Journal articles: '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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Goldfarb, Nancy D. "Charity as Purchase." Nineteenth-Century Literature 69, no. 2 (September 1, 2014): 233–61. http://dx.doi.org/10.1525/ncl.2014.69.2.233.

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Nancy D. Goldfarb, “Charity as Purchase: Buying Self-Approval in Melville’s ‘Bartleby, the Scrivener’” (pp. 233–261) This essay examines Herman Melville’s “Bartleby, the Scrivener” (1853) in light of recent scholarship in philanthropic studies. Through the lawyer-narrator, Melville’s story discreetly challenges the representation of charity as a viable means of redistributing wealth and restoring balance to an unequal social structure. The narrator masterfully employs the rhetoric of charity to negotiate his role in Bartleby’s tragic outcome, generating a self-promoting narrative that deflects potential criticism. His charitable acts toward Bartleby do not fulfill Kenneth Boulding’s criterion for philanthropy as a “one-way transfer”; rather, they constitute an exchange. In return for his financial gifts, the lawyer assuages his guilt and cheaply purchases “a delicious self-approval.” The story demonstrates the extent to which the profit-oriented culture represented by Wall Street is antithetical to a sense of obligation for others. By neglecting his civic responsibility and excessively valuing money, the narrator finds himself incapable of a spiritual connection with Bartleby and, despairing of his ability to assist his employee, instead offers him charity. Once the lawyer begins to perceive Bartleby as useful, the potential of charity to express human fellowship transforms into a means to profit. “Bartleby” demonstrates how in late capitalism the needy cease to be seen as individual human beings and subjects of their own lives. Rather, they are seen as an occasion for a purchase, an opportunity to achieve one’s objectives by means of what are now tax-deductible donations.

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Saxby, Justin. "Toadstools, Bartleby, and Badiou." Religion and the Arts 19, no. 1-2 (2015): 51–73. http://dx.doi.org/10.1163/15685292-01901003.

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This article brings together Herman Melville’s “Bartleby, the Scrivener” with Lives of Jesus authored by David Strauss and Simon Greenleaf and reads them through Alain Badiou’s philosophy of the Event. If we bear in mind the raging debates of the time about how to write an historical account of Jesus, represented here by Strauss and Greenleaf, Melville’s story about a reclusive law-copyist and his frustrated biographer becomes a set of questions about the nature and purpose of biography. When Badiou’s ideas about the Event are taken into account, “Bartleby” intensifies into an anguished consideration of what to do, or what to write, after a life-altering encounter with an elusive subject who leaves no evidentiary trace.

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Serrano, Elena Arroyo. "This Version of Bartleby: Making Melville’s short story present." Journal of Adaptation in Film & Performance 15, no. 1 (March 1, 2022): 149–57. http://dx.doi.org/10.1386/jafp_00074_1.

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This Version of Bartleby is a film adaptation of Herman Melville’s ‘Bartleby, the Scrivener’. How to adapt cinematically a character so closely related to writing? Bartleby works copying texts non-stop in order to face nothingness. He is, in the words of Spanish philosopher José Luis Pardo, a graphic sign, and Bartleby’s favourite expression, ‘I would prefer not to’ is close to what Deleuze called ‘agrammaticality’. It might be that the best film adaptation for Bartleby is one that deals with these issues while also questioning the nature of images. This Version of Bartleby has no images or sounds. It consists of an animated text that becomes an image in its own movement. The text, in conditional tense, describes how a hypothetical Bartleby’s movie would look and sound: ‘Here, this or that would be seen’; ‘Here this or that would be heard’. The result is a non-movie. Like Melville’s Bartleby character, the film’s power emerges from its own nothingness. In the film, the old battle between image and the word takes shape. However, we might get glimpses of a connection between both media through the spectator. Both viewer and reader, the spectator creates their own meaning. They could be Bartleby himself, looking at something beyond the blinds, while nobody around him really knows what it is that he sees. This way of seeing, is it not essentially cinematographic?

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Serrano, Elena Arroyo. "This Version of Bartleby: Making Melville’s short story present." Journal of Adaptation in Film & Performance 15, no. 1 (March 1, 2022): 149–57. http://dx.doi.org/10.1386/jafp_00074_1.

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This Version of Bartleby is a film adaptation of Herman Melville’s ‘Bartleby, the Scrivener’. How to adapt cinematically a character so closely related to writing? Bartleby works copying texts non-stop in order to face nothingness. He is, in the words of Spanish philosopher José Luis Pardo, a graphic sign, and Bartleby’s favourite expression, ‘I would prefer not to’ is close to what Deleuze called ‘agrammaticality’. It might be that the best film adaptation for Bartleby is one that deals with these issues while also questioning the nature of images. This Version of Bartleby has no images or sounds. It consists of an animated text that becomes an image in its own movement. The text, in conditional tense, describes how a hypothetical Bartleby’s movie would look and sound: ‘Here, this or that would be seen’; ‘Here this or that would be heard’. The result is a non-movie. Like Melville’s Bartleby character, the film’s power emerges from its own nothingness. In the film, the old battle between image and the word takes shape. However, we might get glimpses of a connection between both media through the spectator. Both viewer and reader, the spectator creates their own meaning. They could be Bartleby himself, looking at something beyond the blinds, while nobody around him really knows what it is that he sees. This way of seeing, is it not essentially cinematographic?

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Kelly, Lori Duin. "Office Setting as Organizational Structure in “Bartleby the Scrivener”." SAGE Open 7, no. 1 (January 2017): 215824401769043. http://dx.doi.org/10.1177/2158244017690430.

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This article uses a methodology from the social sciences known as institutional ethnography to analyze the office setting in Herman Melville’s short story “Bartleby the Scrivener” as a site of social organization. This approach contributes to an understanding of how that office came to adopt specific structures as crucial to its functioning and how, as a consequence of those structures, individuals’ roles within the organization’s hierarchies became constituted. As fieldwork occurs inside of organizations, institutional ethnography also provides a tool for identifying and evaluating linguistic markers for an individual’s placement within a larger organizational structure. This approach to the story seems particularly useful for understanding the interpersonal dynamics at the heart of “Bartleby.” At the same time, it provides a method for identifying the larger institutional process at work in Melville’s story, one that contributes to the reproduction of a system of social relations in the workplace that requires subordination and compliance to insure its success.

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Miskolcze, Robin. "The Lawyer's Trouble with Cicero in Herman Melville's "Bartleby, the Scrivener"." Leviathan 15, no. 2 (2013): 43–53. http://dx.doi.org/10.1353/lvn.2013.0011.

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Ruvolo, Giuseppe. "The meaning of Work and its Context: A Reinterpretation of Bartleby, the Scrivener by Herman Melville." World Futures 73, no. 4-5 (July 4, 2017): 224–47. http://dx.doi.org/10.1080/02604027.2017.1333840.

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Sowiński, Michał. "The Accursed Economy of Literature." Śląskie Studia Polonistyczne 18, no. 2 (August 16, 2021): 1–12. http://dx.doi.org/10.31261/ssp.2021.18.13.

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In this article, the author explains the connection between literature and economy on a philosophical level, especially in case of logic of exchange and concept of mimesis in novels. Basic tools for his arguments are derived from Georges Bataille’s concept of Accursed Economy (from the essay “The Accursed Share”). The French philosopher argues that in our everyday reality we use logic imposed on us by capitalism, which means that the value of everything is measured by its utility and, at the same time, values of all things can easily be accumulated. Because of that blind belief something important is omitted – surplus, a particle which does not fit into the global system of exchange. In the author’s opinion this phenomenon (and all its consequences) can be used to interpret the novel Bartleby, the Scrivener by Herman Melville, showing the main character’s activities (or their lack) in different contexts. This interpretation also proves the usefulness of applying some tools and terms from the language of economics into literary studies.

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Sabino, Ana. "I would prefer not to turn the page: Reading and Writing in the Unlimited Digital Space." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 6, no. 1 (August 10, 2018): 135–48. http://dx.doi.org/10.14195/2182-8830_6-1_9.

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The limits of the page have been historically set by the constrictions of the materials on which the text is inscribed. In the digital age, those materials no longer impose a physical limit, and the limits are more bound to what are our established reading practices and conventions. We still need to access the text in finite portions — we cannot process the infinitude of text that the limitless digital space would allow. Hence, notions as window or frame appear to make this infinite space readable — not unlike the ancient practice of reading and writing on a scroll, which contained large texts, but could only be read portion by portion. Nowadays, we no longer simply turn a page and leave it behind; in our perception, it is more like a frame is constantly being repositioned. In order to question this transition and its implications, we will be looking at a paper and a digital edition of Bartleby, the Scrivener by Herman Melville.

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Randall, David S. "Neutered Narration and the Scriptive Fate of the Spirit of Ressentiment: "Bartleby the Scrivener" and Herman Melville." boundary 2 15, no. 1/2 (1986): 85. http://dx.doi.org/10.2307/303424.

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Lee, Wendy Anne. "The Scandal of Insensibility; or, The Bartleby Problem." Publications of the Modern Language Association of America 130, no. 5 (October 2015): 1405–19. http://dx.doi.org/10.1632/pmla.2015.130.5.1405.

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Reviving Thomas Hobbes's definition of the passions as interior motions that originate action, this essay considers the case of insensibility: an absence of feeling that results in immobility. Embodying this lack of feeling is the figure of the insensible, whose signature nonresponsiveness provokes the most vehement emotions in others. Through readings of Hobbes's theories of resistance and contempt, Adam Smith's condemnation of impassivity, and Herman Melville's tale of an “unmoving” scrivener, I examine how insensibility challenges the model of emotions as causes, as accounts of how a moved body moves. Insensibility confuses distinctions between bad feeling and no feeling, agents and patients, living and dead. Finally, I argue for narrative's surprising dependence on the nonnarrative presence of the insensible, a subject that reaches back through the history of philosophy to Aristotle's unmoved mover, the first cause of the universe that makes all motion possible by not being subject to motion itself.

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이광진. "A Study on Bartleby’s Resistance in Herman Melville’s “Bartleby, the Scrivener-A Story of Wall Street”." Journal of Humanities, Seoul National University 72, no. 3 (August 2015): 249–84. http://dx.doi.org/10.17326/jhsnu.72.3.201508.249.

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KIM, Yong-Sung. "“Religious Significance in Herman Melville’s ‘Bartleby, The Scrivener: A Story of Wall Street’.”." Literature and Religion 19, no. 4 (December 30, 2014): 45–66. http://dx.doi.org/10.14376/lar.2014.19.4.45.

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Arlen, Jennifer, and Lewis A. Kornhauser. "Does the Law Change Preferences?" Theoretical Inquiries in Law 22, no. 2 (July 1, 2021): 175–213. http://dx.doi.org/10.1515/til-2021-0021.

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Abstract “I would prefer not” HERMAN MELVILLE, BARTLEBY THE SCRIVENER: A STORY OF WALL STREET (1853), reprinted in THE PIAZZA TALES 32, 48 (London, Sampson Low, Son & Co. 1856). Scholars have recently challenged the claim in classical deterrence theory that law influences behavior only through the expected sanction imposed. Some go further and argue that law may also “shape preferences,” changing people’s wants and values. In this Article, we analyze existing claims that criminal and civil law alter preferences and conclude that none suggest that the law shapes preferences. We first clarify this preference-shaping claim by elaborating the structure of rational choice theory generally and “preference” in particular. We then investigate three mechanisms of legal influence suggested by the preference-shaping literature: (1) the “serious harm” mechanism; (2) the “social norm” mechanism; and (3) the “self-improvement” mechanism. We then show that each of these mechanisms operates by changing the agent’s beliefs about the attributes or consequences of her choice options rather than by changing her preferences.

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Benack, Carolin. "Subtraction from Supply and Demand: Challenges to Economic Theory, Representational Power, and Systems of Reference in Melville’s “Bartleby, the Scrivener”." aspeers: emerging voices in american studies 8 (2015): 27–47. http://dx.doi.org/10.54465/aspeers.08-04.

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Herman Melville’s “Story of Wall Street” (1853), in which a lawyer gives an account of the life of the scrivener Bartleby, has been extensively commented on by scholars from a variety of disciplines. Many have found his enigmatic formula “I would prefer not to” to be the embodiment of a long sought-after remedy for seemingly fruitless revolts against oppressive capitalist mechanisms. In order to examine the potential of Bartleby’s challenge to power, I will read it against the representational authority of economic theory, and, more specifically, the supply and demand model. The close reading of Melville’s short story reveals that Bartleby’s resistance to productivity and consumption indeed “opens up a new space outside the hegemonic position and its negation” (Žižek 393). In addition, I will provide a reading regarding representational power in relation to the narrator and the (de)stabilization of systems of meaning production, in which I will draw mostly on works by Agamben and Deleuze. Bringing together these three readings, however, renders doubtful the potential of such challenges to power. In fact, Bartleby’s “I would prefer not to” might end up reaffirming already existing power structures.

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Benack, Carolin. "Subtraction from Supply and Demand: Challenges to Economic Theory, Representational Power, and Systems of Reference in Melville’s “Bartleby, the Scrivener”." aspeers: emerging voices in american studies 8 (2015): 27–47. http://dx.doi.org/10.54465/aspeers.08-04.

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Herman Melville’s “Story of Wall Street” (1853), in which a lawyer gives an account of the life of the scrivener Bartleby, has been extensively commented on by scholars from a variety of disciplines. Many have found his enigmatic formula “I would prefer not to” to be the embodiment of a long sought-after remedy for seemingly fruitless revolts against oppressive capitalist mechanisms. In order to examine the potential of Bartleby’s challenge to power, I will read it against the representational authority of economic theory, and, more specifically, the supply and demand model. The close reading of Melville’s short story reveals that Bartleby’s resistance to productivity and consumption indeed “opens up a new space outside the hegemonic position and its negation” (Žižek 393). In addition, I will provide a reading regarding representational power in relation to the narrator and the (de)stabilization of systems of meaning production, in which I will draw mostly on works by Agamben and Deleuze. Bringing together these three readings, however, renders doubtful the potential of such challenges to power. In fact, Bartleby’s “I would prefer not to” might end up reaffirming already existing power structures.

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Benack, Carolin. "Subtraction from Supply and Demand: Challenges to Economic Theory, Representational Power, and Systems of Reference in Melville’s “Bartleby, the Scrivener”." aspeers: emerging voices in american studies 8 (2015): 27–47. http://dx.doi.org/10.54465/aspeers.08-04.

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Herman Melville’s “Story of Wall Street” (1853), in which a lawyer gives an account of the life of the scrivener Bartleby, has been extensively commented on by scholars from a variety of disciplines. Many have found his enigmatic formula “I would prefer not to” to be the embodiment of a long sought-after remedy for seemingly fruitless revolts against oppressive capitalist mechanisms. In order to examine the potential of Bartleby’s challenge to power, I will read it against the representational authority of economic theory, and, more specifically, the supply and demand model. The close reading of Melville’s short story reveals that Bartleby’s resistance to productivity and consumption indeed “opens up a new space outside the hegemonic position and its negation” (Žižek 393). In addition, I will provide a reading regarding representational power in relation to the narrator and the (de)stabilization of systems of meaning production, in which I will draw mostly on works by Agamben and Deleuze. Bringing together these three readings, however, renders doubtful the potential of such challenges to power. In fact, Bartleby’s “I would prefer not to” might end up reaffirming already existing power structures.

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Benack, Carolin. "Subtraction from Supply and Demand: Challenges to Economic Theory, Representational Power, and Systems of Reference in Melville’s “Bartleby, the Scrivener”." aspeers: emerging voices in american studies 8 (2015): 27–47. http://dx.doi.org/10.54465/aspeers.08-04.

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Herman Melville’s “Story of Wall Street” (1853), in which a lawyer gives an account of the life of the scrivener Bartleby, has been extensively commented on by scholars from a variety of disciplines. Many have found his enigmatic formula “I would prefer not to” to be the embodiment of a long sought-after remedy for seemingly fruitless revolts against oppressive capitalist mechanisms. In order to examine the potential of Bartleby’s challenge to power, I will read it against the representational authority of economic theory, and, more specifically, the supply and demand model. The close reading of Melville’s short story reveals that Bartleby’s resistance to productivity and consumption indeed “opens up a new space outside the hegemonic position and its negation” (Žižek 393). In addition, I will provide a reading regarding representational power in relation to the narrator and the (de)stabilization of systems of meaning production, in which I will draw mostly on works by Agamben and Deleuze. Bringing together these three readings, however, renders doubtful the potential of such challenges to power. In fact, Bartleby’s “I would prefer not to” might end up reaffirming already existing power structures.

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Benack, Carolin. "Subtraction from Supply and Demand: Challenges to Economic Theory, Representational Power, and Systems of Reference in Melville’s “Bartleby, the Scrivener”." aspeers: emerging voices in american studies 8 (2015): 27–47. http://dx.doi.org/10.54465/aspeers.08-04.

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Herman Melville’s “Story of Wall Street” (1853), in which a lawyer gives an account of the life of the scrivener Bartleby, has been extensively commented on by scholars from a variety of disciplines. Many have found his enigmatic formula “I would prefer not to” to be the embodiment of a long sought-after remedy for seemingly fruitless revolts against oppressive capitalist mechanisms. In order to examine the potential of Bartleby’s challenge to power, I will read it against the representational authority of economic theory, and, more specifically, the supply and demand model. The close reading of Melville’s short story reveals that Bartleby’s resistance to productivity and consumption indeed “opens up a new space outside the hegemonic position and its negation” (Žižek 393). In addition, I will provide a reading regarding representational power in relation to the narrator and the (de)stabilization of systems of meaning production, in which I will draw mostly on works by Agamben and Deleuze. Bringing together these three readings, however, renders doubtful the potential of such challenges to power. In fact, Bartleby’s “I would prefer not to” might end up reaffirming already existing power structures.

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Benack, Carolin. "Subtraction from Supply and Demand: Challenges to Economic Theory, Representational Power, and Systems of Reference in Melville’s “Bartleby, the Scrivener”." aspeers: emerging voices in american studies 8 (2015): 27–47. http://dx.doi.org/10.54465/aspeers.08-04.

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Herman Melville’s “Story of Wall Street” (1853), in which a lawyer gives an account of the life of the scrivener Bartleby, has been extensively commented on by scholars from a variety of disciplines. Many have found his enigmatic formula “I would prefer not to” to be the embodiment of a long sought-after remedy for seemingly fruitless revolts against oppressive capitalist mechanisms. In order to examine the potential of Bartleby’s challenge to power, I will read it against the representational authority of economic theory, and, more specifically, the supply and demand model. The close reading of Melville’s short story reveals that Bartleby’s resistance to productivity and consumption indeed “opens up a new space outside the hegemonic position and its negation” (Žižek 393). In addition, I will provide a reading regarding representational power in relation to the narrator and the (de)stabilization of systems of meaning production, in which I will draw mostly on works by Agamben and Deleuze. Bringing together these three readings, however, renders doubtful the potential of such challenges to power. In fact, Bartleby’s “I would prefer not to” might end up reaffirming already existing power structures.

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Benack, Carolin. "Subtraction from Supply and Demand: Challenges to Economic Theory, Representational Power, and Systems of Reference in Melville’s “Bartleby, the Scrivener”." aspeers: emerging voices in american studies 8 (2015): 27–47. http://dx.doi.org/10.54465/aspeers.08-04.

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Herman Melville’s “Story of Wall Street” (1853), in which a lawyer gives an account of the life of the scrivener Bartleby, has been extensively commented on by scholars from a variety of disciplines. Many have found his enigmatic formula “I would prefer not to” to be the embodiment of a long sought-after remedy for seemingly fruitless revolts against oppressive capitalist mechanisms. In order to examine the potential of Bartleby’s challenge to power, I will read it against the representational authority of economic theory, and, more specifically, the supply and demand model. The close reading of Melville’s short story reveals that Bartleby’s resistance to productivity and consumption indeed “opens up a new space outside the hegemonic position and its negation” (Žižek 393). In addition, I will provide a reading regarding representational power in relation to the narrator and the (de)stabilization of systems of meaning production, in which I will draw mostly on works by Agamben and Deleuze. Bringing together these three readings, however, renders doubtful the potential of such challenges to power. In fact, Bartleby’s “I would prefer not to” might end up reaffirming already existing power structures.

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Thompson, Corey Evan. "The Prodromal Phase of Alcoholism in Herman Melville's BARTLEBY, THE SCRIVENER and COCK-A-DOODLE-DOO!" Explicator 71, no. 4 (October 2013): 275–80. http://dx.doi.org/10.1080/00144940.2013.842146.

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Wamberg, Jacob. "SHRINK TO EXPAND: THE READYMADES THROUGH THE LARGE GLASS." Nordic Journal of Aesthetics 28, no. 57-58 (June 21, 2019): 109–40. http://dx.doi.org/10.7146/nja.v28i57-58.114852.

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Departing from Duchamp’s advice in 1961 of finding the “com- mon factor” between the non-representative and the representa- tive, translated here into modernism and avant-garde, this article seeks to understand the readymades as objects that have passed metaphorically through Duchamp’s magnum opus, the unfinished Large Glass (1915-23). More precisely, the readymades are seen as mass-produced utensils that have been stripped bare of their usual function, i.e. their actualization, in order to regain potentiali- ty. Mapping Giorgio Agamben’s interpretation of Herman Melville’s short story Bartleby, the Scrivener (1856) onto the readymades, this shrink-to-expand strategy is understood as a skeptical suspen- sion of judgment, epoché, comparable to Bartleby’s polite refusal to work. Moreover, it is seen as equivalent to the down-scaling of dimensionality observed in the Large Glass, where transparency in one go eliminates the representation of spatial circumstances and opens up the objects toward the ever-changing physical surround- ings, thereby exposing more of those 4-dimensional projections, which are normally suppressed in our reduced 3-dimensional per- ception of the world.

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Kim, Aeju. "Thingness of City and Aesthetic of Shock: Herman Melville’s “Bartleby, the Scrivener: The Story of Wall Street”." Journal of East-West Comparative Literature 49 (September 30, 2019): 7–33. http://dx.doi.org/10.29324/jewcl.2019.9.49.7.

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West, Robin. "Invisible Victims: A Comparison of Susan Glaspell's "Jury of Her Peers," and Herman Melville's "Bartleby the Scrivener"." Cardozo Studies in Law and Literature 8, no. 1 (April 1996): 203–49. http://dx.doi.org/10.2307/743463.

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West, Robin. "Invisible Victims: A Comparison of Susan Glaspell's "Jury of Her Peers," and Herman Melville's "Bartleby the Scrivener"." Cardozo Studies in Law and Literature 8, no. 1 (April 1996): 203–49. http://dx.doi.org/10.1525/lal.1996.8.1.02a00070.

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Van der Heiden, Gert-Jan. "Literature as Experiment: The Ontological Commitment of Fiction." Aesthetic Investigations 3, no. 1 (December 24, 2019): 47–64. http://dx.doi.org/10.58519/aesthinv.v3i1.11953.

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In which sense can literature be conceived as an experiment? What type of experiment and experience does literature offer and what type or dimension of reality is at stake in literary investigations? What are the ontological stakes of literature in its construction of another world or a second nature? In this essay, I adress these questions in discussion with two authors who explicitly understand literature as experiment, namely Paul Ricoeur and Giorgio Agamben. To get a better sense of these ontological stakes of the experiment of literature, I will first turn to Ricoeur’s account . Subsequently, I will offer a critical discussion of how his concept of configuration, a central notion in his theory of narrative, actually limits the sense of the literary experiment and its ontological stakes. This discussion will address the relation between the concepts of potentiality, contingency, and event. Finally, I will turn to Agamben’s reading of Herman Melville’s famous story Bartleby, the Scrivener to offer a different sense of both the ontological stakes of the literary experiment and the relation between these three concepts.

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박인찬. "‘Grass-seed’ and ‘the Letter’: The Conspiracy of Hope in Herman Melville’s ‘Bartleby, the Scrivener’ and Thomas Pynchon’s The Crying of Lot 49." New Korean Journal of English Lnaguage & Literature 58, no. 3 (August 2016): 45–67. http://dx.doi.org/10.25151/nkje.2016.58.3.003.

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Cobb, Michael. "A Little Like Reading: Preference, Facebook, and Overwhelmed Interpretations." PMLA/Publications of the Modern Language Association of America 128, no. 1 (January 2013): 201–6. http://dx.doi.org/10.1632/pmla.2013.128.1.201.

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Somehow, of late I had got into the way of involuntarily using the word “prefer” upon all sorts of not exactly suitable occasions. And I trembled to think that my contact with the scrivener had already seriously affected me in a mental way. And what further and deeper aberration might it not yet produce?—Herman Melville, “Bartleby the Scrivener” (22-23)His brain was jerking forward likea bad slide projector. Hesaw the doorwaythe house the night the world andon the other side of the world somewhere Herakles laughing drinking gettinginto a car and Geryon'swhole body formed one arch of a cry—upcast to that custom, the human customof wrong love.—Anne Carson, Autobiography of Red (75)Like eyes that looked on Wastes—Incredulous of OughtBut Blank—and steady Wilderness—Diversified by Night—Just Infinites of Nought—As far as it could see—So looked the face I looked upon—So looked itself—on Me—I offered it no Help— Because the Cause was Mine—The Misery a CompactAs hopeless—as divine—Neither—would be absolved—Neither would be a QueenWithout the Other—Therefore—We perish—tho' We reign——Emily Dickinson, poem 693Herman Melville, Anne Carson, and Emily Dickinson. These authors' bits of language just claimed me as I stared at some books on my office shelf, and I'm not sure exactly what to make of these passages except that I like them. So I'm listing them for you. You might also like them. I like many things, and in no particular order. For instance, here's what I “liked” one day, not long ago, on Facebook: a picture of the word Puppies! scrawled on a sidewalk; a New York Times story about the disorganization of the bicentennial of the War of 1812 (that war has a huge, nearly comical significance in my adopted country of Canada—did you know that Canadians burned down the White House?); an audio clip of Justin Bieber, featuring Busta Rhymes, singing “Little Drummer Boy”; my friend and colleague Jordan Stein's “vegan homo Thanksgiving” photo album; a posting by my “friend” “Emily Dickinson”; numerous updates about and images of the November 2011 pepper spraying of protesting students on the University of California, Davis, campus. I could go on and on, which is probably one of the reasons I, and millions of others, go on and on Facebook. Disorderly is the right word, but the likes are not quite random. People have generated these items, these virtual objects of interest, for rapid public consumption and, with the ubiquity of the “Like” button, for rapid public response. They (we) put stuff out there in part because we're showing off our preferences, or if not our preferences (even though they will be acknowledged with our liking) then at least things that interest us and (we hope) others. It's hard to know exactly what liking something on Facebook means because a like is nearly the same thing as an acknowledgment, something that says, “Yes, I clicked on this item, and it did not displease me.” And often people complain in comments that they wish there were variations on the “Like” button (“I want to express my anger with this piece of information—I wish there were a ‘Hate’ button”). Whatever our motivations or the nature of our interest in what we curate for the world on Facebook, these objects for consumption often go under the heading of like; so, like it or not, we're reading for like—we're doing a little like reading.

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Majer, Krzysztof. "Retranslacja jako krytyka przekładu, czyli Benito Cereno ponowiony." Krytyka przekładu i okolice, no. 42 (December 29, 2021): 64–91. http://dx.doi.org/10.4467/16891864pc.21.018.14329.

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Retranslation as Criticism, or the New Benito Cereno The article focuses on my translation of Herman Melville’s novella Benito Cereno, published recently in a volume entitled Nowele i opowiadania (PIW, 2020), the work of eight translators into Polish. The volume contains new attempts at texts translated forty years earlier by Krystyna Korwin-Mikke; also featured is her own, newly revised translation of Melville’s classic – Bartleby, the Scrivener. Finding myself authoring a retranslation for the first time, I became intrigued by the affect accompanying such a ‘belated’ arrival at the text – not within a long, eminent ‘series’ (in Edward Balcerzan’s understanding of the term), but where only one previous, more or less canonical translation exists. Taking as my starting point Balcerzan’s terminology as well as Anna Legeżyńska’s notion of the ‘shared word’ (“słowo wspólne”), I employ the concept of the translators’ agon, developed from Harold Bloom’s ideas by Kaisa Koskinen and Outi Paloposki (2015). On the basis of several examples from the field of Polish translations, and concentrating on the rhetorics of paratextual material, I briefly examine the positions that a second translator – fated to participate in an agonistic relation – may take with regard to his precursor; my examples here are three renowned practitioners: MichałKłobukowski, Krystyna Rodowska and Maciej Świerkocki. Because my own experience is bound up with translation practice to a considerably larger degree than with its theoretical aspects, the heart of the article is an analysis of particular strategies in both of the Polish translations of Benito Cereno. I focus on issues such as nomenclature, narrative perspective, grammatical gender, as well as conventional and idiosyncratic metaphors. Exploring my own agonistic relation with Krystyna Korwin-Mikke, I attempt to determine the extent to which I have managed to avoid getting caught up in the affect produced by the uncomfortable yet inspiring consciousness of the first translator’s voice. The article is an extension of the critical gesture which I consider my retranslation, in itself, to be. Emphasizing the differences in our approach, I also try to embrace what is shared, and to acknowledge my indebtedness to the precursor.

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Almeida Filho, Eclair Antonio. "Giorgio Agaben. Bartleby, ou da contingência. Belo Horizonte: Autêntica, 2015. Tradução de Vinícius Honesko, seguido de MELVILLE, Herman. Bartleby, o escrevente: Uma história de Wall Street. Tradução de Tomaz Tadeu." Cadernos de Tradução 36, no. 3 (September 6, 2016): 387. http://dx.doi.org/10.5007/2175-7968.2016v36n3p387.

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http://dx.doi.org/10.5007/2175-7968.2016v36n3p387Resenha: AGAMBEN, GIORGIO. Bartleby, ou da contingência. Belo Horizonte: Autêntica, 2015. Tradução de Vinícius Honesko, seguido de MELVILLE, Herman. Bartleby, o escrevente: Uma história de Wall Street. Tradução de Tomaz Tadeu.

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Rossi, Giuseppe. "“I Would Prefer Not To”: A Lawyer Facing the Irresponsible Power." Pólemos 15, no. 2 (September 1, 2021): 221–39. http://dx.doi.org/10.1515/pol-2021-2015.

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Abstract The essay considers Hermann Melville’s character Bartleby as an example of irresponsible power, since, in the story, the scrivener changes deeply his lawyer employer’s way of thinking and living, without giving any single answer to the many questions which the narrator keeps asking him about his apparently absurd behavior. The article offers some reflections about the difficulties that legal rules, as well as other set of rules (moral, ethics) meet when they are called to face irresponsible powers, and about the need to keep asking questions, though knowing that they will meet no final answers (thus accepting the irrationality of life, and coping with it).

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Atashi, Laleh. "An Ecocritical Reading of Melville's "Bartleby the Scrivener"." International Letters of Social and Humanistic Sciences 73 (September 2016): 7–16. http://dx.doi.org/10.18052/www.scipress.com/ilshs.73.7.

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This research is an ecocritical reading of Melville's "Bartleby the Scrivener." Melville's treatment of the environment is described and analyzed with regard to Augé 's theory of non-Places. The examples of non-place in Melville's Wall Street story include the compartmentalized office, the urban labyrinth, artificial and natural greeneries and oriental landscapes. The motif of compartmentalization forms the binary of insider and outsider. A close attention to the binaries in this story reveal Melville's critical attitude towards urban culture that threatens the American identity and mocks the American predilection for mobility in open spaces. This story reveals the way social institutions of an urban culture can determine the tragic fate of an out of place individual. Melville, in this story, reveals the consequences of marginalizing nature and indicates his ecological concerns in mid-nineteenth century America. He mourns the fading out of biocentric view of nature and warns against the domination of the anthropocentric worldview which is brought about by modernity, enlightenment and capitalism.

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Kierniew, Janniny Gautério, and Simone Zanon Moschen. "Bartleby e a contingência: o saber-fazer-com o impossível." Educação (UFSM) 44 (November 20, 2019): 90. http://dx.doi.org/10.5902/1984644430745.

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Este ensaio propõe uma reflexão que parte da narrativa literária Bartleby, o escrevente: uma história de Wall Street, escrita em 1853 por Herman Melville. O objetivo é operar com as noções de contingência e de saber-fazer-com o impossível, no campo da educação. Apoiado no pressuposto freudiano de que educar é uma das profissões que opera com o impossível e em diálogo com a leitura de Giorgio Agamben, que localiza no clássico de Melville a manifestação da contingência absoluta, este texto propõe que Bartleby, ao sustentar um lugar de resistência, em que a impossibilidade é compreendida como pura potência, promove um corte e instala um espaço para que alguma coisa que não estava dada a priori possa aparecer. Dessa forma, pensa-se que o personagem oferece pistas para inventar modos de um saber-fazer-com o impossível que pode interessar à educação. É por meio da narrativa literária de Herman Melville, articulada em torno do “preferiria não”, que se evidenciam coordenadas de uma constelação ética para um saber-fazer-com o impossível no campo da educação.

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THOMPSON, GRAHAM. "“Dead letters! … Dead Men?”: The Rhetoric of the Office in Melville's “Bartleby, the Scrivener”." Journal of American Studies 34, no. 3 (December 2000): 395–411. http://dx.doi.org/10.1017/s0021875851006449.

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Although a good deal of recent critical attention to Melville's writing has followed the lead of Robert K. Martin in addressing the issue of sexuality, the predominant themes in discussions of “Bartleby” remain changes in the nature of the workplace in antebellum America and transformations in capitalism. But, if one of the abiding mysteries of the story is the failure of the lawyer–narrator to sever his relationship with his young scrivener once Bartleby embarks upon his policy of preferring not to, it is a mystery that makes sense within both of these critical discourses. On the one hand, the longevity of the relationship dramatizes a tension implicit in Michael Gilmore's suggestion that the lawyer–narrator straddles the old and the new economic orders of the American market-place. Although he may employ his scriveners “as a species of productive property and little else”, his attachment to his employees is overwhelmingly paternalistic and protective. On the other hand, James Creech suggests that Pierre (published the year before “Bartleby”) is a novel preoccupied with the closeting of homosexual identity within the values of an American middleclass family, while Gregory Woods describes Melville as the nearest thing in the prose world of the American Renaissance to the Good Gay Poet Whitman. In this critical context the longevity of the relationship suggests that the lawyer–narrator's desire to know Bartleby, to protect him, to tolerate him, to be close to him, to have him for his own, and then to retell the story of their relationship, needs to be considered in relation to sexual desire.

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Bellei, Sérgio Luiz. "O retorno de Bartleby e a crise da interpretação alocrática." Aletria: Revista de Estudos de Literatura 29, no. 3 (September 30, 2019): 39–60. http://dx.doi.org/10.17851/2317-2096.29.3.39-60.

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Críticos e pensadores maiores da Era da Teoria (1965-1980) apresentaram como alternativa à prática hegemônica da intepretação o estudo de uma poética que, explicitando com rigor os mecanismos de produção do sentido, contribuiria para tornar mais precisa a atividade hermenêutica. Parcialmente descartados como pouco relevantes, esses estudos ofereceram, contudo, contribuições relativamente significativas para o desenvolvimento de novas formas de entendimento do texto literário não limitadas à prática interpretativa tradicional. A leitura que faz Agamben do conto Bartlety, o escrevente, de Herman Melville, ilustra exemplarmente uma dessas novas formas de entendimento e os possíveis problemas delas decorrentes.

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Bellei, Sérgio Luiz. "Os estudos literários na era da pós-verdade." Scripta 25, no. 54 (November 30, 2021): 190–206. http://dx.doi.org/10.5752/p.2358-3428.2021v25n54p190-206.

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Embora visível principalmente na esfera política, o que veio a ser conhecido como pós-verdade, ou seja, o conceito que aponta para circunstâncias em que a fronteira entre fato e ficção se torna intensamente porosa e em que crenças pessoais adquirem valor igual ou superior a fatos considerados objetivos, atinge também os estudos literários no meio acadêmico. É o que se pode verificar exemplarmente em interpretações recentes do conto “Bartleby, o escrevente”, escrito por Herman Melville em 1853. Enquanto a hermenêutica tradicional definia a validade interpretativa em termos de uma contextualização rigorosa do texto em seu momento histórico e cultural, interpretações recentes associadas ao momento pós-moderno possibilitam a revalidação interpretativa em termos de escolhas idiossincráticas do sujeito leitor ou de sistemas arbitrários de pensamento.

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Garciamoreno Becerril, Deni Xiadani. "Desterritorializaciones a partir de las anomalías:." Revista de Filosofía Universidad Iberoamericana 52, no. 148 (May 19, 2020): 166–88. http://dx.doi.org/10.48102/rdf.v52i148.36.

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Este artículo problematiza dos producciones literarias para hacer una relectura filosófica de ellas: los cuentos de Herman Melville y Juan Rulfo titulados respec- tivamente “Bartleby, el escribiente” y “Macario”. El artículo busca encontrar un punto de unión entre estos textos literarios y el pensamiento filosófico, a partir de las consideraciones de Gilles Deleuze y de un análisis sobre la materialidad que los personajes presentan. Así, el problema que motiva este escrito surge precisamente de las manifestaciones culturales concretas que tienen posibilidad de generar resemantizaciones y críticas sociales y políticas, a las cuales no suele dárseles esa lectura o interpretación. Así pues, a partir de ciertos conceptos fi- losóficos, mostraremos una alternativa filosófica para pensar a estos personajes.

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Daghlian, Carlos. "Estrutura e significado em "Uma rosa para Emily", de William Faulkner." Revista Brasileira de Linguística Aplicada 4, no. 1 (2004): 37–53. http://dx.doi.org/10.1590/s1984-63982004000100005.

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Trata-se de uma análise do consagrado conto "Uma Rosa para Emily", de William Faulkner, voltada para alguns dos principais aspectos de sua estrutura. Após considerarmos o enredo, discutimos a construção das personagens, com destaque para a protagonista, fazendo um levantamento e comentários sobre possíveis fontes de inspiração, destacando, entre outras, aspectos da biografia da poeta Emily Dickinson, a ficção e a poesia de E. A. Poe, romances de Charles Dickens e Henry James, o conto de Sherwood Anderson e a poesia de William Blake, Emily Dickinson, Robert Browning e John Crowe Ransom, acrescentando paralelos com o conto "Bartleby, o escrivão", de Herman Melville. Analisamos, então, o foco narrativo, os símbolos e o significado, ressaltando aqui o desenvolvimento temático da narrativa.

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Moraes, Juliana. "I would prefer not to: sobre o conceito de inoperosidade em Giorgio Agamben e a arte contemporânea." Viso: Cadernos de estética aplicada 13, no. 24 (August 5, 2018): 168–92. http://dx.doi.org/10.22409/1981-4062/v24i/316.

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O presente artigo aborda a formulação de inoperosidade, conceito retirado do corpus filosófico do filósofo italiano Giorgio Agamben, como uma categoria privilegiada para pensar o campo contemporâneo da arte. Ao investigar as transformações que se deram nas relações produtivas na ultrapassagem da modernidade envolvendo o trinômio artista-obra-espectador, o texto pensa a operação inoperosa como uma saída para resistir aos imperativos da finalidade, do sentido e da produtividade que nos capturam no mundo capitalista. Segundo Agamben, o personagem de Bartleby, o escrivão que prefere não escrever no conto de Herman Melville, se mostra como uma figura paradigmática desse novo tipo de atividade. Ao final, propusemos uma referência à obra Escolha, da artista brasileira Laura Lima, como uma proposição artística que reflete sobre a desativação do dispositivo operativo em jogo na inoperosidade agambeniana.

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

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