Relevant bibliographies by topics / Moby Dick, or The Whale (Melville)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
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Academic literature on the topic 'Moby Dick, or The Whale (Melville)'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 March 2023

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Journal articles on the topic "Moby Dick, or The Whale (Melville)"

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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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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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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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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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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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Bryant, John. "Melville Essays the Romance: Comedy and Being in Frankenstein, "The Big Bear of Arkansas," and Moby-Dick." Nineteenth-Century Literature 61, no. 3 (December 1, 2006): 277–310. http://dx.doi.org/10.1525/ncl.2006.61.3.277.

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John Bryant, "Melville Essays the Romance: Comedy and Being in Frankenstein, "The Big Bear of Arkansas," and Moby-Dick (pp. 277-310)This essay argues that romance is not a fixed genre but a process of writing ("romancing")that Melville used at a particular moment in his career to engage in certain "ontological heroics," that is, confront the problem of Being (the mystery of the origins and reality of consciousness). The inadequacy of genre is asserted as the notion is observed to deconstruct in three ways, and it is replaced by six "Notes toward a Supreme Romance," which delineate elements in the process of romancing with examples from Michel de Montaigne's notion of essaying and Nathaniel Hawthorne's own definition of Romance as "careering on the verge." In applying these notes to Melville's romancing of structure and voice in Moby-Dick (1851), the essay first explores the structural framing technique in Mary Shelley's Gothic fiction, Frankenstein (1818, 1831), and its comic counterpart in Thomas Bangs Thorpe's classic tall tale, "The Big Bear of Arkansas"(1854). Both works conceal certain secrets of identity (or mysteries of selfhood and being)through nestings of voices (stories within stories) that culminate in a symbolic being(monster or bear). In Moby-Dick this model of "fictive essaying" is exhibited in "Cetology"(chapter 32), in which Ishmael cons the reader with a joke-within-a-joke structure that sexualizes the whale and thereby allows us unexpectedly to identify with the whale, which in the process also symbolizes the creative roots of Being. By essaying or "romancing" structure and symbol, Melville in effect tricks himself and his reader into a closer relation to the mystery of consciousness.
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Dauber, Kenneth, Clark Davis, and John Wenke. "After the Whale: Melville in the Wake of "Moby Dick"." South Atlantic Review 61, no. 4 (1996): 127. http://dx.doi.org/10.2307/3201178.

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Nguyen, Ann. "MELVILLE, MOBY-DICK, AND THE PURSUIT OF THE INSCRUTABLE WHALE." Neurosurgery 61, no. 3 (September 1, 2007): 641–43. http://dx.doi.org/10.1227/01.neu.0000290913.17353.10.

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Rogers, Ben J. "Melville, Purchas, and Some Names for 'Whale' in Moby Dick." American Speech 72, no. 3 (1997): 332. http://dx.doi.org/10.2307/455658.

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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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Dissertations / Theses on the topic "Moby Dick, or The Whale (Melville)"

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Derail-Imbert, Agnès. "Allures du corps dans Moby-Dick; or The Whale de Herman Melville." Paris 8, 1997. http://www.theses.fr/1997PA081931.

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@Moby-Dick se donne à la fois et contradictoirement comme livre anatomique et anatomie du livre : le corps s'y montre comme la tentation charnelle de l'écriture mais cette inclination est contrariée par la crainte que l'écriture ne sombre dans le mutisme de la chair ou à l'inverse qu'écrit, le corps ne soit sacrifié au monument du livre. Cette étude explore les puissantes tensions qui travaillent ce livre né du prodigieux désir d'incarner un corps colossal, d'en être le sens ultime. . .
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Dove-Rumé, Janine. "Quête, communication et connaissance étude des "gams" dans "Moby-Dick" or "The Whale" de Herman Melville." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37597439w.

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Dove-Rumé, Janine. "Quête, communication et connaissance : étude des "Gams" dans Moby-Dick ; or, The Whale de Herman Melville." Paris 8, 1986. http://www.theses.fr/1987PA080053.

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Il existe dans Moby-Dick; or, The Whale de Herman Melville, ecrit en 1851, neuf rencontres entre baleiniers en mer. Ces rencontres designees sous le nom de "gams" ne correspondent nullement a la definition donnee par melville. Par une etude textuelle approfondie, je montre que ces "gams" depassent le cadre de la narration pour s'inscrire dans une trame symbolique complexe; qu'ils representent, en quelque sorte, une miniaturisation du roman dans son ensemble; et que leur message profond est en relation etroite avec le probleme de l'ecriture et du langage, problemes qui font l'objet de mon introduction. La "White whale" constitue leur objectif commun, et a travers elle, Melville pose des problemes fondamentaux sur la creation, la transcendance, la vie et la mort, l'absence et le neant. Les "gams" s'inscrivent dans une trajectoire initiatique qui concerne aussi bien le narrateur que le lecteur, et forment un ensemble tres structure. A travers le ludique qui les caracterise, l'auteur renverse les valeurs de la civilisation judeo-chretienne pour refaire le monde a sa facon. Monde dans lequel ce qui est rejete par la societe occidentale-reprouves et excrements par exemple-- est dote de connotations posi- tives et sacrees. Le systeme digestif a une place de choix au sein de la symbolique des "gams" et, a la lumiere de recoupements divers-- gnose, alchimie et mythes de la digestion-- je montre que Melville tente d'abolir des poles apparemment divergents tels l'humain et le divin, le materiel et le spirituel. Le narrateur, parti a la recherche d'un transcendant, decouvrira son unite dans les limites memes de l'ex- perience humaine et de la matiere. Les neuf rencontres du pequod sont caracterisees par l'absence de communication, mais le mot "gam" lui ( qui ne signifie pas rencontre), symbolise une coincidentia oppositorum de la communication initiatique entre elements opposes
In Moby-Dick; or, The Whale, written by Herman Melville, in 1851, the pequod meets nine other ships at sea. The meetings, supposed to be "gams", do not correspond to Melville's definition of the word. Through a detailed study of the text, i try to show that the gams are to be viewed beyond the narrative frame properly speaking, that they are very well structured, and that they represent the book in miniature. They are closely related to the problems of language and writing, which constitute the main part of my introduction. The meaning of the white whale is their main objective, and through that quest, the narrator questions whiteness, creation, transcendence, life and death, absence and nothingness. Both narrator and reader are involved in the initiatic path imposed by the gams. Through the play atmosphere that pervades the gam-chapters, the narrator topples judeo-christian values to build a world of his own in which he rehabilitates whatever is rejected by western traditions, e. G. Castaways and faeces. At the heart of the symbolic web of the gams, is the digestive process, which melville elaborates fully, and, through cross-checkings with gnosis, alchemy and digestion myths, as well as through the christ image, he attempts at abolishing any dichotomy between the human and the divine, matter and spirit etc. In his search for the transcendent, the narrator will discover his own unity and identity within the limits of human experience and of matter. If the nine meetings of the pequod are characterized by the absence of any communication, the word "gam", different in meaning, symbolizes coincidentia oppositorum and initiatic communication between opposite poles
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Pritchard, Gregory R., and mikewood@deakin edu au. "Econstruction: The nature/culture opposition in texts about whales and whaling." Deakin University. School of Communication and Creative Arts, 2004. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050826.111722.

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A perceived opposition between 'culture' and 'nature', presented as a dominant, biased and antagonistic relationship, is engrained in the language of Western culture. This opposition is reflected in, and adversely influences, our treatment of the ecosphere. I argue that through the study of literature, we can deconstruct this opposition and that such an ‘ecocritical’ operation is imperative if we are to avoid environmental catastrophe. I examine the way language influences our relationship with the world and trace the historical conception of ‘nature’ and its influence on the English language. The whale is, for many people, an important symbol of the natural world, and human interaction with these animals is an indication of our attitudes to the natural world in general. By focusing on whale texts (including older narratives, whaling books, novels and other whale-related texts), I explore the portrayal of whales and the natural world. Lastly, I suggest that Schopenhaurean thought, which has affinities in Moby-Dick, offers a cogent approach to ecocritically reading literature.
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Pernelle, Beatrix. "La représentation dans Moby-Dick." Nice, 1993. http://www.theses.fr/1993NICE2019.

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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
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
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Hänssgen, Eva. "Herman Melvilles 'Moby-Dick' und das antike Epos /." Tübingen : G. Narr, 2003. http://catalogue.bnf.fr/ark:/12148/cb390763590.

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Gambarotto, Bruno. "Modernidade e mistificação em Moby-Dick, de Herman Melville." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-14032013-104328/.

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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.
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.
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Ott, Sara. "Paradox and philosophical anticipation in Melville’s Moby-Dick." Thesis, Wichita State University, 2006. http://hdl.handle.net/10057/385.

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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.
Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences.
"May 2006."
Includes bibliographic references (leaves 32-35)
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Pino, Morales Cristián. "Moby Dick and trascendental Decadence." Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/110469.

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Treichel, Tamara. ""And so hell's probable" : Herman Melville's "Moby-Dick" and "Pierre" as descent narratives /." Trier : WVT Wissenschaftlicher Verlag, 2009. http://www.wvttrier.de.

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Books on the topic "Moby Dick, or The Whale (Melville)"

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Needle, Jan. Moby Dick, or, The whale: Herman Melville. London: Walker, 2006.

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1964-, Selby Nick, ed. Herman Melville, Moby-Dick. New York: Columbia University Press, 1999.

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ill, Benson Patrick, and Melville Herman 1819-1891, eds. Moby-Dick, or, the whale. Cambridge, Mass: Candlewick Press, 2006.

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After the whale: Melville in the wake of Moby-Dick. Tuscaloosa: University of Alabama Press, 1995.

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Melville, Herman. Moby-Dick, or, The whale. Evanston, Ill: Northwestern University Press, 2001.

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Melville, Herman. Moby Dick, or, The whale. 2nd ed. New York: Modern Library, 2000.

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Melville, Herman. Moby Dick, or, The Whale. Minneapolis, MN: First Avenue Editions, 2014.

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Melville, Herman. Moby-Dick, or, The whale. Franklin Center, Pa: Franklin Library, 1985.

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Melville, Herman. Moby-Dick, or, The whale. New York: Signet Classic, 1998.

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Melville, Herman. Moby-Dick, or, The whale. New York: Macmillan, 1985.

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Book chapters on the topic "Moby Dick, or The Whale (Melville)"

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Ensslen, Klaus, and Daniel Göske. "Melville, Herman: Moby-Dick, or, The Whale." In Kindlers Literatur Lexikon (KLL), 1–4. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_12130-1.

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Kontou, Tatiana, Victoria Mills, and Adelene Buckland. "Herman Melville, Moby Dick; Or, The Whale." In Victorian Material Culture, 76–84. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400143-11.

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Pellar, Brian R. "Man as Whale." In Moby-Dick and Melville’s Anti-Slavery Allegory, 51–71. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-52267-8_5.

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Pellar, Brian R. "This Afric Temple of the Whale." In Moby-Dick and Melville’s Anti-Slavery Allegory, 73–89. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-52267-8_6.

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Hutchinson, Stuart. "Melville: Moby-Dick (1851)." In The American Scene, 57–72. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1057/9780230373198_4.

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Meißner, Thomas. "Herman Melville: Geisteskrank nach „Moby Dick“." In Der prominente Patient, 135–37. Berlin, Heidelberg: Springer Berlin Heidelberg, 2019. http://dx.doi.org/10.1007/978-3-662-57731-8_33.

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Sten, Christopher. "Threading the Labyrinth: Moby-Dick as Hybrid Epic." In A Companion to Herman Melville, 408–22. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996782.ch26.

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Rigal, Laura. "Pulled by the Line: Speed and Photography in Moby-Dick." In Melville and Aesthetics, 103–15. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230120044_7.

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Weinstein, Cindy. "Artist at Work: Redburn, White-Jacket, Moby-Dick, and Pierre." In A Companion to Herman Melville, 378–92. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996782.ch24.

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Lee, Maurice S. "The Language of Moby-Dick: “Read It If You Can”." In A Companion to Herman Melville, 393–407. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996782.ch25.

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Conference papers on the topic "Moby Dick, or The Whale (Melville)"

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Gaido, Marco, Susana Rodríguez, Matteo Negri, Luisa Bentivogli, and Marco Turchi. "Is “moby dick” a Whale or a Bird? Named Entities and Terminology in Speech Translation." In Proceedings of the 2021 Conference on Empirical Methods in Natural Language Processing. Stroudsburg, PA, USA: Association for Computational Linguistics, 2021. http://dx.doi.org/10.18653/v1/2021.emnlp-main.128.

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You might also be interested in the extended bibliographies on the topic 'Moby Dick, or The Whale (Melville)' for particular source types:
Journal articles Dissertations / Theses Books
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