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This dissertation examines the representation of foreign language in nineteenth-century American travel writing, analyzing how authors conceptualize the act of translation as they address the multilingualism encountered abroad. The three major figures in this study--James Fenimore Cooper, Herman Melville, and Mark Twain--all use moments of cross-cultural contact and transference to theorize the permeability of the language barrier, seeking a mean between the oversimplification of the translator's task and a capitulation to the utter incomprehensibility of the Other. These moments of translation contribute to a complex interplay of not only linguistic but also cultural and economic exchange. Charting the changes in American travel to both the "civilized" world of Europe and the "savage" lands of the Southern and Eastern hemispheres, this project will examine the attitudes of cosmopolitanism and colonialism that distinguished Western from non-Western travel at the beginning of the century and then demonstrate how the once distinct representations of European and non-European languages converge by the century's end, with the result that all kinds of linguistic difference are viewed as either too easily translatable or utterly incomprehensible. Integrating the histories of cosmopolitanism and imperialism, my study of the representation of foreign language in travel writing demonstrates that both the compulsion to translate and a capitulation to incomprehensibility prove equally antagonistic to cultural difference. By mapping the changing conventions of translation through the representative narratives of three canonical figures, "Transnational Translation" traces a shift in American attitudes toward the foreign as the cosmopolitanism of Cooper and Melville transforms into Twain's attitude of both cultural and linguistic nationalism. / English

These documents supplement the previously deposited Murray and Tillett working paper: “Cataloging Theory in Search of Graph Theory and Other Ivory Towers. Object: Cultural Heritage Resource Description Networks.” http://hdl.handle.net/10150/136270. A different version of Fig 8, “FRBR Paper Tool Diagram Elements And Graphs” is included. Documents not referenced in the paper include: “Modeling The Superwork Issue,” which models the concept of a Work composed of other Works two ways; “Progressive Disaggregation,” which demonstrates the recursive process by which simple resource and descriptions composed of other descriptions are resolved to elementary graph structures; and “Serial Publication,” which highlights the pedagogical and IT system guidance role that FRBR resource description diagrams can play with respect to complex publishing phenomena. A “Find & Navigate” diagram element has been introduced in the serial publication diagram as a theoretical necessity with practical implications. The elements provide a consistent means for depicting the linking functions provided by identifiers, name and subject authority records, and prescribed and arbitrary relationships. The tables and legends found on the right side of the diagram suggest how diagram components may be expressed as “triple” style statements for implementation-minded readers.

La poursuite est une figure qui accompagne le cinéma depuis ses débuts jusqu'à en devenir, presque, la forme archétypale. Elle a constitué le principal mode de linéarisation des formes courtes du cinéma des premiers temps et reste un mode habituel de structuration des grands récits. Présence et absence de poursuites, existence sous des formes apparentées telles que la filature ou la déambulation, sont des éléments de caractérisation des films particulièrement intéressants. Leurs conditions d'élaboration et de réception sont à replacer dans leur contexte et à étudier dans une perspective d'une histoire des formes. Observer la place qui est donnée à la poursuite par quatre réalisateurs français, d'époques différentes, Louis Feuillade, René Clair, Jean-Pierre Melville et Philippe de Broca, conduit à mettre en évidence sa pérennité. L'analyse comparée de sa mise en scène chez ces cinéastes que tout, parfois, semble opposer, permet d'utiliser la poursuite comme un critère de distinction pour mettre en évidence la valeur symbolique et la signification intrinsèque de cette figure, tant comme forme esthétique que comme forme anthropologique.

Student Number : 7639580 - MA research report - Faculty of Humanities / This research report explores the motif of the water journey as a metaphor for philosophical enquiry in Melville and Conrad by comparing Moby-Dick with Heart of Darkness, and Billy Budd, Sailor with Lord Jim. It takes as its starting-point M.H. Abrams’s essay, “Spiritual Travelers in Western Literature”, and adapts the typology which he introduces by identifying four different kinds of fictional journey, namely, the physical, the experiential, the narrative and the hermeneutic. By concentrating on a broadly-based semiotic approach to interpretation (while also allowing for other critical possibilities), it examines Melville and Conrad’s treatment of certain pivotal issues in metaphysics, epistemology and ethics. It compares the narrative strategies of the two authors and, by offering close readings of the four texts under discussion, it highlights the similarities and differences in the authors’ responses to a universe of teasing complexity, as well as exploring the reader’s engagement with such texts.

This paper investigates Herman Melville’s quest for spiritual stability and certainty in his novel Moby-Dick. The analysis establishes a philosophical tradition of doubt towards the Bible, outlining the philosophies of Thomas Hobbes, Benedict de Spinoza, David Hume, Thomas Paine and John Henry Newman. This historical survey of spiritual uncertainty establishes the issue of uncertainty that Melville writes about in the nineteenth century. Having assessed the issue of doubt, I then analyze Melville’s use of metaphorical charts, which his characters use to resolve this issue. Finally, I present Melville’s philosophical findings as he expresses them through the metaphor of whaling. Here, I also scrutinize Melville’s depiction of nature, as well as his presentation of the dichotomy between contemplative and active questing, as represented by the characters Ishmael and Ahab.

Zugl.: Erlangen, Nürnberg, Univ., Diss., 2008

Thesis (Ph.D.)--University of Delaware, 2005. / Principal faculty advisor: J.A. Leo Lemay, Dept. of English. Includes bibliographical references.

本文重在分析梅爾維的史詩《克萊柔：聖地朝之》中表現對男性 情誼的渴望。男性是間一種深刻友從心理以及精神層面來看，渴望這種情誼與男同性愛類似，但是前者無關欲的。舉個例子《白鯨記》 渴望這種情誼與男同性愛類似，但是前者無關欲的。舉個例子《白鯨記》 中以實瑪利對魁格的感情就更適合稱作男性誼而非同愛。本文認爲，克萊柔對西利歐（ Celio）和薠（ Vine）的渴慕純粹是精神上，而他對那 ）的渴慕純粹是精神上，而他對那 個對那里昂青年（ the Lyonese)卻毫無渴慕之情可言。這個觀點跟很多學者前 卻毫無渴慕之情可言。這個觀點跟很多學者前 輩們的觀點不同，他認爲克萊柔對男性情是跟欲望沾邊。本文指出他們之所以得出 這種結論是由於沒有從整體上去把握首詩。他們抓住了一些 模糊的表述，卻忽略了這些與上下文關係。本對首詩分析會格外注意它的完整性。同時，本文也會借助一些外材料比如艾默生章、霍桑的小説 、梅爾維的通信以及他另外一首詩 《歡會之後 》(“After the Pleasure Party”)。本文的論述主要分 爲四個部，大致跟這首詩的四個部分吻 合 / This paper discusses the desire for male intimacy in Melville’s epic Clarel: A Poem and Pilgrimage in the Holy Land. Male intimacy is intense friendship, the desire for which partakes of spiritual and psychological aspects of homosexual desires but differs from them in that it is not sexual. As an indicative instance, the relationship between Ishmael and Queequeg is more appropriately called “male intimacy” than “the homosexual.” This paper argues that Clarel’s yearning for Celio and Vine is purely spiritual and that the Lyonese is not an object of desire for Clarel. This view is a challenge to many earlier critics’ belief that Clarel’s spiritual pursuit is tinged with eroticism. Their belief, as this paper will demonstrate, results from a limited reading of the poem. That is, they insist on some ambiguous statements without enough regard to the context. This paper attempts to read Clarel closely and comprehensively. It will resort to some external texts, such as Emerson’s writings, Hawthorne’s novels, and Melville’s correspondence, as well as his poem “After the Pleasure Party.” The body of this paper matches the structure of the poem: the four chapters correspond respectively to its four parts.