Given that Poe's predilection for short forms of fiction is known to have motivated the majority of his writings, the status of The Narrative of Arthur Gordon Pym as his only completed novel forms an interesting development worthy of investigation. One of the most striking features of the novel is the discrepancy between physical phenomena and the protagonist's subjective interpretation of these. This study is concerned with the significance of Pym's perceptions particularly in those episodes which reveal the problematic relationship between appearance and reality evident in the character's constant misreading of events, as well as the tension between these two conflicting elements that underlies the movement of the text.

My task in this thesis is to assess the theological implications of Herman Melville’s aesthetic understanding of the modern Subject as a duplicitous self-creation. Although Melville is obviously not a theologian, either by discipline or confession, I will argue we find in the complex theatricality of his life and fiction a means of articulating the potential of a truly radical theological thinking. Such a thinking, I argue, ‘unthinks’ all previous grounds, in order then to recast them imaginatively. For Melville, we shall see, that which identifies theology ‘as theology’ is not simply an unattainable, transcendent Thing-in-Itself. It is, on the contrary, the active emergence of unthinkable excess from the materialistic immanence of its self-characterisation. The aesthetico-theological thinking in view here highlights the necessity of a repositioning of theological discourse from the binary perspective that inevitably leads to self present identification, be it in a discipline or a confession, to the radically decentered / desacralized interdisciplinarity of theology becoming-itself. I seek to achieve this end by situating Melville close to the Germanic philosophical climate that was sweeping across the American literary landscape of the mid-19th century. Melville’s ambivalent attitude toward his own desire for self-destruction, and thus, too, his desire for a non-subjective common pool of artistic genius, is strictly parallel to his misgivings about Transcendentalism and Romanticism. It is, I argue, in the dialectical materialism of Friedrich Schelling that we find Melville’s philosophical analogue, in their respective efforts to understand the self-becoming of the Absolute / God / Truth. Here we find an aesthetico-theological thinking attuned to the creative inadequacy of self-becoming, whereby the finite inadequacy and perspectival duplicity of theological self-presentation carry the potential of a self-creativity that makes all things new. As such, for aesthetico-theological thinking there is truly nothing behind or beyond the materiality of experience - i.e., no Ding an sich or transcendental determination of being. And precisely for this reason the awareness and actualisation of something new, indeed something miraculous because it was previously impossible, is made possible.

This thesis explores Herman Melville’s relationship to sceptical philosophy. By reading Melville’s fictions of the 1840s and 1850s alongside the writings of Descartes, Berkeley, Hume, and Kant, I seek to show that they manifest by turns expression, rebuttal, and mitigated acceptance of philosophical doubt. Melville was an attentive reader of philosophical texts, and he refers specifically to concepts such as Berkeleyan immaterialism and the Kantian “noumenon”. But Melville does not simply dramatise pre-existing theories; rather, in works such as Mardi, Moby-Dick, and Pierre he enacts sceptical and anti-sceptical ideas through his literary strategies, demonstrating their relevance in particular regions of human experience. In so doing he makes a substantive contribution to a philosophical discourse that has often been criticised – by commentators including Samuel Johnson and Jonathan Swift – for its tendency to abstraction. Melville’s interest in scepticism might be read as part of a wider cultural response to a period of unprecedented social and political change in antebellum America, and with this in mind I compare and contrast his work with that of Dickinson, Douglass, Emerson, and Thoreau. But in many respects Melville’s distinctive and original treatment of scepticism sets him apart from his contemporaries, and in order to fully make sense of it one must range more widely through the canons of philosophy and literature. His exploration of the ethical consequences of doubt in The Piazza Tales, for example, can be seen to anticipate with remarkable precision the theories of twentieth-century thinkers such as Emmanuel Levinas and Stanley Cavell. I work chronologically though selected prose from the period 1849-1857, paying close attention to the textual effects and philosophical allusions in each work. In so doing I hope to offer fresh ways of looking at Melville’s handling of literary form and the wider shape of his career. I conclude with reflections on how Melville’s normative emphasis on the acknowledgement of epistemological limitation might inform the practice of literary criticism.