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

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Published: 4 June 2021

Last updated: 4 March 2023

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1

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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2

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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3

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Crawford, T. Hugh. "Captain Deleuze and the white whale: Melville, moby‐dick, and the cartographic inclination." Social Semiotics 7, no. 2 (August 1997): 219–32. http://dx.doi.org/10.1080/10350339709360382.

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12

Dove-Rume, Janine. "Melville’s Fake Gams in Moby-Dick or, the Whale." Revue Française d'Etudes Américaines 50, no. 1 (1991): 391–400. http://dx.doi.org/10.3406/rfea.1991.1442.

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13

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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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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Jayasinghe, Manouri K. "The Significance of Native Indian Presence in American Literature." Asian Review of Social Sciences 11, no. 1 (April 26, 2022): 59–62. http://dx.doi.org/10.51983/arss-2022.11.1.3067.

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The image of the Native Indian, was used on both sides of the Atlantic for many years but subsequent to the American war waged against Great Britain in 1812, the Native Indian image was given a previously unseen prominence in American literary works, and this lasted for almost half a century. The reason for this swift change of status of the Native Indians is revealed through the present paper. The works of Irving, Cooper, Longfellow, Hawthorne, and Melville have been referred to in order to strengthen my premise. Hawthorne and Melville use a technique different from the other authors who focus directly on the Native Indians thus proving their importance in American literature of the early 19th century. In The Scarlet Letter and Moby-Dick or The Whale, the respective authors, Hawthorne and Melville bring out the importance of the Native Indians through the almost imperceptible presence of the Native Indians. To understand this, a basic understanding of the plots being required, the storylines of the novels are concisely unfolded through a narrative analysis deriving from a qualitative approach. This enables the reader to understand Hawthorne and Melville’s approach to establishing the significance of the Native Indians and their sudden boost in status in the American literary sphere.

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Sullivan, B. M., and P. W. Hall. "THE WHALE AVATAR OF THE HINDOOS IN MELVILLE'S MOBY DICK." Literature and Theology 15, no. 4 (December 1, 2001): 358–72. http://dx.doi.org/10.1093/litthe/15.4.358.

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17

Dulina, Anna Viktorovna. "In the center of a circle: poetics of space in Dante’s “Divine Comedy” and H. Melville’s novel “Moby-Dick, or The Whale”." Litera, no. 8 (August 2020): 29–41. http://dx.doi.org/10.25136/2409-8698.2020.8.33584.

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This article is dedicated to the analysis of peculiarities of space arrangement in the “Divine Comedy” by Alighieri and the novel Moby-Dick, or The Whale” by Herman Melville. On the examples of structural mythologemes “journey inside yourself” and “path towards the center of a circle”, present in both works, the author notes the impact of Dante upon Melville and determines the differences in their poetics of space. Structural, semantic and comparative-historical analysis of the texts in question allows speaking of the transformation of symbolism of the images of circle and its center, circular, vertical and horizontal movement, as well as reconsideration of meaning of the category of chaos and order, opposition “internal-external” from Dante’s works to worldview of the authors of the era of Romanticism. The novelty of this work consists in simultaneous analysis of the impact of Dante’s poetry upon Melville and comparison of peculiarities of the poetics of space of both authors for determining fundamental changes in representations of the structure of world space and space of the inner world of a person. In artistic realm of H. Melville, symbolic point of the center of a circle – “center of the world” –is no longer static, it becomes unreliable, depicting heads of madman characters and the images of the objects, which semantics does not resemble the concept of emptiness. The motif of the loss of structuredness along with the motif of mutual reciprocity of spatial dimensions and characteristics distinguish Melville’s poetics of space, delineated in the dialogue with distinct features of space arrangement in Dante’s works.

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Belikova, E. V. "RABELAISIAN MOTIVES IN HERMAN MELVILLE’S NOVEL “MOBY-DICK, OR THE WHALE”." Science of the Person: Humanitarian Researches 39, no. 1 (2020): 31–35. http://dx.doi.org/10.17238/issn1998-5320.2020.39.31.

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19

Bonin, Fletcher. "The Harpooners’ Dichotomous Nature in Melville’s Moby-Dick, or, The Whale." Literary Imagination 22, no. 3 (August 13, 2020): 238–57. http://dx.doi.org/10.1093/litimag/imaa030.

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20

Rangno, Erik. "Melville's Japan and the ““Marketplace Religion”” of Terror." Nineteenth-Century Literature 62, no. 4 (March 1, 2008): 465–92. http://dx.doi.org/10.1525/ncl.2008.62.4.465.

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Recent criticism has overlooked the importance of Japan to Herman Melville's vision of race and empire in the Pacific, when in fact Melville is deeply committed to exposing the rhetorical strategies by which the United States justified its aggressive intervention in the region in the 1850s. Historical studies of Commodore Matthew C. Perry's forced ““opening”” of Japan to trade with the West tend to ignore the ways in which Perry's campaign itself served as a supplement to violence rather than a circumvention of it. Perry's gunboat diplomacy was informed by two strands of American exceptionalist discourse elsewhere popularized by William H. Seward: the democratization of the globe through commerce and the providential duty to bring Christianity to the barbarians. Seward insisted that the Americanization of the Pacific would unify East and West in contradistinction to the defaced Atlantic world. In Moby-Dick (1851) Ahab inverts these arguments; he rhetorically conflates the white whale and Japan as the twinned nemeses of American commercial interests in the Pacific. By convincing the crew to forgo the Pequod's contracted whaling mission in favor of a romanticized geopolitical revenge plot, Ahab confronts the spectral trace of Western capitalism's origin——the white whale as commodity's cipher. The manufacture and marketability of terror in the Pacific, Melville concludes, incites the Pequod's demise off the coast of Japan, and further evidences the failure of American ambition to prescribe its own limits.

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TOKGÖZ, Aslıhan. "The Yin Yang of the White Whale the Sense of Quality in Herman Melville s Moby Dick." Doğuş Üniversitesi Dergisi 2, no. 1 (July 27, 2000): 154–63. http://dx.doi.org/10.31671/dogus.2019.388.

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22

Yeonhaun Kang. "Revisiting Transnational American Studies: Race and the Whale in Melville’s Moby-Dick." Journal of English Language and Literature 64, no. 4 (December 2018): 585–600. http://dx.doi.org/10.15794/jell.2018.64.4.004.

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23

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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24

Erthel, Thomas. "„The common continent of men“? Die Pequod und ihre Crew als Verhandlungsraum von ,Welt‘ in Melvilles Moby-Dick; Or, The Whale." arcadia 51, no. 2 (November 1, 2016): 308–24. http://dx.doi.org/10.1515/arcadia-2016-0025.

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AbstractQuestioning the well-known interpretation of the Pequod as a microcosm, this article focuses on passages in Melville’s Moby-Dick; Or, The Whale in which the ship serves as an arena for testing and questioning various definitions of the ‘world.’ Starting with Ishmael’s claim that he wants to “see the world” by travelling aboard the Pequod, this article isolates different meanings of ‘world’ as they are invoked by the text – pointing to a meaning beyond the cartography of the planet earth. As will be shown, Moby-Dick distinguishes between the extrinsic perspective on planet earth, as cartography applies it, and contrasts it with a level, intrinsic perspectives that one adopts standing on the deck of a ship, looking out on the ocean. The intrinsic perspective can furthermore be related to the object of Ahab’s hunt, the white whale, which carries another understanding of ‘world’ as a deep space that cannot be grasped by cartography. In a final step, the crew and its composition of international members will be analyzed by focusing on the metaphor of the “common continent of men,” which surprisingly raises serious doubts about the unity of the Pequod’s crew.

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25

Marr, Timothy. "Why Read Moby-Dick? by Nathaniel Philbrick, and: Chasing the White Whale: The Moby-Dick Marathon; or, What Melville Means Today by David Dowling (review)." American Studies 52, no. 2 (2013): 180–82. http://dx.doi.org/10.1353/ams.2013.0002.

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주혁규. "Deferral Signification: Melville’s Wrestle with the Immeasurable in Moby-Dick; or The Whale." New Korean Journal of English Lnaguage & Literature 52, no. 4 (November 2010): 219–39. http://dx.doi.org/10.25151/nkje.2010.52.4.010.

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27

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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Khomuk, Nikolay V. "DEAD SOULS BY N. GOGOL AND MOBY-DICK; OR, THE WHALE BY H. MELVILLE: FORMS OF EPICATION IN ONTOLOGICAL REALISM." Imagologiya i komparativistika, no. 2 (December 1, 2014): 136–53. http://dx.doi.org/10.17223/24099554/2/9.

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Carrier, David R., Stephen M. Deban, and Jason Otterstrom. "The face that sank the Essex: potential function of the spermaceti organ in aggression." Journal of Experimental Biology 205, no. 12 (June 15, 2002): 1755–63. http://dx.doi.org/10.1242/jeb.205.12.1755.

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SUMMARY `Forehead to forehead I meet thee, this third time, Moby Dick!' [Ahab (Melville, 1851)] Herman Melville's fictional portrayal of the sinking of the Pequodwas inspired by instances in which large sperm whales sank whaling ships by ramming the ships with their heads. Observations of aggression in species of the four major clades of cetacean and the artiodactyl outgroup suggest that head-butting during male—male aggression is a basal behavior for cetaceans. We hypothesize that the ability of sperm whales to destroy stout wooden ships, 3-5 times their body mass, is a product of specialization for male—male aggression. Specifically, we suggest that the greatly enlarged and derived melon of sperm whales, the spermaceti organ, evolved as a battering ram to injure an opponent. To address this hypothesis, we examined the correlation between relative melon size and the level of sexual dimorphism in body size among cetaceans. We also modeled impacts between two equal-sized sperm whales to determine whether it is physically possible for the spermaceti organ to function as an effective battering ram. We found (i) that the evolution of relative melon size in cetaceans is positively correlated with the evolution of sexual dimorphism in body size and (ii) that the spermaceti organ of a charging sperm whale has enough momentum to seriously injure an opponent. These observations are consistent with the hypothesis that the spermaceti organ has evolved to be a weapon used in male—male aggression.

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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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Berrezoug, Hanaà. "The Will and the Whale: Glory and the Horizon of Defiance in Herman Melville’s Moby Dick." Lublin Studies in Modern Languages and Literature 38, no. 1 (May 12, 2014): 77. http://dx.doi.org/10.17951/lsmll.2014.38.1.77.

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32

Wicks, Frank. "The Oil Age." Mechanical Engineering 131, no. 08 (August 1, 2009): 42–45. http://dx.doi.org/10.1115/1.2009-aug-6.

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This article focuses on the Oil Age, which began 150 years ago in Pennsylvania and forecasts suggest that it has only few decades left for extinction. In today’s world, much of the fire comes from petroleum, which was first extracted from the ground for commercial purposes 150 years ago. Whale oil was prized for best light and low soot, but production peaked in the 1840s. This was the decade when Herman Melville sailed on a whaling ship, which inspired Moby Dick. The modern Oil Age can be traced to a well near Oil Creek in the northwestern Pennsylvania community of Titusville, where an enterprise managed by Edwin Drake discovered petroleum on August 27, 1859. It was not the first strike of oil in history, but it was the first that intended to exploit oil commercially as fuel. The petrochemical industry that uses mostly oil and natural gas for feedstock started at the beginning of the 20th century in the form of fertilizers and synthetic plastics and polymers. Today our vehicles have better tires that have resulted from using synthetic polymers rather than natural rubber from trees.

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Bouchard, Larry D. "“Thou Art Skylarking with Me”: Travesty, Prophecy, and Ethical Mutuality in Moby-Dick." Religions 13, no. 12 (November 24, 2022): 1141. http://dx.doi.org/10.3390/rel13121141.

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“A Bosom Friend,” Chapter 10 of Moby-Dick, concludes with a literary travesty on the Golden Rule, a norm of obligation to others as to self. If God’s will is that we treat our neighbors as ourselves, and if the narrator, Ishmael, desires his neighbor Queequeg join him in Presbyterian worship, then he must join his new friend’s devotion to his god, Yojo: “ergo, I must turn idolator.” This is after Ishmael has heard Father Mapple’s sermon on Jonah, and after Queequeg has become his bedmate at the Spouter-Inn in New Bedford. Queequeg also heard Mapple preach, though left early to return to the inn. So the sermon scene is framed by Queequeg scenes. From one angle, putting Yojo beside the biblical God, or whale hunting with the Golden Rule, can seem to dismiss as absurd these juxtapositions’ terms and questions: of sin, the designs of God, and prophetic calling versus fate, chance, and whoever happens to be one’s neighbor. From another angle, were such terms merely ‘travestied’ as negation, little import would remain in deploying them. This essay considers how, in Chapters 7–12, 16–18, 94, and elsewhere in Moby-Dick, Melville’s juxtaposing parody, satire, travesty and the like with compelling religious and ethical concerns—a rhetoric he occasionally calls “skylarking”—contributes to the novel’s realization of a narrative ethics of mutuality.

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Jones, Jordan. "The Sea Was Ever a Sertão: Terra Incognita in Moby-Dick and Grande sertão: veredas." Veredas: Revista da Associação Internacional de Lusitanistas, no. 35 (July 28, 2021): 5–26. http://dx.doi.org/10.24261/2183-816x0135.

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In this article, I read João Guimarães Rosa’s Grande sertão: veredas as an extended contemplation of the Brazilian backlands region known as the sertão, comparing it with Herman Melville’s timeless novel Moby-Dick; or, the Whale, which I read in a similar vein (but with regard to the sea). In this analysis, sea and sertão overlap and become largely interchangeable. In doing so, I also comment on the importance of the way in which we conceive of nature in general, and of the sea and the sertão specifically. The article employs Jedediah Purdy’s idea of the environmental imagination and Steven Vogel’s concept of humility before nature as they relate to perceptions of the environment (and the world) through a literary lens. In short, my focus is on exploring how literary representations of nature can condition readers’ attitudes and behaviors toward it. After detailing the similarities between both narrators’ perceptions and descriptions of sea/sertão as incomprehensible spaces that invite narrators (and readers) to self-discovery, I discuss the potential effects these narratives can have in shaping readers’ perceptions of the environment and their relation to the world in which they live.

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Chambers, Iain. "Maritime Criticism and Theoretical Shipwrecks." PMLA/Publications of the Modern Language Association of America 125, no. 3 (May 2010): 678–84. http://dx.doi.org/10.1632/pmla.2010.125.3.678.

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All visible objects, man, are but as pasteboard masks. But in each event—in the living act, the undoubted deed—there, some unknown but still reasoning thing puts forth the mouldings of its features from behind the unreasoning mask. If man will strike, strike through the mask! How can the prisoner reach outside except by thrusting through the wall? To me, the white whale is that wall, shoved near to me. Sometimes I think there's naught beyond. But 'tis enough.—Herman Melville, Moby-Dick; or, The WhaleFamiliar Landscapes are Today Challenged by Illicit Sea Journeys. The Southern Shores of Occidental Modernity are beached by the uninvited guest, by the arrival of histories and cultures that exceed its desires and augment its fears. Like a nemesis from the sea, the interrogative presence of the migrant, who announces planetary processes that are not ours to manage and define, draws Europe and the rest of the West to the threshold of a modernity that exceeds itself. In Isaac Julien's video installation Western Union: Small Boats (2007), the cruel passage of northward migration—across the inhospitable desert and perilous sea—proposes a dramatic poetics that seeks to force apart the conclusive framings of existing political, cultural, and historical narratives. Contorted black bodies gasping in the foam, abandoned on the beach in silver body bags among the sunbathers or writhing on the palace floors of European hierarchies replay the black Atlantic, memories of slavery, and racial oppression in the modern-day Mediterranean.

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Lister, Jared. "Chasing the White Whale: The "Moby-Dick" Marathon; or, What Melville Means Today. By David Dowling. (Iowa City: University of Iowa Press, 2010. Pp. x, 242. $24.95 paper.)." New England Quarterly 84, no. 3 (September 2011): 525–27. http://dx.doi.org/10.1162/tneq_r_00102.

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Binte Zinnah, Nikhate Jannat. "The Social Image Crisis of Santiago and Captain Ahab: A Psychoanalytic Comparison between The Old Man and the Sea and Moby-Dick." Green University Review of Social Sciences 7, no. 1-2 (November 6, 2022): 175–87. http://dx.doi.org/10.3329/gurss.v7i1-2.62693.

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The incredibly patient Santiago, the protagonist of Ernest Hemingway’s The Old Man and the Sea and the stubborn and revengeful Captain Ahab in Herman Melville’s Moby Dick present an arresting similarity if their fate and fatal ending are observed. Both the protagonists are driven by their urge to triumph over their situations – Santiago from poverty and social shame, Ahab from obsession with vengeance. Both in the end lose the capacity for reasoning which leads them towards their doom. Their persona – the best fisherman of an area for Santiago and the best whale hunter in a community – gets hurt and drives them towards their demise. They both want to be the conquerors of the sea and finally are conquered by their desires. This research identifies both the characters in social image crisis. Drawing upon the works of Sigmund Freud and Carl Gustav Jung, the paper first analyses the personality levels and different drives in human beings. Then, how the drives motivate the two characters and their personas will be discussed. Overall, the paper criticizes the choices of the two characters in the light of psychoanalysis. Green University Review of Social Sciences Dec 2021; 7(1-2): 175-187

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Williams, Peter W. "“Does American Religious History Have a Center?” Reflections." Church History 71, no. 2 (June 2002): 386–90. http://dx.doi.org/10.1017/s0009640700095767.

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The three essays presented in this session raise issues that remind me of two classic representations of the problem of interpretation. In the Japanese film Rashomon, four differing and incompatible accounts of the same event are presented by the central characters, leaving the viewer to wonder which, if any, is the “true” version. Similarly, in the “Doubloon” chapter of Melville's Moby Dick, Captain Ahab nails a Spanish gold coin to the mast as a potential reward for the first man to spot the white whale; subsequently, each member of the crew gazes at the doubloon and falls into his own unique chain of associations that it evokes. Each of these fictional situations evokes the dilemma of the historian in general and the religious historian in particular: how can I deliver an accurate, persuasive, and satisfying account of my material, given the inevitable differences in perception and value that separate me not only from my professional peers but from the vast numbers of individuals and groups whose account might well be different from mine? As Stephen Stein indicates, the dilemma is not purely “academic,” since our students expect a coherent narrative from us, and will inevitably go away frustrated if we simply give them fragments that seem to form no discernible whole.

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HOWARTH. "Homage to Melville: Project "Moby-Dick"." Princeton University Library Chronicle 54, no. 2/3 (1993): 225. http://dx.doi.org/10.2307/26403818.

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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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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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Hoberek, Andrew. "Melville, Insurrection, and the Problem of the Nation." American Literary History 35, no. 1 (February 1, 2023): 23–37. http://dx.doi.org/10.1093/alh/ajac158.

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Abstract In contrast with the standard reading of Moby-Dick (1851) as marking a turn in Melville’s writing from the realist to the symbolic, this chapter focuses on Melville’s realistic representation of insurrection in the chapter entitled “The Town-Ho’s Story.” It does so to argue that Melville understands insurrection as both central to democracy and at odds with politics organized around the nation. Moby-Dick is thus global not only in its setting, but in its formal engagement with the problem of democracy.Moby-Dick strongly suggests that Melville understands the politics of insurrection in opposition to the politics of the nation.

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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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Dewey, Colin. "Surviving the Essex: The Afterlife of America’s Most Storied Shipwreck by David O. Dowling, and: The Essex and the Whale: Melville’s Leviathan Library and the Birth of Moby-Dick ed. by R. D. Madison." Leviathan 19, no. 3 (2017): 121–25. http://dx.doi.org/10.1353/lvn.2017.0042.

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Tambling, J. "Monomania of a Whale Hunter: Moby-Dick." English 52, no. 203 (June 1, 2003): 101–23. http://dx.doi.org/10.1093/english/52.203.101.

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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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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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Mier, Raymundo. "Melville, Frege y Freud. Bartleby y los signos de la negación." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 4 (November 10, 2003): 53–81. http://dx.doi.org/10.22201/ffyl.poligrafias.2003.4.1629.

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El drama de Melville nace de esta alianza entre un espacio que lo subyuga, los laberintos de una creencia que lo doblega sin tregua, y las exigencias exasperantes de la escritura. Tan sólo una vez surcó su propio espacio: Moby Dick. Este hombre arruinado, cuya escritura no ocultaba ya su destino equívoco, la desmesura de su impulso épico en colindancia con la derrota y el fracaso editorial, publicó en 1853, dos años después de terminado Moby Dick, un relato enigmático, incierto, indócil: fruto de un lenguaje capaz de hacer de la recreación del agobio una violencia que impone una distancia a la lectura; un enrarecimiento de la verosimilitud, una inflexión que alimenta el abismamiento alegórico de la narración.

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Weiner, Susan. "Melville at the Movies: New Images of Moby-Dick." Journal of American Culture 16, no. 2 (June 1993): 85–90. http://dx.doi.org/10.1111/j.1542-734x.1993.00085.x.

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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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