Relevant bibliographies by topics / Bartleby, the scrivener (Melville, Herman)

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Academic literature on the topic 'Bartleby, the scrivener (Melville, Herman)'

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Published: 2 March 2023

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Journal articles on the topic "Bartleby, the scrivener (Melville, Herman)"

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Zlogar, Richard J. "Body Politics in "Bartleby": Leprosy, Healing, and Christ-ness in Melville's "Story of Wall-Street"." Nineteenth-Century Literature 53, no. 4 (March 1, 1999): 505–29. http://dx.doi.org/10.2307/2903029.

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Over the years, critics have attached multiple equivalences to the title character in Herman Melville's "Bartleby, the Scrivener" (1853). Bartleby has become metaphor as readers have found a variety of matches for the condition of alienation and rejection implicit in his tragic story, a well-known example of which is interpreting Bartleby as an artist who refuses to produce the type of literature that is commercially successful in his society. The central contention of this study is that the scholarship written on "Bartleby" to date has not identified the vehicle for the tenor we uncover in Bartleby's situation. Melville in effect programs diversity of interpretation into his story by depicting the scrivener as a figurative leper. We arrive at such a reading of Bartleby's character not only by examining a biblical allusion that Melville scholars have not yet discussed, but also by noting the extent to which the medieval ritual for sequestering the leper from mainstream society figures into the story-a ritual that Melville clearly knew, as evidenced years later in Clarel (1876). Reading "Bartleby" within a context of figurative leprosy results in an interpretation that unites what initially seem like disparate elements in the text: reclusion, illness and a related fear of infection, the mixture of corpse and Christ imagery surrounding the scrivener, Bartleby's "dead-wall reveries," and the role of touch. This reading also sheds new light on the interdependence of the narrator and his copyist. Once we recognize Bartleby as a figurative leper, we realize that the narrator faces a challenge of Christ-ness in his interaction with the scrivener: he has the opportunity to imitate Christ and heal the illness of alienation that afflicts Bartleby by choosing to go against the prevailing norms of his society.
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Nichols, Ken. "Case Study #5: Bartleby, the Scrivener, a Story of Wall Street by Herman Melville." Public Voices 13, no. 2 (November 29, 2016): 162. http://dx.doi.org/10.22140/pv.125.

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“Bartleby” is the name of the principal character in Herman Melville’s short story about the relationship between a manager and an employee. Bartleby is the employee. His job is to be a scrivener, or a copyist.The setting is a small law firm on Wall Street a century and a half ago — long before computers and photocopy machines, or even typewriters and carbon paper. A scrivener’s job was to copy a document clearly and accurately using the information technology of the day: paper, a bottle of ink, and a sharpened quill.You’ll find that the office technology may be different now than it was in Bartleby’s time, but people are much the same as ever. As you read this story, ask yourself what kind of employee Bartleby is. What kind of boss does the attorney make? Does the story have to end the way it does?
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FURUI, YOSHIAKI. "Bartleby's Closed Desk: Reading Melville against Affect." Journal of American Studies 53, no. 2 (November 2, 2017): 353–71. http://dx.doi.org/10.1017/s0021875817001402.

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To reconsider the affective turn in American literary studies, this essay reads Herman Melville's “Bartleby, the Scrivener” (1853), with reference to “Benito Cereno” (1855) andThe Confidence-Man(1857), as an anti-affect story. By shedding light on silent characters in these works – Bartleby, Babo, and Black Guinea – it argues that Melville endeavors to adumbrate, not articulate, their private interiorities through language. Calling the inner recesses of his silent characters “secret emotions,” Melville probes into the boundaries between the effable and the ineffable by testing the limits of literary language. If “affect” refers to the kind of emotion that eludes signification through language, reading Melville in this manner encourages a reappraisal of the relationship between affect as a non-linguistic emotion and literature as a linguistic construct.
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Oppo, Andrea. "Black Holes: A Philosophical View on and." Samuel Beckett Today / Aujourd'hui 23, no. 1 (August 1, 2012): 307–17. http://dx.doi.org/10.1163/18757405-023001020.

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This article focuses on two significant texts revealing the crisis and stalemate of narrative during the nineteenth and twentieth centuries: Herman Melville's short tale Bartleby, The Scrivener and Samuel Beckett's Endgame. Particular attention is paid to Gilles Deleuze's and Theodor Adorno's philosophical interpretations of these two authors. Overall, the interruption and impasse of narrative are shown to happen in two radically different ways in Melville and Beckett, leading to two equally different consequences for the definition of subjectivity in contemporary aesthetics.
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Santos, Carlos Henrique Francisco de Amorim. "A constituição do estranho em Bartleby, the Scrivener: a Story of Wall Street." Humanidades em diálogo 6 (November 8, 2014): 61–71. http://dx.doi.org/10.11606/issn.1982-7547.hd.2014.106259.

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A novela de Herman Melville, Bartleby, the Scrivener: a Story of Wall Street, tem notório destaque entre as obras do autor e tem fascinado autores, filósofos e o público leitor diante do desafio de interpretá-la. Nosso artigo busca analisar a novela de Melville à luz dos textos de Deleuze e Freud, tendo como foco a constituição do “estranho” dentro da novela e seu efeito na construção da obra literária norte-americana.
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Vilela, Lúcia Helena Azevedo. "O Copista de Wall Street: Produtividade, Reprodução e a Escolha de Bartleby." Aletria: Revista de Estudos de Literatura 5 (October 31, 1997): 281–90. http://dx.doi.org/10.17851/2317-2096.5..281-290.

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Neste trabalho são discutidas as noções de realidade e arte, cópia e criação, perante a acelerada reprodução da obra de arte na modernidade e suas implicações na conceituação de criação artística. Walter Benjamin e Paul Valéry proporcionaram o instrumental para a discussão, aqui ilustrada pelo conto Bartleby the Scrivener, de Herman Melville, pela visão adiante de seu tempo que o autor imprime à sua enigmática personagem central, em seu dilema existencial entre a possibilidade da repetição de si mesma e a transgressora resistência passiva ao cumprimento da tarefa de copista. Não se buscou identificar Melville em sua inescrutável personagem; procurou-se vê-la, sob um ângulo metaficcional, diante do impasse, comum ao artista, entre anoção de realidade e sua "reprodução" na obra de arte.
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Zurbrügg, Aurélie. "“Dead-Wall Reveries”: The Failure of the Medium in Melville’s “Bartleby, the Scrivener”." Studies in the American Short Story 3, no. 1-2 (November 2022): 130–38. http://dx.doi.org/10.5325/studamershorstor.3.1-2.0130.

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ABSTRACT This essay examines Herman Melville’s “Bartleby, the Scrivener: A Story of Wall-street” through the perspective of media studies. It describes Bartleby’s communicational role by considering his inability to function as a medium. The article shows how the wall that faces the desk and the dead letters from his previous employment contribute to Bartleby’s “preference not to.” Surrounded by walls and forced to mechanically reproduce legal texts, Bartleby’s physical isolation prevents him from engaging in social interactions.
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Sequeira Bras, Patricia. "How not to Occupy Bartleby." Excursions Journal 6, no. 1 (January 24, 2020): 1–14. http://dx.doi.org/10.20919/exs.6.2015.189.

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This article aims to discuss how Bartleby, the character from Herman Melville’s homonymous story, Bartleby, The Scrivener re-emerged in the Occupy Movement in Wall Street. Here, I intend to argue that Bartleby has been wrongly appropriated, which in turn, may explain the shortcomings of the movement. The Occupy Wall Street took possession of Bartleby because in Melville’s story, he occupies the premises of a lawyer’s office in Wall Street. However, this appropriation has dismissed the political 'inefficacy' of Bartleby’s formula, 'I would prefer not to'. As I shall argue, the formula exposes instead a residual political emancipation, generating a contingency. Rather than attempting to find some political agency within Melville’s figure, we should recognise the capacity of his formula for political insurgency. With this perspective in mind, I shall revise this appropriation to suggest that despite the political contingency of Bartleby’s formula, this should not be regarded as a means to a political outcome.
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Vilela, Lúcia Helena Azevedo. "O Copista de Wall Street: Produtividade, Reprodução e a Escolha de Bartleby." Aletria: Revista de Estudos de Literatura 5 (October 31, 1997): 281. http://dx.doi.org/10.17851/2317-2096.5.0.281-290.

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Neste trabalho são discutidas as noções de realidade e arte, cópia e criação, perante a acelerada reprodução da obra de arte na modernidade e suas implicações na conceituação de criação artística. Walter Benjamin e Paul Valéry proporcionaram o instrumental para a discussão, aqui ilustrada pelo conto Bartleby the Scrivener, de Herman Melville, pela visão adiante de seu tempo que o autor imprime à sua enigmática personagem central, em seu dilema existencial entre a possibilidade da repetição de si mesma e a transgressora resistência passiva ao cumprimento da tarefa de copista. Não se buscou identificar Melville em sua inescrutável personagem; procurou-se vê-la, sob um ângulo metaficcional, diante do impasse, comum ao artista, entre a<br />noção de realidade e sua "reprodução" na obra de arte.
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Yoshikuni, Hiroki. "Kant with Bartleby." Nineteenth-Century Literature 71, no. 1 (June 1, 2016): 37–63. http://dx.doi.org/10.1525/ncl.2016.71.1.37.

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Hiroki Yoshikuni, “Kant with Bartleby: A Fate of Freedom” (pp. 37–63) This essay explores the problem of the “unaccountable” in Herman Melville’s “Bartleby, the Scrivener” (1856) in light of the Kantian idea of freedom. The lawyer-narrator declares his own inability to tell a story of Bartleby, but by doing so he also emphasizes the scrivener’s accountableness, by which Bartleby is presented as a character of exceptional originality. Bartleby might thus appear free in the Kantian sense, because his unaccountableness suggests that the determining ground of his will is not determined by inclinations in nature but is independent from it. But, pointing out that this construction of Bartleby is based on unaccountableness that ends up in nothing but the modern notion of individualism or subjectivity, which is not freedom as such but a fantasy of freedom, I argue that Bartleby destroys precisely such subjectivity by his thing-like immobility. The lawyer cannot decide at last whether Bartleby is a human subject or a piece of furniture fixed in his office.
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Dissertations / Theses on the topic "Bartleby, the scrivener (Melville, Herman)"

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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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Müller, Wolfgang. "Recht und Literatur als friedlose Konstellation eine Arbeit zu Herman Melvilles Bartleby und Billy Budd und zu William Dean Howells' An imperative duty /." [S.l. : s.n.], 2002. http://www.diss.fu-berlin.de/2002/219/index.html.

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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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Saari, Juhani. "Power and Resistance in Herman Melville’s Three B’s." Thesis, Stockholms universitet, Engelska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-91131.

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This essay examines three of Herman Melville’s shorter fictions: Bartleby, Benito Cereno and Billy Budd. An analysis and comparison is made of the forces of power relations and resistance between the main characters in the three stories. Foucault’s theories of power are used as a basis for the analysis. Apparent power structures such as law and military hierarchy are analysed, but the focus is on more subtle relations based on language, knowledge, conformity with norms, silence, capitalism and position. It is argued that, apart from the apparent power structures, one needs to consider the more subtle power relations and acts of resistance for an understanding in the shifts of power positions. The study examines how the resisting oppressed party in each of the three works of fiction ends up dead, and that on a first reading resistance may seem futile. A further examination of the seemingly re-established conventional order, however, reveals shifts in power positions, shifts that indicate instability in the norms of society. It is argued that positions of power are to some extent reversed in the studied works of fiction, where the dominant party ends up suffering.
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Weltman-Aron, Brigitte. "Les Procédés narratifs étude contrastive de "Bartleby" et "Benito Cereno" de Herman Melville et leurs traductions françaises /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376107413.

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Madeiro, Soraya Rodrigues. "Os matizes entre o dito e o nÃo-dito: mistÃrio silencioso em Bartleby, Billy Budd e Benito Cereno, de Herman Melville." Universidade Federal do CearÃ, 2011. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=13681.

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FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico
LâÃcriture de Melville, mÃme aprÃs tout le temps passà et avec diverses interprÃtations, alaissà inquiets les lecteurs et la critique. Pour cela, afin de prÃserver ce qui la permet survivre, nous nâavons pas comme but Ãpuiser les visions possibles de lâoeuvre, bien au contraire, on prÃtend contribuer à lâoverture des possibilitÃs et des vÃritÃs à propos du dit e du non-dit prÃsent chez lâoeuvre de lâÃcrivain amÃricain, en ce que concerne les livres Bartleby, lâÃcrivain, Benito Cereno et Billy Budd. Dans notre Ãtude, le but central est penser les trois Ãcritures de Herman Melville à partir de leurs personnages-titres, mais qui ne sont pas les narrateurs de lâhistoire, de faÃon à perdre le pouvoir de dominer le destin de lâÃcriture. De telle faÃon, les personnages donnent plutÃt des indices que des paroles concrÃtes et sont entre le dit et le non-dit
A escrita de Melville, mesmo com o passar do tempo e apesar de tantas anÃlises de suas obras, ainda nÃo deixou de inquietar leitores e estudiosos. Por essa razÃo, para preservar o que na obra literÃria faz dela sobrevivente, o objetivo de nosso estudo nÃo à de forma alguma esgotar as visÃes que as obras permitem; pelo contrÃrio, pretendemos contribuir para a abertura de mais possibilidades de questionamentos e de verdades acerca do dito e do nÃo-dito intrÃnseco Ãs obras do escritor estadunidense, no que concerne ao estudo de Bartleby, o escrivÃo, Benito Cereno e Billy Budd. Objetivamos em nossa dissertaÃÃo investigar na escrita de Herman Melville os aspectos relacionados Ãs personagens, as quais possuem destaque no tÃtulo de cada obra, mas nunca sÃo narradoras de sua histÃria, de modo que sÃo incapazes de ter domÃnio sobre ela. Nesse sentido, as personagens mais insinuam do que realmente dizem, estÃo no limite entre o dito e o nÃo-dito.
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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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Orr, Sara Ceilidh. "The Scrivener De-Scribed: Logos and Originals in Nineteenth-Century Copyist Fiction." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406254390.

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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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Kao, Johny Wei-Chun, and 高偉峮. "Bartleby, the Metropolitan: A Simmelian Reading of Herman Melville’s “Bartleby, the Scrivener”." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/2ea5xa.

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碩士
輔仁大學
英國語文學系
100
One of the most challenging mysteries in American Literature lies in Herman Melville’s Bartleby, the Scrivener, where the notoriously persistent Bartleby continuously prefers not to cooperate. The ambiguity of Melville’s story not only fascinates his readers, and invites critics of different mindsets to interpret with diverse perspectives. Amongst the multitude of interpretations, some read Bartleby as a social outcast that stands against the sovereign power, whereas some consider Bartleby an iconic Marxist figure that defies capitalism. One intriguingly resonating theory, however, has been somehow neglected in in these readings. In “The Metropolis and Metal Life,” Georg Simmel sheds light on the lifestyle and struggle of the metropolitans. He highlights several aspects of the metropolitan mentality, including monetary economy, the blasé attitude as well as the metropolitan eccentricity, which embody perfectly not only on Bartleby, but also the narrator-lawyer and his other employees as well. As a metropolitan, Bartleby’s existence brings not only impacts, but also, more importantly, brings irrevocable changes to people around him. With the base of Simmel’s insights on the metropolitan lifestyle, this thesis aims to re-examine in detail respectively the motivation, conflicts, and consequences of Bartleby’s introduction to the law chambers.
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Books on the topic "Bartleby, the scrivener (Melville, Herman)"

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Bartleby the scrivener & Benito Cereno: Notes. Lincoln, Neb: Cliffs Notes, 1992.

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1930-, Bloom Harold, ed. Herman Melville's Billy Budd, Benito Cereno, Bartleby the scrivener, and other tales. New York: Chelsea House, 1987.

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Harold, Bloom, ed. Herman Melville's Billy Budd, Benito Cereno, Bartleby the scrivener, and other tales. New York: Chelsea House, 1987.

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Récits en souffrance: Essai sur "Bartleby" (Herman Melville), "La métamorphose," et "Le terrier" (Franz Kafka), L'innommable (Samuel Beckett). Paris: Kimé, 2001.

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Melville, Herman. Bartleby the scrivener: Benito Cereno ; Billy Budd, foretopman. New York: Book-of-the-Month Club, 1997.

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McCall, Dan. The silence of Bartleby. Ithaca, N.Y: Cornell University Press, 1989.

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Passive constitutions, or, 7 1/2 times Bartleby. Stanford, Calif: Stanford University Press, 2007.

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Melville, Herman. Bartleby, the Scrivener by Herman Melville(Annotated). Independently Published, 2022.

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Melville, Herman. Bartleby, the Scrivener by Herman Melville Illustrated. Independently Published, 2021.

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Melville, Herman. Bartleby, the Scrivener : By Herman Melville: Illustrated. Independently Published, 2017.

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Book chapters on the topic "Bartleby, the scrivener (Melville, Herman)"

1

Ensslen, Klaus, and Daniel Göske. "Melville, Herman: Bartleby, the Scrivener." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_12132-1.

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Fisher, Marvin. "Narrative Shock in “Bartleby, the Scrivener,” “The Paradise of Bachelors and the Tartarus of Maids,” and “Benito Cereno”." In A Companion to Herman Melville, 435–50. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996782.ch28.

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Dechêne, Antoine. "Herman Melville’s “Bartleby, the Scrivener: A Story of Wall Street”." In Detective Fiction and the Problem of Knowledge, 193–218. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94469-2_7.

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Maria, Helen Santa. "Reading Autism in Herman Melville’s ‘Bartleby the Scrivener: A Story of Wall Street." In Rethinking Disability Theory and Practice, 54–75. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137456977_5.

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Krilic, Alma. "Confinement and Jouissance in Herman Melville’s “Bartleby, the Scrivener: A Story of Wall Street”." In Lacan and the Environment, 59–73. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67205-8_4.

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Hollington, Michael. "Melville, Bartleby, the Scrivener." In The Palgrave Encyclopedia of Urban Literary Studies, 1–4. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-62592-8_121-1.

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Hollington, Michael. "Melville, “Bartleby the Scrivener”." In The Palgrave Encyclopedia of Urban Literary Studies, 1274–77. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-62419-8_121.

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Scott, Joanna. "“Bartleby, the Scrivener” by Herman Melville." In Why I Like This Story, 290–96. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787445352.041.

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Scott, Joanna. "“Bartleby, the Scrivener” by Herman Melville." In Why I Like This Story, 290–96. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctv136bxvn.44.

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Keeling, Kara. "Interregnum." In Queer Times, Black Futures, 41–52. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9780814748329.003.0002.

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Abstract:
This chapter begins to explore what Herman Melville’s 1853 “Bartleby the Scrivener: A Story of Wall Street” offers to Queer Times, Black Futures.With its setting being Wall Street, New York City,its title explicitly referring to that center of finance, and Bartleby’s occupation as a legal copyist directly implicating the story in questions of law and governance, “Bartleby” has inspired philosophical concepts relevant to the spatiotemporal entanglements of concern throughout this project.The ensuing sections on “Bartleby”also call attention to the story’s interplay of sound and vision in ways that might be of interest to those who are thinking with and through the digital regime of the image in societies of control, and how the story raises questions about the American enterprise that might generate imaginative formulations of the errant possibilities it harbors. Finally, I argue that what Gilles Deleuze refers to as Bartleby’s “queer formula”—“I would prefer not to”— can be understood as a mode of radical refusal, a de-creative, unaccountable, ungovernable, and errant insistence that confronts such violences head on in search of an expressive realization of existence beyond measure.
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