotte for the study of the 19th-century American authors Nathaniel Hawthorne and Herman Melville. The guide detailsresources in Atkins library for biographical and critical materialon the two authors. The guide is in four sections:(1) Books; (2) Reference WJrks (dealing with criticism in collections, individual bibliographies, and collective bibliographies and checklists); (3) Periodical Indexes; and (4) PASL (Periodicals and Serials List). (SR) *********************************************************************** * Reproductions supplied by EDRS are the best thatcan be made * * from the original document. * *********************************************************************** SCOPE OP INTEREST NOTICE The ERIC Facility has assigned this document for processing to: In our judgment. this document eIso of Interest to the Cieer. Millheuses noted to the right. loo11144....., Indexing should reflect their WNW points of view. 'offtri44111,40444446.,t...._ 16. Aiterge II Wangs roeSaes k 14\ 4* Aar U 11 DEPARTMENT OF EDUCATION °thee of Educational Research and Improvement -PERMISSION TOREPRODUCE THIS GRANTED BY 4. -
"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.. -
Piazza Tales
THE PIAZZA TALES BY HERMAN MELVILLE AUTHOR OF “TYPEE,” “OMOO,” ETC., ETC., ETC. ------ originally published by NEW YORK; DIX & EDWARDS, 321 BROADWAY LONDON: SAMPSON LOW, SON & CO. 1856. republished by E S P The Electronic Scholarly Publishing Project www.esp.org Electronic Scholarly Publishing Project Foundations Series: American Literature Series Editor: Robert J. Robbins Bibliographical Note This ESP edition, first electronically published in 2017, is a newly typeset, -un abridged version, based on the 1856 edition published by Dix & Edwards. Unless explicitly noted, all footnotes and endnotes are as they appeared in the original work. Production Credits Scanning of originals: ESP staff OCRing of originals: ESP staff Typesetting: ESP staff Proofreading/Copyediting: ESP staff Graphics work: ESP staff Copyfitting/Final production: ESP staff Cover design: R. J. Robbins The Electronic Scholarly Publishing Project welcomes help from volunteers and collaborators, who recommend works for publication, provide access to original materials, and assist with technical and production work. If you are interested in volunteering, or are otherwise interested in the project, contact the series editor: [email protected] © 2017, The Electronic Scholarly Publishing Project http://www.esp.org This electronic edition is made freely available for educational or scholarly purposes, provided that this copyright notice is included. The manuscript may not be reprinted or redistributed for commercial purposes without permission. THE PIAZZA TALES Contents The Piazza . 1 Bartleby . 17 Benito Cereno . 57 The Lightning-rod Man ...............143 The Encantadas; or, Enchanted Islands ....214 The Bell-tower . 215 . -
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 PIAZZA TALES by Herman Melville
THE PIAZZA TALES By Herman Melville Author of "Typee," "Omoo," etc., etc., etc. New York; Dix & Edwards, 321 Broadway. London: Sampson Low, Son & Co. Miller & Holman, Printers & Stereotypers, N.Y. 1856 CONTENTS: THE PIAZZA..............................................................................................................3 BARTLEBY..............................................................................................................14 BENITO CERENO. ..................................................................................................43 THE LIGHTNINGROD MAN...............................................................................105 THE ENCANTADAS; OR, ENCHANTED ISLES .................................................112 SKETCH FIRST. THE ISLES AT LARGE. ........................................................112 SKETCH SECOND. TWO SIDES TO A TORTOISE.........................................116 SKETCH THIRD. ROCK RODONDO................................................................119 SKETCH FOURTH. A PISGAH VIEW FROM THE ROCK. .............................123 SKETCH FIFTH. THE FRIGATE, AND SHIP FLYAWAY. ..............................128 SKETCH SIXTH. BARRINGTON ISLE AND THE BUCCANEERS. ...............130 SKETCH SEVENTH. CHARLES'S ISLE AND THE DOGKING. ....................133 SKETCH EIGHTH. NORFOLK ISLE AND THE CHOLA WIDOW..................137 SKETCH NINTH. HOOD'S ISLE AND THE HERMIT OBERLUS. ..................147 SKETCH TENTH. RUNAWAYS, CASTAWAYS, SOLITARIES, GRAVE STONES, ETC. ...................................................................................................154 -
The Prose Style of Herman Melville 11
i THE PROSE STYLE OF HERMAN MELVILLE 11 THE PROSE STYLE OF HERMAN MELVILLE By MARY JANE FITCH 1 1 Bachelor of Arts Texas State College tor Women Denton, Texas 1938 . • : # ' ~~ r • •". C . 0 : ,. ~ . .. ... ' ' ' • l . • • • l , (" .. .. •• • • : ... ~-· • • • • • • • J ~ . • .. .... 'l,., •••••• , . • • e • • l• 1 , ; t • • •: : ~ : . .. ' . ... " ' "'•• :- • # •••• • l •el , e Submitted to the Department of English Oklahoma Agricultural and Mechanical College In Partial Fulfillment of the Requirements For the degree of MASTER OF ARTS 1940 iii OKLAHOMA !&RJCULTulUL & MlYHAKICAL COLLE61 LIBRARY AUG 6 1940 APPROVED: I n Char ge of 'Thesis Head ot the English Department 126821 i.v TABLE OF CONTENTS Chapter Page I. I ntroduction .............. .. ............... 1 II • . 1el ville' s Life and Work as a V' hole as Rela ted to his Style.................... 9 III. The Tools of a Style .•••••.......••••...•. 39 IV, Tone Color and Prose Rhythm. •...•••..•.•••. 84 V. Epilogue ............. ................... 102 Bibliography •••••••••••••• . ••••••••.•••••• 109 THE PROSE STYLE OF HERMJ\N MELVILLE CHAPTER I I NTRODUCTION In 1845 , Herman Melville wrote an account of his experiences in the Marquesas, which was published in 1846 under the titl~, Typee. As a result of the popularity of this book and a com panion volume of adventure in the South Seas, Omoo, published a year l a ter, Melville achieved both consider able f ame as a writer of romances and considerable notoriety as "the man who lived among cannib'-~ ls." In 1849, he published Mardi -- "to see whether, the fiction might not, possibly be received for a verity: in some degree the r everse of my previous experi ence," he s ays in the Preface. The book was an unmi ~t akable failure, i n spite of, or perhaps because of, the variety of muteriel Melville crammed into it. -
Character and the Space of Clarel
Character and the space of Clarel Article (Unspecified) Jonik, Michael (2011) Character and the space of Clarel. Leviathan: A Journal of Melville Studies, 13 (3). pp. 67-84. ISSN 1525-6995 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/42605/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk 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 -
ANALYSIS Mardi, and a Voyage Thither (1849) Herman Melville
ANALYSIS Mardi, and a Voyage Thither (1849) Herman Melville (1819-1891) “The encyclopedic subject of this large-scale exploration is what he referred to, in a letter to Hawthorne, as that ‘great allegory, the world.’ Under the guise of a South Sea archipelago, Mardi stands for the world, verbalized in the fictitious language that Melville invented along with the chartless geography of his imaginary voyage. His microcosm is neither an ideal commonwealth like Utopia nor yet an antipodal looking-glass kingdom like Erewhon; nor does it, like the countries of Gulliver’s Travels, cast back the reflection of irony. Melville’s recent reading, avid but unassimilated, provided a ballast which well nigh sank his ambitious undertaking. The result is not continuously readable, though it abounds in episodes and insights which would be the making of a lesser writer, and at least deserve to be canonized as purple passages. The difficulty is that, once he leaves the literal plane, Melville is caught between an allegory which is too narrowly topical in its allusiveness and a symbolism so transcendental that it bodies forth no more than a ‘spirit’s phantom’s phantom.’ Inevitably, ‘the mystery of mysteries is still a mystery’…. If Mardi does not reach its symbolic Ultimate, it faces an allegorical Penultimate, surveying the nations in critical panorama and directing its sharpest criticisms at Melville’s own nation, Vivenza. Through a series of political cartoons and editorial comments, he demonstrates that freedom is not the same in theory as in practice. His observations on equality might be summed up by rephrasing George Orwell: some men are less equal than others. -
Representation of the Orient in the Literary Imagination of Melville,” Porte Sur Les Contextes Historiques, Idéologiques, Et Politiques De L’Orientalisme Américaine
/7, 33t/ Université de Montréal Nation and its Configuration: the (Mis)representation of the Orient in the Literary Imagination of Melville Par Wadii Rabhi Département d’études anglaises Faculté des arts et des sciences Mémoire présenté a la Faculté des études supérieures En vue de l’obtention du grade de Maîtrise en arts (M.A.) Aout, 2005 © Wadii Rabhi Université de Montréal o Université de Montréal Direction des bibliothèques AVIS L’auteur a autorisé l’Université de Montréal à reproduite et diffuser, en totalité ou en partie, par quelque moyen que ce soit et sur quelque support que ce soit, et exclusivement à des fins non lucratives d’enseignement et de recherche, des copies de ce mémoire ou de cette thèse. L’auteur et les coauteurs le cas échéant conservent la propriété du droit d’auteur et des droits moraux qui protègent ce document. Ni la thèse ou le mémoire, ni des extraits substantiels de ce document, ne doivent être imprimés ou autrement reproduits sans l’autorisation de l’auteur. Afin de se conformer à la Loi canadienne sur la protection des renseignements personnels, quelques formulaires secondaires, coordonnées ou signatures intégrées au texte ont pu être enlevés de ce document. Bien que cela ait pu affecter la pagination, il n’y a aucun contenu manquant. NOTICE The author of this thesis or dissertation has granted a nonexclusive license allowing Université de Montréal to reproduce and publish the document, in part or in whole, and in any format, solely for noncommercial educational and research purposes. The author and co-authors if applicable tetain copyright ownership and moral rights in this document. -
ABSTRACT Melville''s Unfolding Selves: Identity Formation in Mardi
ABSTRACT Melvilles Unfolding Selves: Identity Formation in Mardi, Moby-Dick, and Pierre Margy Thomas Horton, Ph.D. Committee Chairperson: Joe B. Fulton, Ph.D. Mardi, Moby-Dick, and Pierre share striking parallels in form and content: each is narrated by an introspective yet adventurous narrator who encounters various triggers for his development, including authorities, mysterious people and phenomena, and evidence of the social contracts binding society together. All three novels juxtapose conflicting ideologies and culminate in an ambiguous integration of the narrator-protagonist into the larger world. Throughout the narration process, the narrator gradually progresses toward knowledge of self and world by learning from mistakes and altering behavior. These narrative characteristics are not drawn wholly from Melvilles imagination and experience, but rather typify a European genre, the Bildungsroman, that Melville read closely around 1850. Before now, scholars have assumed or argued that Bildungsromane did not exist in America as early as the mid-nineteenth century, with some scholars even denying that Bildungsromane can be written in an American context. However, this study shows that Melville wrote three novels that draw upon the conventions of that genre while revising them to depict a uniquely American process of identity formation, one in which no stable authority figure defined the path to maturity. Like America herself, the American Bildungsroman protagonist had to develop a means of self-invention. Melvilles maJor revision to the Bildungsroman is in his modification of the portrait self motif. In the European Bildungsromane Melville read, the portrait self is a text or image presented to the protagonist by an authority figure with the intent of showing the protagonist either who he is or who he should strive to be.