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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: 27 July 2025

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1

Parijs, Sarah Leilani. "Moby-Dick 's Eschatological Animal Apocalypse: Whales in Spirit, Whales in Flesh." Leviathan 27, no. 1 (2025): 3–21. https://doi.org/10.1353/lvn.2025.a960348.

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Abstract: This essay situates itself within religious and ecological Melvillean criticism to rethink the whale's symbolic allness in Herman Melville's novel Moby-Dick; or, the Whale as symptomatic of anthropocentric or human-centered discourses surrounding extinction and extraction. I argue that these approaches are simultaneously correct and incomplete insofar as Moby-Dick textualizes the whale's multivalent status as religious symbol, agential animal, and economic product. Whales, instead, are a fleshly nothingness of violently dismembered, dismembering bodies in what I view as an animalized

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2

Al Disuqi, Rasha. "Orientalism in Moby Dick." American Journal of Islam and Society 4, no. 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

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3

Gallo, Antonella. "Scenografia per Moby Dick alla Prova." Firenze Architettura 26, no. 1 (2022): 182–89. http://dx.doi.org/10.36253/fia-13946.

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Una dimostrazione potente di quello che il teatro può ‘far vedere’ lo offre lo spettacolo prodotto dalla compagnia dell’Elfo per la regia di Elio De Capitani, scegliendo di riportare in scena Moby Dick – Rehearsed, ‘adattamento’ teatrale del Moby Dick di Melville scritto da Orson Welles. Come ricorda De Capitani, Orson Welles «preferì non dare al pubblico né mare, né balene né navi». In questa ambizione ostinata sta la prova, perché il tentativo di trasformare un romanzo polifonico come Moby Dick in un dramma teatrale equivale a cacciare la Balena bianca. A powerful demonstration of what

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4

O'Donnell, Marcus. "Following the Balibo massacre’s whale." Pacific Journalism Review : Te Koakoa 15, no. 2 (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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5

Gradert, Kenyon. "Windmills, Whales, and Democracy’s Mad Enchanters." Leviathan 26, no. 1 (2024): 5–29. http://dx.doi.org/10.1353/lvn.2024.a925508.

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Abstract: Melville’s debts to Cervantes have received scant attention, but Moby-Dick bears the deep imprint of Don Quixote . In particular, Cervantes helped Melville clarify a problem he sensed in democracy and modernity: pervasive feelings of loneliness, aimlessness, and prosaicness leave individuals susceptible to madmen who promise to reenchant life with the regal fullness of fiction. While Don Quixote celebrates the comic possibilities of this hunger for fictionality, Moby-Dick highlights its tragic potential for disaster.

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6

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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7

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 (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 ten

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8

Wang, Na, and Zhenhua Lyu. "Religious Ambiguity of Herman Melville in Moby Dick." Global Academic Journal of Linguistics and Literature 4, no. 6 (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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9

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 ‘visi

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10

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 (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

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11

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 (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

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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 (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

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13

Barron, Brie. "Herman Melville’s Ecological Vision and the Limits of Language." Journal of Critical Studies in Language and Literature 4, no. 4 (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 t

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14

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 (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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Z., Eyyubova. "MYTHOPOETICS OF MELVILLE'S NOVEL "MOBY DICK"." Journal of science. Lyon, no. 44 (June 30, 2023): 12–14. https://doi.org/10.5281/zenodo.8130366.

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<strong>Abstract</strong> The main work of Herman Melville, the final work of the literature of American Romanticism. A long novel with numerous lyrical digressions, imbued with biblical imagery and multilayered symbolism, was not understood and accepted by contemporaries. The novel was written quickly. 760 pages took less than two years. So, in 1851, Moby Dick was published - a novel, or rather a poem, the American version of the Bronze Horseman, about the exorbitant pride of Captain Ahab, who planned to take revenge on the elements, and about the helpless wisdom of his assistant Starbuck, wh

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Warren, Lenora. "The Ghost of Anacharsis Cloots." Leviathan 26, no. 3 (2024): 9–22. http://dx.doi.org/10.1353/lvn.2024.a944382.

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Abstract: This essay explores the references to Anacharsis Cloots in Melville's Moby-Dick or The Whale (1852), The Confidence-Man (1857), and Billy Budd, Sailor (1924). Cloots, a Prussian aristocrat who fancied himself the "orator for mankind" figures in Melville's work as an avatar for both the ideals of revolutionary philosophy and its failures. Yet his appearances in these texts are so glancing as to not have inspired much in the way of sustained analysis. It is my contention that one can only begin to understand the Cloots references if one considers the manner in which they appear adjacen

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19

Peterson, Jeffrey. "Or, The Whale by Jos Sances: Ark of the Anthropocene." Leviathan 25, no. 3 (2023): 9–49. http://dx.doi.org/10.1353/lvn.2023.a913130.

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Abstract: This essay offers the first critical consideration of Jos Sances's 14- by 51-foot scratchboard mural, Or, The Whale (2019–20), a work of panoramic cultural-historical reference and eco-political urgency inspired by Moby-Dick . I set the mural in the context of the series of Moby-Dick illustrations that Sances executed in 2016–2018, showing how they record his formative engagement with Rockwell Kent and document his search for a visual language capable of matching the imagistic density and encyclopedic range of Melville's novel. If Rockwell Kent mediates Sances's portrait-scale encoun

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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

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Zhang, Ting. "Captain Ahab as a Hero in Melville’s Moby-Dick." Economic Society and Humanities 1, no. 5 (2024): 127–32. http://dx.doi.org/10.62381/e244516.

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Herman Melville’s Moby-Dick tells the story of Ishmael, a sailor who joins the whaling ship Pequod, captained by the obsessed and vengeful Captain Ahab. Ahab’s sole mission is to hunt down and kill the legendary white whale, Moby-dick, who had previously bitten off Ahab’s leg at the knee. As a towering masterpiece of American literature, Moby-Dick is a novel that defies simple categorization and is renowned for its rich narrative complexity and profound thematic depth. Central to the novel is the character of Captain Ahab, whose quest to vanquish the white whale, Moby-dick, forms the back bone

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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 (2019): 31–44. http://dx.doi.org/10.3828/bchs.2019.3.

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23

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

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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

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Ackerman, Sarah. "Exploring Freud’s Resistance to The Oceanic Feeling." Journal of the American Psychoanalytic Association 65, no. 1 (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 Civilizati

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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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Kirsch, Geoffrey R. "Piercing the Corporate Whale: Agents, Principals, and the Personified Impersonal in Moby-Dick." Leviathan 26, no. 3 (2024): 55–68. http://dx.doi.org/10.1353/lvn.2024.a944385.

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Abstract: This essay considers Moby-Dick , the paradigmatic great American novel, as a meditation on the great American legal fiction of corporate person-hood. Infused with the new and exhilarating energies of a "joint-stock world" that "pays dividends," Melville's novel is also deeply preoccupied with the qualities of the corporate person: intangibility, immortality, and individuality. In delimiting the corporation's ontology, agency, and accountability, legal theorists grappled with the same mysteries of the "personified impersonal" embodied in both Moby Dick and the Pequod : is it "agent" o

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Jayasinghe, Manouri K. "The Significance of Native Indian Presence in American Literature." Asian Review of Social Sciences 11, no. 1 (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 focu

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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 (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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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 &ldquo;Divine Comedy&rdquo; by Alighieri and the novel Moby-Dick, or The Whale&rdquo; by Herman Melville. On the examples of structural mythologemes &ldquo;journey inside yourself&rdquo; and &ldquo;path towards the center of a circle&rdquo;, 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 transf

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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 (2001): 358–72. http://dx.doi.org/10.1093/litthe/15.4.358.

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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 (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-farin

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Rangno, Erik. "Melville's Japan and the ““Marketplace Religion”” of Terror." Nineteenth-Century Literature 62, no. 4 (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 exceptionalis

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

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Bonin, Fletcher. "The Harpooners’ Dichotomous Nature in Melville’s Moby-Dick, or, The Whale." Literary Imagination 22, no. 3 (2020): 238–57. https://doi.org/10.1353/lim.2020.a942321.

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Izquierdo Berasaluce, Unai. "Blurred Line between Good and Evil in Moby-Dick and Post-WWII Cinema: How John Huston Read Melville for his Movie Adaptation." ES Review. Spanish Journal of English Studies, no. 45 (October 14, 2024): 192–216. http://dx.doi.org/10.24197/ersjes.45.2024.192-216.

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John Huston found ambiguity between good and evil in Melville’s Moby-Dick, which he represented in his 1956 movie adaptation. Hans Robert Jauss’ reception theory complements this analysis of both works through the reactions of their audiences. Moby-Dick is analyzed together with its adaptation, considering the work as a fluid text, to offer a deeper perspective on its ambiguity between good and evil. While the novel responds to Transcendentalism’s enthusiastic view of nature and its search for essential truths, Huston’s adaptation reflects how post-WWII cinema was influenced by the conflict an

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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 (2000): 154–63. http://dx.doi.org/10.31671/dogus.2019.388.

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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 (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 car

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

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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 (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

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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 (2010): 219–39. http://dx.doi.org/10.25151/nkje.2010.52.4.010.

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Crimmins, Jonathan. "Nested Inversions: Genre and the Bipartite Form of Herman Melville's Pierre." Nineteenth-Century Literature 64, no. 4 (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 i

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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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Foltz, C. M. "The Lancers of Nantucket." interconnections: journal of posthumanism 3, no. 1 (2024): 112–18. https://doi.org/10.26522/posthumanismjournal.v3i1.4497.

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Dear Editors: My name is Chris Foltz (CM Foltz), and I am submitting my poem "The Lancers of Nantucket" for publication in interconnections. This poem is about many things, but the prominent themes center on Nantucket, MA, USA, as emblematic of historical events about whaling around the world, and the text engages cross-themes from Herman Melville's Moby Dick, Robert Lowell's "The Quaker Graveyard in Nantucket," and the history of the Spanish conquest of South America (where the whale Mocha Dick was killed off the coast). At the heart of this poem lies a retelling of Nantucket's meaning in lig

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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 (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 specializat

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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 (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 Gnos

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Wicks, Frank. "The Oil Age." Mechanical Engineering 131, no. 08 (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 enterpr

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Martini, Michele. "Investigating the Historical Background of Mocha Dick's Legend." Leviathan 25, no. 3 (2023): 114–22. http://dx.doi.org/10.1353/lvn.2023.a913125.

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Abstract: It is widely acknowledged that Herman Melville's Moby-Dick has been inspired by a variety of sources. One of these is the legend of Mocha Dick, about which Jeremiah N. Reynolds published the earliest known account in 1839. In his narration, Reynolds describes an evening he spent on board an unspecified whaling ship off Mocha Island, Chile, during which the whaler's first mate claimed to have killed Mocha Dick on a previous whaling voyage. This essay aims to substantiate the setting of Reynolds's account, in an attempt to identify the alleged murderer of Mocha Dick and eventually to i

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