Academic literature on the topic 'Moby Dick (Melville, Herman)'

Neste estudo de análise e interpretação de Moby-Dick (1851), de Herman Melville (1819-1891), pretendemos formular e esclarecer questões relativas ao momento de definição do romance norte-americano, bem como à obra que se traduz como o esforço mais radical de um norte-americano na tentativa de, então, levar a forma romance ao estudo e reflexão sobre sua sociedade. Para tanto, recuperamos da leitura da obra os aspectos que mais fortemente tematizam tal intento: a crise ideológica de fins da década de 1840, quando os ideais revolucionários de igualdade da antiga república são finalmente confrontados com as consequências de sua integração no sistema capitalista mundializado questão central de Redburn (1849) e White-Jacket (1850), romances que preparam Moby-Dick e marcam as primeiras experiências de Melville como escritor social; o conceito de fronteira, problema de definição identitária norte-americana que abarca desde a ocupação da wilderness puritana no século XVII ao estabelecimento, à época de Melville, de uma política de Estado imperialista e, ademais, passa pela cristalização de perspectivas culturalmente particulares de propriedade e formação social de classe; e, finalmente, as noções de técnica e trabalho, diretamente implicadas na atividade baleeira e, de modo mais amplo, no avanço civilizatório norte-americano, e para quais pesam a consciência do valor social do trabalho livre e sua coexistência com a escravidão. É sob tais preocupações que contemplaremos, à luz da teoria crítica e da tradição crítica brasileira, as especificidades formais do romance, a saber, a apropriação estrutural do trágico em contraposição à épica, que define o percurso de Ahab, o capitão do Pequod, em sua caçada a Moby Dick, e a formação de um narrador reflexionante, o sobrevivente Ishmael, que retoma o passado da catástrofe para ferir o presente em que se perpetuam, no roldão do ingresso norte-americano na modernidade, as condições para sua reprodução.<br>Through an analytical and interpretative study of Herman Melvilles Moby-Dick I intend to formulate and clarify the historical turning point of the American novel, specifically what is deemed the most radical effort of an American writer to bring a comprehensive study on society into novelistic form. In order to accomplish that, I reconsider some of the features of Moby-Dick that strongly appealed to the times. First the ideological crisis of the 1840s, when the equalitarian revolutionary ideals of the Independence were finally confronted by the consequences of the U.S. being fully compromised to the Industrial Revolution and the capitalistic worldwide system. This is a central issue in Redburn (1849) and White-Jacket (1850), both novels where some major features of Moby-Dick are anticipated and firstly tested. Second, I scrutinize the concept of frontier -- a national identity issue that can be traced back to the Puritan 17th century errand into the wilderness that is strongly attached in the age of Melville to the ideological making of American imperialism. Besides, it also has had a major role in the crystallization of culturally specific perspectives on property and the establishment of social classes. Finally, I reconsider the notions of technique and labor, directly implied in the whaling industry and in a more general way in the marching of American civilization towards the West, which has had a strong impact on the understanding of the social significance of free labor and its coexistence with slavery. With those things under consideration, and through the surmises of the Critical Theory and the Brazilian tradition of social and literary criticism as well, it is my aim to shed light on some esthetical features of the novel, particularly on the tragic structure (as opposed to the epic) that defines the career of Pequods Captain Ahab and his obsessive chasing of Moby Dick, and the constitution of a self-reflexive narrator, the survivor Ishmael, who recalls the past of the catastrophe in order to attack the social reproduction of its conditions in the present.

Much of the current critical literature on Moby-Dick lacks a unifying focus. This essay attempts to provide a thread of continuity for Moby-Dick by proving that paradox and Herman Melville’s anticipation of the early existential movement hold the key to a full reading of this text. By viewing the text itself, Melville’s personal correspondence, and the writings of Emerson, Hegel, Kierkegaard, and Nietzsche, the paradoxical tension by which this text must be read comes into clearer focus.<br>Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences.<br>"May 2006."<br>Includes bibliographic references (leaves 32-35)

Thesis (M.A.)--Georgia State University, 2006.<br>Title from title screen. Reiner Smolinski, committee chair; Robert Sattelmeyer, Paul Schmidt, committee members. Electronic text (121 p.) : digital, PDF file. Description based on contents viewed Apr. 19. 2007. Includes bibliographical references (p. 114-121).

La these est une etude comparative des trois traductions francaises de moby-dick de h. Melville: celle de jean giono, lucien jacques et joan smith (1941), celle d'armel guerne (1954), et celle d'henriette guex-rolle (1970). L'etude de nombreux exemples est faite du point de vue du lecteur: lecteur anglophone et francophone. Le but est de degager les grandes tendances de chaque texte, de reperer les procedes deformants et de mettre au jour les espaces de creation qui apparaissent dans chaque version. L'ecriture du roman presente d'immenses difficultes pour le traducteur qui doit affronter des contraintes multiples et contradictoires. Sa profusion extreme, son desordre apparent, brisent le cadre exigu du langage pour permettre a melville d'exprimer un monde par essence inexprimable. Les quatre axes de comparaison sont quatre facettes de cette unique demarche, chaque domaine posant, pour les traducteurs, des problemes specifiques. 1) les voix: voix des quakers, voix populaires, voix exotiques et voix des travailleurs de la mer. 2) dire l'indicible: fonctionnant en reseaux sous-jacents ou par agglomerats, les affixes negatifs rappellent au lecteur que moby dick ne peut etre decrit qu'en termes de ce qu'il n'est pas. Associes aux doubles negations, ils creent une zone d'ombre entre les deux poles semantiques d'un mot et de son contraire. 3) l'adjectivation: les nombreux adjectifs sont le reflet de la voix du narrateur qui procede par empilement, associations et connotations. 4) mise en images et en musique: melville favorise les moyens d'expression indirects, mediats, ceux qui transmettent du sens en dehors des rapports conventionnels signifiant/signifie: les metaphores et les figures sonores, rythmiques et iconiques que dessinent les groupes de mots et les phrases<br>This dissertation is a comparative study of the three french translations of moby-dick by melville: that by jean giono, lucien jacques and joan smith (1941), that by armel guerne (1954), and that by henriette guex-rolle (1970). The study of many examples is carried out from the point of view of both the english-speaking and the french-speaking reader. The aim is to show the general tendency of each text, to point out some processes significantly changing the experience of the reader of the translation and to assess the passages where translating becomes creative writing in its own way. The style of the novel makes the translator's task challenging as he has to find a way out of numerous conflicting priorities. The abundance of the language and its apparent disorder enable melville to transcend its limitations and express what is beyond the power of words. The main four lines of comparison are four aspects of that attempt, but each raises specific problems for the translator. 1) voices: the quakers, the uneducated people, the exotic characters and the sailors. 2) words for what is beyond words: negative affixes and double negative forms which blur the frontier between a word and its contrary. 3) adjectives: reflecting the narrator's voice piling up words and connotations. 4) creating images and music: through metaphors, repetitions of words and sounds, word order and sentence patterns

Des nombreux tableaux et gravures évoqués dans le texte jusqu'aux tatouages et autres hiéroglyphes, Moby Dick est un roman marque par la multiplicité des représentations. Il semble que la représentation littéraire soit régie par la loi du narcissisme, qui règle tous les doubles et les jeux de miroir présents dans la fiction melvilienne. L'écriture permet en effet au moi de se représenter selon un processus qui, détruisant la plénitude narcissique de l'infans, contribue en même temps à la constitution du sujet. Mais la lettre en tant que trace écrite est loin d'établir une correspondance préétablie avec ce qu'elle désigne, laissant ainsi la place à une indétermination fondamentale. Cette conception contribue à la déconstruction d'une vision traditionnelle ontothéologique de la production de l'écriture. La question de la représentation ne peut être séparée de celle de la signification et du déchiffrement des signes, Moby Dick mettant en scène les processus interprétatifs mis en œuvre face à une image ou à un texte. Le sens n'est pas donné à l'avance mais reste à construire par l'interprète : le texte de Melville peut à ce titre être considéré comme la représentation d'un système linguistique, en l'occurrence la théorie énonciative de Culioli<br>Whether it deals with paintings and etchings or hieroglyphics, the novel is marked by a multiplicity of representations. Literary representation turns out to be under the rule of the principle of narcissism, which governs all the duplicates and mirroring effects in Melville fiction. The play of the writing allows the representation of the self according to a process which destroys the narcissistic plenitude of the "infans" subject but contributes at the same time to constitute the subject. But as a written mark, the letter is far from establishing a pre-determined relation with the object it refers to, and allows a fundamental indeterminacy. Such a conception contributes to the deconstruction of a traditional and theological vision of the production of the writing. The problem of representation cannot be separated from that of meaning and of the deciphering of sings. Moby-dick shows the process of the interpretation of an image or a text : meaning is not given, but has to be constructed by the interpret. In this sense Melville text can be considered as the representation of a linguistic system, in this case culioli's enunciative theory