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Journal articles on the topic 'Moby Dick (Melville, Herman)'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Qi, Wenjin. "Transcendentalism in Herman Melville’s Moby-Dick." Journal of Language Teaching and Research 12, no. 2 (March 1, 2021): 275. http://dx.doi.org/10.17507/jltr.1202.08.

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Ralph Waldo Emerson's Transcendentalist beliefs had dominated American literature in the Romantic period. It has remained an appealing interest in exploring whether Herman Melville had been influenced by Transcendentalism and in what ways it is embodied in his work. Therefore, this study carries out a detailed analysis of Melville's Transcendentalist tendency in his masterpiece of Moby-Dick. It is found that the characterization of Ahab as a Transcendentalist hero and Ishmael as an Emersonian Individualist are two cases in the point. Furthermore, it also reveals the embodiment of Oversoul in the narration. Altogether, they testify the sign of Transcendental influence over Melville in this novel.

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Zhao, Yue, and Mengyang Zhang. "An Eco-critical Analysis of Moby Dick." Journal of Innovation and Social Science Research 8, no. 9 (September 30, 2021): 86–90. http://dx.doi.org/10.53469/jissr.2021.08(09).18.

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Moby Dick is well acknowledged as a world masterpiece by the American author Herman Melville. This paper attempts to analyze Melville’s Moby Dick by the theory of eco-criticism. In order to better approach the American society before the 1950s, the author aims to scrutinize the novel with eco-criticism from three such aspects as nature, society and spirit so that the present society can gain some insights in preventing and solving similar problems. Divided into several parts as follows, this paper introduces Melville and Moby Dick as well as eco-criticism first and then interprets the novel via eco-criticism in three aspects, and finally ends with its realistic significance as a conclusion.

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3

Al Disuqi, Rasha. "Orientalism in Moby Dick." American Journal of Islam and Society 4, no. 1 (September 1, 1987): 117–25. http://dx.doi.org/10.35632/ajis.v4i1.2741.

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This article aims to correct some of the basic errors in Melvillian Islamiccriticism. One of the classics of Western literature is Herman Melville’s MobyDick. the allegorical story of one man’s pursuit of a great white whale.4 Likeall great novelists, Melville was struggling with the great moral issues thattranscend individuals and even civilizations. This contrasts with most ofmodem literature, which exhibits journalistic habits of mind and tends to dealin superficial analysis rather than with the reflective process that gives contentto meditation and thought.Modem literary criticism exhibits the same shallowness. George Orwellexplained the problem perhaps when he observed that applying the same standardsto such novelists as Dickens and Dostoyevsky and to most contemporarywriters is like weighing a flea on a spring-balance intended forelephants.” Critics, he added, don’t do this, because it would mean having tothrow out most of the books they get for review.The value of Melville’s work is that it is possessed of the moral imperativeand is designed to lead the forces of wisdom and balance against the spiritualbankruptcy and anarchy of the encroaching materialism in modem Westerncivilization.The tragedy of Melville’s work is the superficiality of its reliance onIslamic sources, which Melville had read but only in Orientalist distortion.This tragedy has been compounded by later generations of Orientalists whohave used the distortions of Melville to generate their own. Perhaps the mostinsidious of these latter-day Orientalists is Dorothy Finklestein, author ofMelville’s Oriendu, who we shall refer to simply as “the critic."Her study of Melville’s Islamic references devotes a complete section to“Muhammad and the Arabs” in the chapter on “Prophets and Conquerers.”Following this, she presents an exhaustive analysis of “Islamic Characters andSymbols.” She harshly rejects Melville’s immature resort to secondary Islamicsources; namely Carlyle’s Hero, Heroworship, and Heroic History, Goethe’s ...

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4

Satorno, Marla Silva do Vale. "Visões imperialistas em Moby Dick, de Herman Melville." Babel: Revista Eletrônica de Línguas e Literaturas Estrangeiras 4, no. 2 (December 30, 2014): 41–50. http://dx.doi.org/10.69969/revistababel.v4i2.1404.

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O artigo faz uma breve análise de como as visões e crenças imperalistas sobre o Outro são fortemente presentes na obra do escritor estadunidense Herman Melville, a partir das impressões do personagem Ismael, sobre o índio Neo-Zelandês Queequeg e o príncipe Africano Dagoo. Abordando teóricos como Edward Said, Homi Bhabha e outros, busca-se reforçar a presença de crenças imperialistas no texto de Melvile. Ainda que este tenha sido considerado um ativista contra as ideias imperialistas, observa-se como essa influência está marcada na imagem, na fala e na atitude dos personagens Dagoo, Queequeg e Ismael.

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5

Ye, Xiaoni. "A Biblical Archetypal Study on Moby Dick." Theory and Practice in Language Studies 12, no. 12 (December 1, 2022): 2620–25. http://dx.doi.org/10.17507/tpls.1212.19.

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Moby Dick, one of Herman Melville’s masterpieces, has received tremendous concern for its profound and multiple symbolic and metaphoric meanings. And the pervasive biblical terms and allusions deserve particular attention. This paper, based on Frye's archetypal theory, studies Moby Dick from the perspective of biblical archetypal criticism. The association between the characters and their biblical archetypes helps to reproduce the ancient matrix of The Bible, such as the crime of human beings, themes of sin, the fall, and redemption. The exploration of the biblical archetypal theme in Moby Dick provides us a new perspective to understand the profound significance of the novel. Melville reveals the opposition between good and evil in human beings and shows his contradictory religious outlook as well as his spiritual reflections of his time.

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6

Barron, Brie. "Herman Melville’s Ecological Vision and the Limits of Language." Journal of Critical Studies in Language and Literature 4, no. 4 (July 11, 2023): 1–6. http://dx.doi.org/10.46809/jcsll.v4i4.208.

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When Herman Melville began writing, publishing his first work in 1846, he joined an illustrious group of American authors defining American literature. Five years later in 1851, as he wrote what would become his best-known work, Moby-Dick, or The Whale, Melville began working to express a scientific understanding of the world beyond what language would allow. This led to Melville’s greatest writing experiment: to write beyond the limitations of language. Through his intimate relationship with the written word and a sustained effort to reproduce in language his ecological philosophy, Melville tried to mold language into an instrument of his will. He strove to represent how humans experience the world but found himself limited by language’s capacity for illustration; instead, he would have to write how humans experience the world. This “how” is evidenced in the poetics of three of Melville’s stories: Moby-Dick, “Bartleby, the Scrivener: A Tale of Wall Street,” and “Billy Budd, Sailor: An Inside Narrative.” In “Billy Budd, Sailor,” his final work, published posthumously, Melville successfully frees himself from the “oppressive totality of language” (Delbanco, 1993, p. 5), having evolved his writing past the need for language—something akin to what the German philosopher Martin Heidegger will later call “undergoing an experience with language” (1971, p. 57). To fully grasp the nature of this ultra-linguistic literary feat, this essay analyzes the evolution of Melville’s writing styles and poetics through the lenses of scientific, linguistic, and Heideggerian philosophy, in effect understanding Melville’s most ambitious undertaking through the discourses that came after him.

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7

Wang, Na, and Zhenhua Lyu. "Religious Ambiguity of Herman Melville in Moby Dick." Global Academic Journal of Linguistics and Literature 4, no. 6 (November 11, 2022): 175–78. http://dx.doi.org/10.36348/gajll.2022.v04i06.001.

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The representative work of Herman Melville Moby Dick is a profoundly religious novel. Under the cover of the novel, Melville reveals his loyalty and rebellion to Christianity. This paper intends to reveal his religious ambiguity from three different perspectives: the white whale that is the combination of a divine and a demon, Ahab who is both the king and slave, and Ishmael who is both abandoned and saved.

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8

Coviello, Peter. "Did God Write Moby-Dick?" Modern Language Quarterly 83, no. 4 (December 1, 2022): 443–59. http://dx.doi.org/10.1215/00267929-10088692.

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Abstract This essay takes up two conceptual formations of great consequence to Herman Melville: “religion” and “literature.” Part of what binds them so tightly for Melville is a set of transformative upheavals in liberal culture that we have lately come to know by a different name: “secularism.” Melville helps us think secularism not as the extirpation of religion in modernity but as an ensemble of broadly disciplinary interventions, whose aim was both to exalt Protestant Christianity as the authorizing sign for planetary white dominion and to demote theology itself into a practice of gentle suasion, private consciousness-raising, influence. Moby-Dick is a novel shouting not into the void of a world abandoned by God—or not only—but into the empty space where the theocratic authority of the pulpit once was, where words fired by the titanic power of Godliness itself narrated, shaped, made history. In his fury and his despair, Melville maps out in cartographic detail the solidification of what would become “literature” as such as a by-product of secular discipline.

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9

Duhamel, André. "Moby-Dick de Herman Melville : de l’allégorie de la caverne à l’allégorie de la baleine." Études littéraires 42, no. 2 (July 24, 2012): 97–110. http://dx.doi.org/10.7202/1011523ar.

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Résumé Moby-Dick est selon Melville une quête de la vérité, qu’il réalise dans un roman marqué par le mélange des genres. Comment cette ambition et ce mode d’écriture sont-ils liés ? En examinant les références philosophiques internes à l’oeuvre, nous chercherons à montrer que son caractère allégorique se comprend au mieux en regard de la relation ambiguë qu’entretient Melville avec l’idéalisme. Nous discuterons à cet effet la thèse de M. Levin (1979) selon laquelle Moby-Dick renverse l’allégorie platonicienne de la caverne, thèse que nous compléterons en faisant appel à la figure du « monde inversé » dans la Phénoménologie de l’Esprit de Hegel.

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10

Wooley, Christine A. "Moby-Dick; or, The Whale by Herman Melville." Leviathan 21, no. 2 (2019): 133–39. http://dx.doi.org/10.1353/lvn.2019.0014.

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11

García Reyes, David. "Del Essex a Melville. Reescrituras del mito de la ballena blanca en la novela gráfica Mocha Dick." Alpha: Revista de Artes, Letras y Filosofía, no. 47 (January 2, 2019): 91–104. http://dx.doi.org/10.32735/s0718-220120180004700166.

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La imagen de Moby Dick de Herman Melville, novela fundacional de la narrativa estadounidense, tiene su origen en las costas del sur chileno. El repertorio precedente de la obra literaria propuesto por Wolfgang Iser presenta un proceso en el que se producen diferentes versiones del mito. La novela gráfica Mocha Dick, con textos de Francisco Ortega y dibujos de Gonzalo Martínez, es una de esas versiones. La historieta chilena plantea un diálogo con los textos precedentes y propone una revisión de Melville y de los orígenes de la legendaria ballena blanca.

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12

de Souza, Leonardo Cruz, Antônio Lúcio Teixeira, Guilherme Nogueira M. de Oliveira, Paulo Caramelli, and Francisco Cardoso. "A critique of phrenology in Moby-Dick." Neurology 89, no. 10 (September 4, 2017): 1087–90. http://dx.doi.org/10.1212/wnl.0000000000004335.

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Phrenology has a fascinating, although controversial, place in the history of localizationism of brain and mental functions. The 2 main proponents of phrenology were 2 German-speaking doctors, Joseph Gall (1758–1828) and Johann Spurzheim (1776–1832). According to their theory, a careful examination of skull morphology could disclose personality characters. Phrenology was initially restricted to medical circles and then diffused outside scientific societies, reaching nonscientific audiences in Europe and North America. Phrenology deeply penetrated popular culture in the 19th century and its tenets can be observed in British and American literature. Here we analyze the presence of phrenologic concepts in Moby-Dick; or, The Whale, by Herman Melville (1819–1891), one of the most prominent American writers. In his masterpiece, he demonstrates that he was familiarized with Gall and Spurzheim's writings, but referred to their theory as “semi-science” and “a passing fable.” Of note, Melville's fine irony against phrenology is present in his attempt to perform a phrenologic and physiognomic examination of The Whale. Thus, Moby-Dick illustrates the diffusion of phrenology in Western culture, but may also reflect Melville's skepticism and criticism toward its main precepts.

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13

S, Vidhyapathy, and Laxmidhar Dwivedi. "Emblematic Beauty of Melville: Creative Metaphorical Dimensions in the Novel Moby Dick." World Journal of English Language 13, no. 7 (July 11, 2023): 35. http://dx.doi.org/10.5430/wjel.v13n7p35.

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This research paper explores the creative metaphorical dimensions of the novel "Moby Dick" by Herman Melville. Through his imaginative metaphorical dimensions, Melville, a brilliant artist, has demonstrated a healthy relationship between the temporal and the eternal. The novelist's best work results from the fusion of Naturalistic Truth and figurative aspects. In this case, Moby Dick is both a novel and an experience of Ahab to discover the white whale. It is brimming with oceanic imagery and symbolic depths. Metaphorical dimensions in this book are based on both people and things. The Natural, Conventional, and Private metaphorical dimensions are the three different types. In this paper that demonstrates the white whale, the mechanism of metaphorical dimensions has been employed in the shape of agony and suffering. Moby Dick's malevolent disposition and attempts to inflict destruction throughout the text make it a secret Metaphorical dimension of an unclear creature.

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14

Szymyślik, Robert. "THE TEACHING OF LITERARY TRANSLATION AND THE CONSISTENCY OF EQUIVALENTS TO OBTAIN FUNCTIONAL TARGET NARRATIVES: ANALYSIS OF THE RENDERING OF MOBY DICK BY HERMAN MELVILLE FROM ENGLISH INTO SPANISH." Current Trends in Translation Teaching and Learning E 8 (2021): 510–39. http://dx.doi.org/10.51287/cttle202120.

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This paper was developed to draw conclusions about the teaching methods that can be applied to the translation of literary works and about the study of the needs for consistency concerning rendering options in order for students to produce functional target narratives. It was carried out through the analysis of the novel entitled Moby Dick by Herman Melville from English into Spanish from the point of view of transversal narrative coherence. It centres its attention on the multiple translation options that can be employed to transfer specific extracts of this novel (such as verbs and pronouns whose equivalents must be maintained throughout the complete text) and on showing the importance of a consistent use of these translation options to obtain a functional target text. Keywords: literary translation, Melville, Moby Dick, narrative consistency, translation teaching

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15

Marques, Bruno, and Ana Catarina Caldeira. "Queering Moby Dick." Miguel Hernández Communication Journal 15 (January 31, 2024): 113–37. http://dx.doi.org/10.21134/mhjournal.v15i.2096.

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As same sex marriage emerged at centre of the social and political debate in Portugal, the film Hero, Captain, and Stranger (2009), by João Pedro Vale (JPV) and Nuno Alexandre Ferreira (NAF), intersected art, identity politics and pornography in a manner hitherto unseen in Portugal. A homoerotic adaptation of Herman Melville’s 1851 novel Moby-Dick; or, The Whale, the film confronts a series of aesthetical and political taboos (and prejudices) which have never been analysed in depth despite their topicality. Initially conceived to survey the references to Portuguese seaman from Massachusetts in Herman Melville’s novel, the project by JPV and NAF is an irreverent provocation to a ‘semi-peripheral’ milieu, which still denied juridical recognition of homosexual marriage thirty-five years after the demise of the dictatorial regime (1926-1974).Basing itself on the overcoming of the incompatibility between art and pornography, and the specific nexus between the concept of democratic eros and the model of a more egalitarian gay pornography, this article will address the following questions: what are the political implications of de-metaphorizing homoerotic sexuality in the Great American Novel? And how does gay pornography serve this affirmative purpose?

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16

Keim, Robert. "“Past All Speech”: The Enactment of Proto-Modernist Literary Aesthetics in Herman Melville’s “Benito Cereno”." Leviathan 26, no. 2 (June 2024): 40–53. http://dx.doi.org/10.1353/lvn.2024.a933161.

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Abstract: Written after the proto-modernist novels Moby-Dick and Pierre , both of which elicited censure from contemporary critics, Herman Melville’s “Benito Cereno” is recognized as an enigmatic and symbolic work that invites deep reflection on the status of literature, language, and signification. However, critics have not presented “Benito Cereno,” and more specifically the dramatic narrative that occurs aboard the slave ship San Dominick , as a crucial text vis-à-vis Melville’s experimental progression toward the genesis of the modern novel. This essay argues that in “Benito Cereno,” Melville avoided the bold stylistic unconventionality found in Moby-Dick and Pierre and continued exploring innovative prose fiction by inscribing his proto-modernist literary aesthetic into an enacted text encountered by a character who represents an uncomprehending traditional reader. In this analysis of “Benito Cereno,” the San Dominick narrative illustrates how a new literature can be written and how it must be read, such that the novella provides crucial insight into Melville’s exceptional contribution to the proto-modernist literary aesthetics that were emerging during the transition from realism to modernism.

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O'Donnell, Marcus. "Following the Balibo massacre’s whale." Pacific Journalism Review : Te Koakoa 15, no. 2 (October 1, 2009): 210–13. http://dx.doi.org/10.24135/pjr.v15i2.993.

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Early on in Tony Maniaty’s Shooting Balibo we come across Herman Melville, Michelangelo Antonioni and John Dos Passos. We quickly get the message that this is as much a journey of the imagination as it is a travelogue, memoir or investigation. Maniaty tells us that when he went to East Timor as an ABC reporter in 1975, just before the ill-fated journalists, his travel reading was Melville’s Moby Dick. Here we get a sense of the young journalist’s ambition, his questing commitment to follow the story, just as Ahab follows his whale.

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Lainister de Oliveira Esteves. "O real e o alegórico na recepção oitocentista de Moby Dick." Cadernos de Pesquisa do CDHIS 34, no. 1 (June 25, 2021): 63–79. http://dx.doi.org/10.14393/cdhis.v34n1.2021.61953.

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Este artigo analisa como a recepção oitocentista de Moby Dick, romance de Herman Melville publicado em 1851, destacou os fundamentos factuais e a dimensão alegórica da narrativa. O estudo considera ainda a relevância dos comentários sobre a obra na redefinição do vocabulário crítico voltado ao gênero romancesco a partir da segunda metade do século XIX. PALAVRAS-CHAVE: Crítica; Romantismo; Alegoria.

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19

Peick, Morten. "Fra randen." K&K - Kultur og Klasse 30, no. 93 (June 10, 2002): 120–44. http://dx.doi.org/10.7146/kok.v30i93.21077.

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20

Lesmana, I. Wayan Daniel, and Ida Bagus Gde Nova Winarta. "The Functions Of Derivational Suffixes Found In The “Moby-Dick” Novel By Herman Melville." International Journal of Linguistics and Discourse Analytics (ijolida) 5, no. 1 (September 30, 2023): 9–23. http://dx.doi.org/10.52232/ijolida.v5i1.100.

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This research collaborates with the examination of derivational suffixes, which play a crucial role in language development. These suffixes bring about changes in word meanings and grammatical structures, ultimately improving vocabulary and communication skills, a significant advantage for students. The data were gathered from a novel named “Moby-Dick,” consist of 786 pages, and 135 Chapters. The study employed a descriptive qualitative approach for its analysis. The theories are from Katamba (1993) and Carstairs-McCarthy (2002). The data collection techniques encompassed reading the novel; identifying and underlining words with potential suffixes; and marked words are categorized in the last step of data collection. The study's outcome revolved around the examination of the functional aspects of derivational suffixes, specifically delving into both class-maintaining and class-changing derivational suffixes. The total dataset comprised were 170. The class changing of derivational suffixes in The Moby-Dick novel was adverb derived from adjective (75), adjective derived from noun (52), verb derived from noun (1), noun derived from verb (40). It could be concluded that the highest frequency of data was adjectives that get the highest percentage, namely 75 words. The class maintaining of derivational suffixes in The Moby-Dick novel was nouns derived from nouns (2) there was no data found in the novel about adjective derived from adjective. This research’s implications lie in deepening literary analysis by revealing how derivational suffixes enrich the interpretation of "Moby-Dick," enhancing character development, symbolism, and linguistic nuances within the text.

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Ackerman, Sarah. "Exploring Freud’s Resistance to The Oceanic Feeling." Journal of the American Psychoanalytic Association 65, no. 1 (February 2017): 9–31. http://dx.doi.org/10.1177/0003065117690352.

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This paper takes up Romain Rolland’s description of a nearly universal “oceanic feeling” and considers Freud’s avowed disinterest in this concept. Herman Melville elaborates and expands the concept of the oceanic in the text of Moby Dick, juxtaposing Ishmael’s oceanic reverie while up high on the masthead with Ahab’s focused determination to destroy Moby Dick. Melville’s extension of the concept recasts the oceanic as an aspect of Freud’s recommendations about the necessary conditions for psychoanalytic process, inviting a comparison of going to sea with going into analysis. Freud’s Civilization and Its Discontents allows for further thoughts about the danger Freud recognizes in this feeling, a way that the oceanic feeling may be an expression of the death instinct. Together, these explorations point in the direction both of a centrality of an oceanic experience in psychoanalysis and a recognition of the risks that the oceanic entails, deepening our understanding of the many reasons Freud might have wished to avoid it.

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Vöő, Gabriella. "Ha a leviatán a textus." Verso – Irodalomtörténeti folyóirat 3, no. 2 (February 15, 2021): 109–25. http://dx.doi.org/10.15170/verso.3.2020.2.109-125.

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Az európai felvilágosodás empirikus ismeretelmélete tudományos tekintélyt kölcsönzött Johann Caspar Lavater fiziognómiai elemzéseinek, az arcolvasás széles körben elterjedt módszerei pedig visszaköszönnek a 19. századi regény jellemrajzaiban. A tanulmány Herman Melville Moby Dick (1851) című regényében elemzi a jellemolvasás konvencióinak célzott aláaknázását. Az Egyesült Államokban a testtudományok a faji hierarchia igazolásában és megerősítésében játszottak kulcsszerepet azzal, hogy gyakorlói átfogalmazták az emberi minőség kritériumait. Az, ahogyan Melville elbeszélője, Ishmael a bálna testére alkalmazza a testtudományi elemzés eszközeit, megkérdőjelezi megalapozottságát és leleplezi mind ideológiai, mind gazdasági érdekeit.

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COLLINS, MICHAEL JAMES. "“The Master-Key of Our Theme”: Master Betty and the Politics of Theatricality in Herman Melville's “The Fiddler”." Journal of American Studies 47, no. 3 (August 31, 2012): 759–76. http://dx.doi.org/10.1017/s0021875812001259.

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In what is by now among the more famous personal histories in American studies, by 1852 Herman Melville was facing bankruptcy and personal ruin after the financial failures of Moby-Dick and Pierre. Under the guidance of the new editor of Putnam's Magazine, Charles Briggs, Melville turned to writing magazine fiction. Building upon work that seeks to show how Melville in his short stories negotiated the terrain between the riotous world of the popular press and the sanctified realm of high art, this article looks at a frequently neglected work by Melville from 1854, “The Fiddler,” as a response to this personal crisis. I show how Melville's story resurrects a forgotten transatlantic history (the life of the Irish actor Master William Henry West Betty) as a means to explore his own search for an aesthetic that could adequately serve both the demands of the spectacular world of antebellum publishing and his own high literary ambitions.

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McGUIRE, IAN. "“Who ain't a slave?”: Moby Dick and the Ideology of Free Labor." Journal of American Studies 37, no. 2 (August 2003): 287–305. http://dx.doi.org/10.1017/s0021875803007060.

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In October 1844, on returning to the United States after the four years at sea which became the basis of the majority of his early novels, Herman Melville discovered that his elder brother Gansevoort had become a political orator of national notoriety and a major figure in the Democratic presidential campaign of that year. Gansevoort Melville's political preferences, as widely reported in the newspapers of the day, were for a post-Jacksonian populism which denounced the aristocratic foppery of the Whigs and urged the immediate annexation of Texas in the name of free, white labor. His patriotic invocations of the virtues of salt-of-the-earth republicanism and the American workingman were, that year at least, hardly matched. Described in contemporary reports as “the orator of the human race” and “the great New York orator” he addressed audiences of thousands throughout New York State and at Democratic meetings as far afield as Tennessee and Ohio. He coined the respectful, evocative and adhesive nickname “Young Hickory” for James Polk the Democrat's presidential candidate and in August made a symbolic visit to the ailing Andrew Jackson. According to Hershel Parker, Melville's most recent and most exhaustive biographer, Herman spent the final days of the campaign with his brother probably participating in a huge torchlight procession through Manhattan and listening to his climactic election-night address in Newark, New Jersey.

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Abel, Iris. "Das Unendliche gestalten." Bühnentechnische Rundschau 118, no. 1 (2024): 26–29. http://dx.doi.org/10.5771/0007-3091-2024-1-026.

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„Moby Dick“ von Herman Melville, ein opulentes Stück Weltliteratur, erzählt eindrucksvoll die Geschichte vom Kampf der Menschen mit der Natur. Wie inszeniert man dieses bildreiche Werk in reduzierter Form? Regisseurin Maja Delinic und Bühnenbildnerin Ria Papadopoulou sowie Lichtgestalter Hermenegild Fietz berichten über ihr Konzept und die Umsetzung. Das Stück feierte im Mai 2023 Premiere in Krefeld und läuft seit dem 28. Januar am Theater Mönchengladbach. Von Iris Abel

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Matlaga, Daniel R. "A Journey of Celestial Lights: The Sky as Allegory in Melville’s ‘Moby Dick’." Culture and Cosmos 08, no. 0102 (October 2004): 235–46. http://dx.doi.org/10.46472/cc.01208.0239.

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Scholars have long sought a blueprint that cohesively ties together various events and characters in ‘Moby Dick’; a 'key' that will unlock its secrets and allow a greater understanding of the novel. After 150 years, we have Melville’s key: the sky. In his PhD thesis, John F. Birk suggested that, as the Pequod sails from one ocean to the next in search of the great white whale, it sails through the twelve traditional constellations of the zodiac. Birk identifies thirteen characters with zodiacal constellations, and a few non-zodiacal constellations with individual chapters. However, Melville’s genius goes further in his use of astronomical phenomena than Birk suggests. The Pequod leaves Nantucket at noon on December 25, 1838 and is destroyed by the white whale at sunset January 4, 1840. His use of six of the nine 'gams' or meetings between the Pequod with other whale ships on the high seas provide the necessary planetary data to precisely determine, for the first time, the year at sea. The white whale provides the day of destruction and constellations the hour. Further, Melville was able to relate phases of the moon, solar eclipses, comets, meteor showers, constellations, stars and other celestial events of that year to story events, structure and characters. Using this new understanding, one can see ‘Moby Dick’ – and indeed the sky –as Herman Melville did. No longer must it remain his '…most admired and least understood novel'.

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Ketzer, Estevan de Negreiros, and Edson Luiz André de Sousa. "Lágrimas nas profundezas: alegorias utópicas em Moby Dick e o nominalismo na obra de William de Ockham." Ágora: Estudos em Teoria Psicanalítica 15, no. 2 (December 2012): 273–88. http://dx.doi.org/10.1590/s1516-14982012000200005.

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A obra de Herman Melville, Moby Dick, é constituída como uma utopia dentro das circunstâncias condensadas nas personagens da Baleia e do capitão Ahab. A psicanálise, em sua compreensão semântica, cuja implicação envolve o sujeito psíquico, potencializa as singularidades e o coloca ao desafio que extrapola o tempo lógico quando há um encontro na criação utópica. O nominalismo do filósofo inglês Ockham problematiza a dinâmica do conhecimento ao formular um método que corta as explicações excessivas (a navalha) e indaga qual o caminho da apropriação humana no que diz respeito ao campo da discernibilidade dos saberes, trilha esta buscada na obra de Melville.

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Armstrong, Philip. "Moby-Dick and Compassion." Society & Animals 12, no. 1 (2004): 19–37. http://dx.doi.org/10.1163/156853004323029522.

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AbstractBecause the notions of "anthropomorphism" and "sentimentality" often are used pejoratively to dismiss research in human-animal studies, there is much to be gained from ongoing and detailed analysis of the changing "structures of feeling" that shape representations and treatments of nonhuman animals. Literary criticism contributes to this project when it pays due attention to differences in historical and cultural contexts. As an example of this approach, a reading of the humanization of cetaceans in Herman Melville's Moby-Dick - and more broadly in nineteenth-century whaling discourse - demonstrates how radically human feelings for nonhuman species are affected by shifting material and ideological conditions.

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Paz, Ravel. "DA ORDEM MÍTICA AO “CAOS ENFEITIÇADO”: O HOMEM E O MUNDO NA ODISSÉIA DE HOMERO E EM MOBY DICK, DE HERMAN MELVILLE." Revista de Filosofia Aurora 15, no. 17 (May 10, 2003): 29. http://dx.doi.org/10.7213/rfa.v15i17.1618.

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O trabalho propõe uma aproximação entre a Odisséia e Moby Dick, sublinhando os traços épicos e míticos do romance de Melville em sua dialética com as contradições e o desencantamento de seu tempo. Palavras-chave: Romance e epopéia; Mito e realidade; Desencantamento do mundo.

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DULINA, ANNA. "THE SILENT LETTER IN H. MELVILLE’S MOBY DICK, OR THE WHALE." Lomonosov Journal of Philology, no. 1, 2024 (February 17, 2024): 139–48. http://dx.doi.org/10.55959/https://vestnik.philol.msu.ru/issues/vmu_9_philol__2024_01_10.pdf.

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The article analyzes the role of the unpronounceable (silent) consonant ‘h’ and the image of the mute letter in Herman Melville’s poetics, especially in Moby-Dick, or The Whale. The paper discusses the indistinction of textual objects (the word ‘whale’, the title of the novel The Whale) and images (white sperm whale Moby Dick, pale characters in Melville’s short stories), which is key for characterizing Melville’s works as autometatexts. The common characteristics that unite both layers - the graphic, auditory existence of the text and the fictional world of the novel - are ‘silence’ and ‘visibility’. The article examines the structure-forming role of these concepts for the system of the images and motifs and their conceptualization within the framework of Melville’s philosophy of creativity and the paradox of the genius who is able to tell the Truth in fiction. The act of creating and reading a text is identified with the process of drawing and seeing a silent letter; the novel then is a transformation field for both the writer and the reader into an architect and a stonemason on the way to comprehending the secret knowledge through the matter of language. The article takes into account the interpretations of the role of the letter ‘h’ in the novel that are classical in Anglophone Melville studies; the methodology of the French philosophers, who wrote about Melville’s work; and modern interpretations from Russian literary criticism.

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Morgan, Speer. "Moby Dick, by Herman Melville (four-volume CD) (review)." Missouri Review 22, no. 1 (1999): 172–73. http://dx.doi.org/10.1353/mis.1999.0112.

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Ramírez, Roberto. "Herman Melville y Manuela Sáenz: historia de un encuentro incomprobable." Pucara 1, no. 35 (June 28, 2024): 20–29. http://dx.doi.org/10.18537/puc.35.01.02.

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Resumen: Biografías, periódicos y artículos académicos aseveran que el escritor estadounidense Herman Melville y la prócer de las independencias Manuela Sáenz, a mediados del siglo XIX, en Paita, Perú, se entrevistaron, a propósito del exilio que ella atravesaba y el viaje que él hacía por los mares del mundo (1841-1844), a bordo del Acushnet y el United States. Nadie da fuentes que corroboren este encuentro que pasa por Historia oficial. Es así como este ensayo expone el detallado paso de Melville por Latinoamérica para demostrar que no hay pruebas de que los dos coincidieran; además, se señala a la biografía de Victor Wolfgang von Hagen como la fuente que inició dicho rumor y las razones que tuvo para hacerlo. Concluye el ensayo con las implicaciones de este hecho supuestamente histórico en su salto a la ficción, con un recuento de obras literarias y cinematográficas que recogen el encuentro. Palabras clave: Herman Melville, Manuela Sáenz, Latinoamérica, Moby Dick, literatura norteamericana

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Andayani, Ambar, and Jupriono Jupriono. "THE REPRESENTATION OF A POLYNESIAN THROUGH QUEQEEQ CHARACTER IN HERMAN MELVILLE’S MOBY DICK." ANAPHORA: Journal of Language, Literary and Cultural Studies 2, no. 2 (March 9, 2020): 73–79. http://dx.doi.org/10.30996/anaphora.v2i2.3367.

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This research applies a literary anthropology approach that focuses the study on the uniqueness of Queqeeq character represented in Moby Dick (Mellvill, 1962). That uniqueness contains physical characteristics as a Polynesian, cultural behavior, belief, and dialect. Queqeeq character is described as a very sober man, consistent in his words and manners, and referring to Polynesid race, with large black eyes, natural dark skin, and unworldly tattoos. Quegeeq is represented as a character of a hard worker, agile, and tough as a seaman in the Pacific ocean. In religion, Queqeeq is described as a primitive ritual-religion person, who is serious in fasting; not to eat and talk in the Ramadan time, prays ritually through a wooden idol, following the ritual-religion custom of Polynesian. Generally, it can be concluded that Melville in Moby Dick (1962) succeeds in representing the specific characteristics of Polynesian culture through character and characterization of Queqeeq

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Qi, Wenjin. "Harmony through Conflicts: Herman Melville's Attitudes towards Transcendentalism in Moby-Dick." Theory and Practice in Language Studies 10, no. 1 (December 24, 2019): 76. http://dx.doi.org/10.17507/tpls.1001.11.

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According to the Transcendentalist beliefs proposed by great American thinker Ralph Waldo Emerson in the mid-19th century, this article carries out a detailed analysis of Melville's both Anti-Transcendentalist thoughts and Transcendentalist tendency in the perspectives of Oversoul, Individualism, and Man-and-Nature relationship revealed in Moby-Dick. It also lists the reasons for Melville's complex and sophisticated attitude towards Transcendentalism in the hope of directing the critical attention to this aspect that Moby-Dick is a twisted and ambiguous interpretation of Melville's attitude towards Transcendentalism.

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Andayani, Ambar. "SARTRE'S EXISTENTIALISM IN HERMAN MELVILLE'S MOBY DICK." ANAPHORA: Journal of Language, Literary and Cultural Studies 1, no. 1 (July 31, 2018): 23–27. http://dx.doi.org/10.30996/anaphora.v1i1.2086.

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From the perspective of Sartreâ€™s existentialism, it can be concluded that Ahab is nothing else but what he makes of himself. Through what he does against that white whale, he gets his meaningful existence. Ahab exists only to the extent that he fulfills himself. Ahab gets happiness with his plan and act to kill his mighty woe. Furthermore Ahabâ€™s decision at the same time creates an image of man that in general will do the same thing.

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Crimmins, Jonathan. "Nested Inversions: Genre and the Bipartite Form of Herman Melville's Pierre." Nineteenth-Century Literature 64, no. 4 (March 1, 2010): 437–64. http://dx.doi.org/10.1525/ncl.2010.64.4.437.

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Jonathan Crimmins, "Nested Inversions: Genre and the Bipartite Form of Herman Melville's Pierre" (pp. 437––464) In this essay I suggest that Herman Melville constructed Pierre (1852) as a diptych, an early example of the form that he later employed in his stories for Harper's and Putnam's magazines. He characterized Pierre's two halves by their settings, countryside and city, and used the locales allegorically to represent the ideological value systems associated with the mode of production of each. Further, I argue that Melville constrained the scope of the mixed form, more freely practiced in Mardi (1849) and Moby-Dick (1851), by carefully aligning the generic elements of Pierre with its bipartite structure: the sentimental and the Gothic with the first half of the novel, the urban and romantic with the second half. subordinating the generic elements to the structure, Melville built a novel in which each half operates according to different laws, each as its own separate stage, enacting the drama of its treasured beliefs and the inescapable hypocrisies of those beliefs. Each half of Pierre presents the justice of its values as natural and the logic of its values as complete. And yet, set side-by-side as a diptych so as to suggest equal measure, the competing claims to totality collapse; while each ideological stage acts as if its value systems are unified and whole, side-by-side they are seen as inverted schematics, as two halves of a single crisis. Melville shows the contradictory dependence of capitalism's ideology of historical contingency and feudalism's faith in an idealist grounding of the historical, offering up the insolubility of the crisis as the empty indicator of a real solution.

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Butterfield, R. W., and Shawn Thomson. "The Romantic Architecture of Herman Melville's 'Moby-Dick'." Modern Language Review 98, no. 3 (July 2003): 712. http://dx.doi.org/10.2307/3738319.

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ROMERO, RAMÓN ESPEJO. "The Teatro Fronterizo’s White Whale: José Sanchis Sinisterra, Herman Melville, and Moby-Dick." Bulletin of Contemporary Hispanic Studies 1, no. 1 (May 2019): 31–44. http://dx.doi.org/10.3828/bchs.2019.3.

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Rasberry, Gary Vaughn. "C. L. R. James and Herman Melville: Moby-Dick as an Antitotalitarian Novel." Leviathan 19, no. 2 (2017): 103–4. http://dx.doi.org/10.1353/lvn.2017.0022.

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Psaropoulou, Athina. ""Η Άσπρη Φάλαινα" του Ανδρέα Εμπειρίκου ως ποιητική ανάγνωση του Moby Dick του Herman Melville." Neograeca Bohemica, [1] (2023): [67]—84. http://dx.doi.org/10.5817/ngb2023-23-4.

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The article discusses Andreas Empeirikos' poem titled "The White Whale" and examines it as a poetic response to Herman Melville's novel Moby Dick. In this poem, Empeirikos portrays an "epiphany of the past recaptured", which is experienced by Ishmael, the narrator of both Melville's and Empeirikos' works. Through his deep connection with the ocean and the world around him, Ishmael, Empeirikos' poetic persona, recaptures the emotional richness inspired by the sight of a re-enchanted world and seeks to glorify the white whale. This pursuit involves a rejection of materialism and an embrace of a visionary and idealised surreal world embodied by the white whale - a symbol of a New Jerusalem.

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Hustis, Harriet. "“Universal Mixing” and Interpenetrating Standing." Nineteenth-Century Literature 69, no. 1 (June 1, 2014): 26–55. http://dx.doi.org/10.1525/ncl.2014.69.1.26.

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Harriet Hustis, “‘Universal Mixing’ and Interpenetrating Standing: Disability and Community in Melville’s Moby-Dick” (pp. 26-55) This essay examines whether the representation of disability and community in Herman Melville’s Moby-Dick (1851) is limited to the narcissistic determinism of Ahab. It argues that although Ahab perceives his disability as unusual, when set against the backdrop of the novel and the realities of the whaling profession in the nineteenth century, it is not. The essay claims that Ishmael’s status as “Isolatoe” is redefined through his act of narrative remembrance and his function as storyteller. Ultimately, the essay concludes that Ishmael’s retrospective offers a unique gloss on the interruptive nature of disability and its moral and narrative implications.

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Lee, Kwang jin. "Four Essential Organizational Elements in Herman Melville’s Moby-Dick." Korean Society for Teaching English Literature 24, no. 1 (April 30, 2020): 187–212. http://dx.doi.org/10.19068/jtel.2020.24.1.09.

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Gesler, Wil. "Using Herman Melville's Moby-Dick to Explore Geographic Themes." Journal of Geography 103, no. 1 (January 2004): 28–37. http://dx.doi.org/10.1080/00221340408978569.

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Hage, Erik. "Melville in Love: The Secret Life of Herman Melville and the Muse of Moby-Dick and The Divine Magnet: Herman Melville's Letters to Nathaniel Hawthorne." Nathaniel Hawthorne Review 42, no. 2 (October 1, 2016): 79–81. http://dx.doi.org/10.5325/nathhawtrevi.42.2.0079.

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Abdelsalam, Fadi Ali, and Baker Bani-Khair. "A Psychoanalytical Study of the Gothic Marine Locales in Herman Melville's Moby Dick." Theory and Practice in Language Studies 14, no. 5 (May 29, 2024): 1510–16. http://dx.doi.org/10.17507/tpls.1405.24.

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This research uncovers the Gothic elements interwoven with the Sublime in the maritime context of Herman Melville's "Moby Dick". Using Freud's psychoanalytical frameworks, the study examines the novel's sublime aspects and the psychological depths they signify. It draws on Lacan's and Burke's theories on the conscious and unconscious mind and the contrast between the beautiful and the sublime. These elements suggest deeper insights into Melville's psyche, with characters like Ishmael reflecting his narrative. The conclusion posits "Moby Dick" as an intricate interlacing of Gothic and sea-faring motifs that penetrate the human psyche, set against the ocean's expanse. The narrative aboard the Pequod encapsulates the collective human psyche, presenting a tableau of collective yearnings, fears, and fixations. The enigmatic Moby Dick stands as a symbol of nature's grandeur and humanity's relentless pursuit of the unfathomable, with otherworldly occurrences enhancing the story's spectral quality. The story's heart lies in the psychological journey, mainly through Ahab's quixotic quest for the whale, a metaphor for the human penchant for chasing the unreachable. The narrative is laden with symbolism, with the whale as the centerpiece of nature's wonder and the human quest for meaning. The plot navigates through moral ambiguities and deceit, providing depth to its characters. Themes of isolation and desolation are woven into the dangerous yet mesmerizing whaling backdrop, rendering a narrative rich in complexity and allure.

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Cook, Jonathan A. "Melville in Love: The Secret Life of Herman Melville and the Muse of Moby-Dick by Michael Shelden." Leviathan 19, no. 2 (2017): 83–88. http://dx.doi.org/10.1353/lvn.2017.0018.

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Costa, Patrícia Rodrigues, and Rodrigo D'Avila Braga Silva. "Entrevista com Alexandre Barbosa de Souza." Cadernos de Tradução 41, no. 1 (January 15, 2021): 295–302. http://dx.doi.org/10.5007/2175-7968.2021.e72319.

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Alexandre Barbosa de Souza é escritor, poeta, editor e tradutor. Foi editor na Editora 34, na Cosac Naify e na Biblioteca Azul. É autor de Azul Escuro (Hedra, 2003), Autobiografia de um super-herói (Hedra, 2003) e Livro geral (Companhia das Letras, 2013). Traduz do inglês, francês e espanhol. Entre suas traduções pode-se citar: Moby Dick (Cosac Naify, 2008), de Herman Melville; A crônica dos Wapshot (Companhia das Letras, 2011), de John Cheever; Orgulho e Preconceito (Companhia das Letras, 2011) e Razão e Sensibilidade (Companhia das Letras, 2012), de Jane Austen; Alice através do espelho (SESI-SP, 2018); Só garotos (Companhia das Letras, 2018), de Patti Smith; Anne de Green Gables (Editora Nova Fronteira, 2019), de L. M. Montegomery.

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Matteson, John T. "The Little Lower Layer: Anxiety and the Courage to be in Moby-Dick." Harvard Theological Review 81, no. 1 (January 1988): 97–116. http://dx.doi.org/10.1017/s0017816000009974.

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In his foundational work on the problems of anxiety and self-affirmation, The Courage to Be, Paul Tillich refers to the twentieth century as an age of anxiety. He describes the century as an era in which humankind has become deeply and disturbingly aware of the threats of meaninglessness and spiritual nonbeing. This anxiety, Tillich asserts, has become a central theme for modern artists and writers, whose works have frequently depicted humankind and society as teetering on the brink of an ontological and spiritual abyss. As Tillich was aware, however, the concept of anxiety did not magically appear in literature in the year 1900. Although Tillich considers the anxiety of meaninglessness to be paramount in the present day, he gives extensive treatment to other anxieties (for example, the anxieties of guilt and death) that deeply concerned writers in earlier times. Tillich mentions T. S. Eliot, Camus, and Sartre, but he also hails Flaubert and Dostoyevsky as explorers of the “deserts and jungles of the human soul.” Another nineteenth-century novelist, who should not have passed without notice, escaped Tillich's attention: Herman Melville.

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Tally, Justine. "The Gnosis of Toni Morrison: Morrison’s Conversation with Herman Melville, with a Nod to Umberto Eco." Contemporary Women's Writing 13, no. 3 (November 2019): 357–76. http://dx.doi.org/10.1093/cww/vpaa011.

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Abstract Long before Toni Morrison was extensively recognized as a serious contender in the “Global Market of Intellectuals,” she was obviously reading and absorbing challenging critical work that was considered “provocative and controversial” by the keepers of the US academic community at the time. While no one disputes the influence of Elaine Pagels’ work on Gnosticism at the University of Princeton, particularly its importance for Jazz and Paradise, the second and third novels of the Morrison trilogy, Gnosticism in Beloved has not been so carefully considered. Yet this keen interest in Gnosticism coupled with the author’s systematic study of authors from the mid-19th-century American Renaissance inevitably led her to deal with the fascination of Renaissance authors with Egypt (where the Nag Hammadi manuscripts were rediscovered), its ancient civilization, and its mythology. The extensive analysis of a leading French literary critic of Herman Melville, Prof. Viola Sachs, becomes the inspiration for a startlingly different reading of Morrison’s seminal novel, one that positions this author in a direct dialogue with the premises of Melville’s masterpiece, Moby-Dick, also drawing on the importance of Gnosticism for Umberto Eco’s 1980 international best-seller, The Name of the Rose.

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Hidayati, Hidayati, Arifuddin Arifuddin, Aflina Aflina, and Ratna Sari Dewi. "REALITY OF HUBRIS SYNDROME THROUGH HERMAN MELVILLE’S NOVEL MOBY DICK." JOURNAL OF LANGUAGE 3, no. 1 (May 24, 2021): 1–10. http://dx.doi.org/10.30743/jol.v3i1.3700.

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Exposing hubris syndrome, a behavior pattern that is not in accordance with the norms of standard behavior and becomes part of a mental disorder is the objective of the study. This syndrome usually occurs in someone with power in hand, tending to be tyrannical and feeling to be always right. In the study of literature Hubris syndrome refers to the tragic flaw that brings a person, usually an important figure, to a self-destruction. Hubris syndrome can occur to anyone. The method used is descriptive qualitative tied to things experienced by the community termed a social phenomenon. The results show that the central figure in this novel, a captain of a whale hunting vessel, experiences hubris syndrome with three prominent patterns of behavior: narcissistic propensity, excessive confidence and loneliness. In the first pattern, the person concerned feels like a superhuman deserving to be admired and attended to. The second, excessive self-confidence cannot be accepted by rational thinking. The third is the consequence of the first two patterns of living a life of solitude because of losing contact with the surroundings. The storyline ends tragically; the entire crew is killed by the whale and only one left and becomes a narrator. Hubris syndrome in the novel is a reality meaning that anyone who has a certain position tends to have Hubris syndrome and this is in line with the findings in the field with a percentage reaching 92.

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