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Journal articles on the topic 'Or The Whale (Melville)'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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1

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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2

Bennike, Ole. "An early Holocene Greenland whale from Melville Bugt, Greenland." Quaternary Research 69, no. 1 (January 2008): 72–76. http://dx.doi.org/10.1016/j.yqres.2007.10.004.

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Radiocarbon age determination of a Greenland whale (Balaena mysticetus) vertebra from Melville Bugt in northwestern Greenland yields an age of 9259–8989 cal yr BP. The margin of the Greenland Ice Sheet in Melville Bugt was situated behind its AD 1950–2000 position in the early Holocene, at a similar position to that being reached following rapid retreat in recent years. Such an early deglaciation of areas close to the Greenland Ice Sheet is unusual. This probably reflects the unique glaciological setting resulting from the narrow fringe of ice-free islands and peninsulas and offshore waters with deep areas that characterize this part of Greenland. The timing of Greenland Ice Sheet retreat to its present margin varies significantly around Greenland.

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3

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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4

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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5

Tally Jr., Robert. "Herman Melville: Between Charlemagne and the Antemosaic Cosmic Man: Race, Class, and the Crisis of Bourgeois Ideology in the American Renaissance Writer." Historical Materialism 17, no. 3 (2009): 235–43. http://dx.doi.org/10.1163/146544609x12469428108781.

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AbstractTally reviews Loren Goldner's Herman Melville: Between Charlemagne and the Antemosaic Cosmic King, which posits that Melville was the American Marx, exposing the crisis of bourgeois ideology in the revolutionary period around 1848. In this, Goldner follows a tradition of Marxian scholarship of Melville, notably including C.L.R. James, Michael Paul Rogin, and Cesare Casarino. Tally concludes that Goldner's argument, while interesting, is limited by its focus on American exceptionalism and by ignoring the postnational force of Melville's novels.

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6

Hardack, Richard. "?Or the Whale?: Unpopular Melville in the Popular Imagination." Leviathan: A Journal of Melville Studies 9, no. 1 (March 2007): 101–2. http://dx.doi.org/10.1111/j.1750-1849.2007.01183_5.x.

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7

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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8

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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9

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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10

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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11

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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12

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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13

PARKER, HERSHEL. "The Isle of the Cross and Poems: Lost Melville Books and the Indefinite Afterlife of Error." Nineteenth-Century Literature 62, no. 1 (June 1, 2007): 29–47. http://dx.doi.org/10.1525/ncl.2007.62.1.29.

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Reviewers of Hershel Parker's Herman Melville: A Biography, 1851––1891 in the New York Times and other influential papers expressed disbelief that The Isle of the Cross and Poems (1860) had ever existed. In fact, Melville scholars had known much about The Isle of the Cross (but not the name) for decades and since 1922 had known almost everything about Poems. Like these reviewers, many other modern critics no longer perform archival research themselves and fail to acknowledge decades of basic documentary work done on Melville. It is as if critics believe nothing new could have been discovered after 1921, the year of Raymond Weaver's biography of Melville. The consequence of this ignorance, manifest in much literary criticism, is a pernicious distortion of the trajectory of Melville's whole literary career.

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14

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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15

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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16

Barnard, John Levi. "The Cod and the Whale: Melville in the Time of Extinction." American Literature 89, no. 4 (December 1, 2017): 851–79. http://dx.doi.org/10.1215/00029831-4257892.

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17

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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18

John Reid, Steven. "Andrew Melville, sacred chronology and world history: the Carmina Danielis 9 and the Antichristus." Innes Review 60, no. 1 (May 2009): 1–21. http://dx.doi.org/10.3366/e0020157x09000390.

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The accepted view of the ecclesiastical reformer Andrew Melville (1545–1622) as the dynamic leader of the Presbyterian movement in Jacobean Scotland has been severely eroded in recent years, with particular criticism of the actual importance of his contribution to the Kirk and to Scottish higher education. While this reductionism has been necessary, it has resulted in an inversion of the overwhelmingly positive traditional image of Melville, and does not give us a rounded assessment of his life and works. This article attempts to partially redress this balance by looking at a neglected aspect of Melville's Latin writings, which showcase his talents as a humanist intellectual and biblical commentator. It focuses on two long poems that are both commentaries and paraphrases of Daniel and Revelation: the Carmina Danielis and the Antichristus. Through these poems, we see how Melville engaged with two problems exercising reformed theologians across Europe: the dating of key biblical events and the historicised meaning of prophecies within these texts. We also find evidence that Melville read widely among both contemporary and ancient commentators on both these issues.

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19

Freedman, D. P. "A Whale of a Different Color Melville and the Movies The Great White Whale and Free Willy." Interdisciplinary Studies in Literature and Environment 4, no. 2 (October 1, 1997): 87–96. http://dx.doi.org/10.1093/isle/4.2.87.

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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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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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22

Dolan, Marc. "The "Wholeness" of the Whale: Melville, Matthiessen, and the Semiotics of Critical Revisionism." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 48, no. 3 (1992): 27–58. http://dx.doi.org/10.1353/arq.1992.0018.

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23

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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24

Sachs, Viola. "Melville’s Black Whale." Revue Française d'Etudes Américaines 50, no. 1 (1991): 401–8. http://dx.doi.org/10.3406/rfea.1991.1443.

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25

Clapham, Phillip. "Mr. Melville’s Whale." American Scientist 99, no. 6 (2011): 505. http://dx.doi.org/10.1511/2011.93.505.

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26

Hardack, Richard. "“Or, the Whale”: Unpopular Melville in the Popular Imagination, or a Theory of Unusability." Leviathan 11, no. 3 (October 2009): 7–26. http://dx.doi.org/10.1111/j.1750-1849.2009.01212.x.

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27

Ohge, Christopher. "Melville Incomplete." American Literary History 31, no. 1 (January 1, 2019): 139–50. http://dx.doi.org/10.1093/alh/ajy048.

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Abstract The final volume of Melville’s unfinished writings by the Northwestern-Newberry edition is a monumental achievement. Monumental but also vexed, and vexing. Melville’s unfinished poetry and especially his unfinished novella Billy Budd challenge traditional editorial theories of eclectic editing that have guided the NN editions for decades. The final volume remains beholden to a theory of critical editing that is less suited to the purpose of editing unfinished manuscripts than of works that exist solely in print versions. This dilemma makes the volume a fascinating instance of the choices editors must make in the era of digital editions. The edition, while mainly improving upon previous editions of Billy Budd and making available reliable texts of unpublished poems, also takes some perplexing liberties with Melville’s unfinished manuscripts. Aloof to new and enormously useful electronic resources, the edition’s diplomatic transcriptions also represent a huge amount of duplicated effort, and a lost opportunity for collaboration with existing digital projects. This edition is a valuable resource, but the debatable emendations of unfinished manuscripts, coupled with the dismissal of the currently available digital resources for manuscript study, shows that the reading texts should be consulted with some skepticism and with recourse to the surviving manuscripts.

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Sheffield, Marcus L. "Melville's Puritan Imagination." Prospects 25 (October 2000): 69–114. http://dx.doi.org/10.1017/s0361233300000582.

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To a remarkable degree the literary works of Herman Melville (1819–91) have been read as subversive to traditional American religious aspirations. Some early reviewers, while praising the vivid recreations of the smell of salt air and the taste of hardtack, noted the blasphemy, perversion, and immoral elements they perceived in Melville's narratives of life among the peoples of Polynesia. Especially prominent for reviewers were Melville's literary assaults on Christian missionaries. Later, as his career progressed, he appeared to abandon the vivid for the mystifying and turned to regaling his readers with profundities, allegory, and metaphysics, or so the critics said. Melville's literary reputation glowed warmly for a short while, cooled, then died. As from the dead, the reputation was reborn in the 1920s.

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Chatto, Ray, and J. Jacobson. "Whale strandings in the Northern Territory. IV. A mass stranding of Short-finned Pilot Whales Globicephala macrorhynchus on Melville Island." Northern Territory Naturalist 16 (July 2000): 19–20. http://dx.doi.org/10.5962/p.295552.

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Clymer, Jeffory A. "Property and Selfhood in Herman Melville's Pierre." Nineteenth-Century Literature 61, no. 2 (September 1, 2006): 171–99. http://dx.doi.org/10.1525/ncl.2006.61.2.171.

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In Pierre; or, the Ambiguities (1852) Herman Melville analyzes the intricacies of subjectivity and economics by way of two concrete and quite different forms of antebellum American property relations-the residual estates of the landed gentry in upstate New York and the emergent urban market economy of New York City. A condition of unassailability,of timelessness and imperviousness, infuses the family estate in Pierre, while incessant exchange characterizes the novel's urban finale. Taken together, these opposed economic arrangements represent Melville's meditation on how the very concept of alienability, the definitive aspect of modern property relations, impacted forms of non-slave identity in the antebellum United States. The condition of inalienability that structures the patrimonial estates presents the initially attractive possibility of removal from the turbulent world of property relations, exchange, and commodification,but it turns out to be an ideological fantasy supported primarily by violence and death. Melville, always one to brood about selfhood, and faced in Pierre with his realization of the rottenness at the core of his fantasy of a subjectivity not riven by alienability,responds with the novel's urban section. This second portion of the novel presents market relations as a horror wreaked principally on the self. Pierre, ultimately, represents Melville's monument to the desirability, and his dismay at the impossibility, of imagining identity outside the syntax of a market economy's version of property relations.

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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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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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33

Tan, F. C., and G. Vilks. "Organic carbon isotope ratios and paleoenvironmental implications for Holocene sediments in Lake Melville, southeastern Labrador." Canadian Journal of Earth Sciences 24, no. 10 (October 1, 1987): 1994–2003. http://dx.doi.org/10.1139/e87-190.

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Stable isotope 13C/12C ratios of organic carbon in sediments and in particulate organic carbon (POC) change from typically marine values in Groswater Bay to those of terrestrial soils in Goose Bay along an offshore–onshore transect in Hamilton Inlet, southeastern Labrator. The δ13C values in POC collected from close to the water surface change relatively little in Lake Melville, indicating that the integrity of the runoff plume is maintained as it spreads in Lake Melville. The organic carbon isotope ratios in POC collected from the near-bottom waters are similar to those of surficial sediments.Downcore δ13C values reflect paleo-oceanographic changes in Hamilton Inlet during and since deglaciation. In two sediment cores that reached sufficiently old sediments (10 000 years BP), the δ13C values change toward the bottom of the cores to values similar to those of the terrestrial organic carbon in soils, signifying greater terrestrial influence during deglaciation and during the early Holocene.According to the history of postglacial isostatic readjustment of the area, Lake Melville basin was more open to the marine waters during the early postglacial marine incursion because of deeper channels leading into Lake Melville. As a consequence, evidence for greater marine influence during that time should be found in sediment cores. The lack of evidence for the deposition of marine organic carbon brought in by the marine counterflow waters suggests a proximal glaciomarine environment in the Lake Melville basin. Glacial runoff diluted the basin waters, and it is possible that the whole inner Labrador Shelf was relatively fresh during that time.

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Dietz, R., and M. P. Heide-Jørgensen. "Movements and swimming speed of narwhals, Monodon monoceros, equipped with satellite transmitters in Melville Bay, northwest Greenland." Canadian Journal of Zoology 73, no. 11 (November 1, 1995): 2106–19. http://dx.doi.org/10.1139/z95-248.

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Positions were obtained for up to 100 days from nine narwhals, Monodon monoceros, representing both sexes and all age categories instrumented with satellite-linked UHF radio transmitters in Melville Bay (76°03′06″N, 61°14′90″W), northwest Greenland, in August – September 1993 and 1994. In both years all nine narwhals stayed within Melville Bay during the open-water portion of the tracking period. Most of the coastal positions obtained were inside the Melville Bay Wildlife Sanctuary. The narwhals also moved up to 100 km offshore to areas where water depths exceed 1000 m. There was no discernible relationship between tide and the movements of whales. By early to mid-October, the narwhals left Melville Bay and started migrating southwards along the continental slope, where water depths range from 500 to 1000 m. This southward movement ceased some 700 km farther south in late November, still in water with depths of 500–1000 m. The mean swimming speed of the whales during September varied between 2.9 and 8.2 km/h, calculated for intervals of 0.5–5 h between consecutive positions. No size- or sex-related pattern could be detected in swimming speeds, nor could any diurnal differences be found. The use of longer intervals between consecutive positions resulted in significantly lower calculated swimming speeds, suggesting that swimming speed will be underestimated if calculated over a longer time span. The mean swimming speed of one subadult and one adult male decreased significantly from 5.5 and 5.8 km/h in September to 2.7 km/h in November.

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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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Despland, Michel. "Two Ways of Articulating Outsider's Knowledge of Polynesian Culture and Religion: Melville's Typee and Mardi." Method & Theory in the Study of Religion 16, no. 2 (2004): 105–21. http://dx.doi.org/10.1163/1570068042360215.

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AbstractTwo of Melville's early works are contrasting attempts to report on what he saw and experienced during his stay in some islands of the South Pacific. Typee is presented as a sober, philosophical account of mores and religion, thus in keeping with the more ethnographic interests of travelers's reports. Mardi is an avowed work of fiction. While cannibalism serves to focus interest in the first, human sacrifice has this function in the second. Melville could find previous authors to support his approach in the first book but, even though he studied available works on mythologies, found no scholarship to help with the second issue. It is argued that the second work, albeit a fiction, makes the greater cognitive advance and helps discern the perils scholars had to face in the colonialist era.

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Armes, Brett. "Mobilitas-Dick; Or, Herman Melville's Whale as Mobility." Explicator 72, no. 3 (July 3, 2014): 192–95. http://dx.doi.org/10.1080/00144940.2014.932749.

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

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

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Dredge, Lynda A. "Late Pleistocene and Holocene glaciation and deglaciation of Melville Peninsula, Northern Laurentide Ice Sheet." Géographie physique et Quaternaire 55, no. 2 (June 21, 2004): 159–70. http://dx.doi.org/10.7202/008300ar.

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Abstract Melville Peninsula lies within the Foxe/Baffin Sector of the Laurentide Ice Sheet. Pre-Foxe/Pre-Wisconsin ice may have covered the entire peninsula. Preserved regolith in uplands indicates a subsequent weathering interval. Striations and till types indicate that, during the last (Foxe) glaciation, a local ice sheet (Melville Ice) initially developed on plateaus, but was later subsumed by the regional Foxe ice sheet. Ice from the central Foxe dome flowed across northern areas and Rae Isthmus, while ice from a subsidiary divide controlled flow on southern uplands. Ice remained cold-based and non-erosive on some plateaus, but changed from cold- to warm-based under other parts of the subsidiary ice divide, and was warm-based elsewhere. Ice streaming, generating carbonate till plumes, was prevalent during deglaciation. A late, quartzite-bearing southwestward ice flow from Baffin Island crossed onto the north coast. A marine incursion began in Committee Bay about 14 ka and advanced southwards to Wales Island by 8.6 ka. The marine-based ice centre in Foxe Basin broke up about 6.9 ka. Northern Melville Peninsula and Rae Isthmus were deglaciated rapidly, but remnant ice caps remained active and advanced into some areas. The ice caps began to retreat from coastal areas ~6.4 to 6.1 ka, by which time sea level had fallen from 150-180 m to 100 m.

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Parrish, Timothy. "Our White Whale, Elvis; or, Democracy Sighted." Prospects 20 (October 1995): 329–59. http://dx.doi.org/10.1017/s0361233300006104.

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The lyrics cited above are from the 1990 Living Colour single “Elvis Is Dead” and serve as another reminder, as if we needed one, that, despite the song's emphatic refrain, the rumors we hear are true: Elvis is alive. His shade haunts us, bringing with it strange but vital messages. Greil Marcus, Elvis's best critic, may be blessed with second sight when he avers that Elvis comprises our “cultural epistemology,” that he holds the “skeleton key to a lock we've yet to find.” Marcus's elliptical prophecy promises what for many may be a stunning revelation: Elvis Presley so profoundly embodies the complexities of American culture that only Melville'sMoby Dickis comparable to his richness, his ambiguity, his mysterious meaning. As with most supernatural sightings (or Melville's whale), Elvis's presence is nearly impossible to identify.

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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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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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Caddell, Jillian Spivey. "Melville's Epitaphs: On Time, Place, and War." New England Quarterly 87, no. 2 (June 2014): 292–318. http://dx.doi.org/10.1162/tneq_a_00370.

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In poetry and fiction, Herman Melville explored the epitaphic genre's capacity for destabilizing poetic voice and producing a temporality that is recursive but not necessarily recuperative. The epitaphs of Battle-Pieces (1866) invigorate the form while questioning its ability to memorialize the dead of the American Civil War.

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Vincent, Jean-Serge. "The Quaternary History of Banks Island, N.W.T., Canada." Géographie physique et Quaternaire 36, no. 1-2 (November 29, 2007): 209–32. http://dx.doi.org/10.7202/032478ar.

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ABSTRACT Banks Island is a polar desert where continental ice sheets, spreading from a dispersal centre to the southeast, reached their maximum extent on at least three occasions. The oldest Banks Glaciation affected all but the northwest. The Pre-Banks Sea preceded glacierization while the Post-Banks Sea formed during déglaciation. Following Morgan Bluffs Interglaciation, characterized by a climate similar to that of today, the south, the east, and the Thomsen River basin were covered during Thomsen Glaciation. The Pre-Thomsen Sea preceded the glacierization, while the Big Sea inundated much of the Island during déglaciation. Following the last or Cape Collinson Interglaciation, characterized by a climate warmer than that of the hypsithermal, Laurentide glacial lobes impinged on the coastal areas, during the M'Clure Stade of Amundsen Glaciation. Prince of Wales and Thesiger lobes, emanating from Amundsen Gulf, respectively advanced in Prince of Wales Strait and Thesiger Bay impinging on the east and southwest coasts. At the same time, Prince Alfred Lobe, originating in Viscount Melville Sound, advanced in M'Clure Strait and impinged on the north coast. The Pre-Amundsen Sea preceded the glacierization of the south coast, while the East Coast Sea submerged the east coast up to 120 m, the Meek Point Sea the west up to 20 m and the Investigator Sea the north up to 30 m, during déglaciation. The late Sand Hills Readvance of Thesiger Lobe built a morainic system on the southwest coast. Later, the northeast was covered, during the Russell Stade of Amundsen Glaciation, by Viscount Melville Lobe, emanating from Viscount Melville Sound, and the east coast was drowned up to 25 m by the Schuyter Point Sea. Limits of extent of Laurentide ice in the southwestern Archipelago are proposed for the two stades of the last or Wisconsinan Glaciation.

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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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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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McMillin, T. S. ""Strangers Still More Strange": The Meaning of Rivers Bedeviled." Review of International American Studies 14, no. 1 (September 30, 2021): 49–75. http://dx.doi.org/10.31261/rias.10267.

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Steamboats transformed rivers in 19th-century United States, providing what many people considered a kind of mastery over nature. In literature from the period, while most writers marveled at or exulted in that perceived mastery, some questioned the origins of the reputed conquest. Did it result from human ingenuity? divine inspiration? a deal with the devil? Amid all the fog, smoke, and various other vapors associated with the steamboat, vivid stories, compelling dramas, and comic searches for meaning took shape, and no literary work captured the tension informing, uncertainty surrounding, and ramifications emerging from this instance of technological innovation as powerfully as The Confidence-Man: His Masquerade (1857). Herman Melville’s last novel, The Confidence-Man explores the author’s notion that “Books of fiction” can perhaps give readers more truth, “more reality, than real life can show.” Literature, for Melville, was an opportunity to reconsider the nature of things and our means of understanding that nature. In The Confidence-Man, he presented readers with a different view of the Mississippi River and the curious vessels working its waters. The novel imagined The Devil himself to be on board the steamboat, imperiling the soul of America.

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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 (August 13, 2020): 238–57. http://dx.doi.org/10.1093/litimag/imaa030.

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Fensham, RJ, and JB Kirkpatrick. "Soil Characteristics and Tree Species Distribution in the Savannah of Melville Island, Norther Territory." Australian Journal of Botany 40, no. 3 (1992): 311. http://dx.doi.org/10.1071/bt9920311.

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In the savannah of Melville Island, Northern Temtory floristic variation relates strongly to both soil moisture regimes at different depths in the profile and chemical edaphic conditions. While some elements of variation in vegetation structure and overstorey species composition have clear edaphic relationships, many common tree species could be found as important overstorey components in a range of edaphic situations. The interaction of stochastic disturbance events and phenological condition may explain this deviation from environmental determinism.

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