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. / The Notion of Chasing has been part of cinema life from the very beginning, so much so that it has almost become an archetypal form. It was the principal method of moving the plot forward in short films when cinema began and remained a normal method of structure for feature-films. The presence, or absence of chasing whether in a related form such as tailing someone or on foot, is an extremly interesting element of film characterisation. The condition of its elaboration and of reception must be put back into context and studied with the perspective of the history of the form. Studying the importance given to chasing by four French film directors of different eras, Louis Feuillade, René Clair, Jean-Pierre Melville et Philippe de Broca, will bring out the form’s perennity. Likewise comparing the director’s management of such scenes, especially since these four can on occasion seem like opposites, enables one to use chasing as an differentiating criteria that is particulary important when bringing out the value, both symbolic and intrinsic, of this form as an aesthetic and anthropological form.

This dissertation interprets how two antebellum American works of fiction, Herman Melville’s Benito Cereno and Martin R. Delany’s Blake, represent the relationship between conjuring and resistance to oppression. It is unclear how we should conceive of this relationship: on the one hand, historical slave conspiracies and revolts in the Atlantic world demonstrated the unequivocal power of conjuring for assembling collectives; on the other hand, many slaves who turned to conjuring to ease their suffering later dismissed the practice as nonsense in their autobiographies. My close-readings of these two texts are supported by a wide-range of historical and cultural materials, including the vast literature on conjuring, the Peruvian discourse on the saya y manto, and the discourse on fetishism. I conclude that acts of conjuring drive plot and explain a character’s actions or inactions under circumstances in which resistance to oppression involves obtaining or preserving freedom for presently or formerly enslaved people. In addition, this dissertation provides a method for reading conjuring in Benito Cereno and interprets a form of conjuring in Blake that readers have neglected.

Thesis (PhD)--University of Stellenbosch, 2003. / ENGLISH ABSTRACT: Herman Melville (1819-1891) remains a recalcitrant and enigmatic presence in the Western canon. This dissertation explores the radical narrative strategies engaged by Melville in the composition of his prose fictions. It is my contention that Melville's writings to an important degree constitute a subversive response to the privileged apocalyptic and teleological narratives of the day-national, ontological, metaphysical, and literary, or aesthetic-and that he primarily engages these narratives in terms of the archetypal symbolism of the romantic quest. Against this linear and goal-oriented, or plotted, progress, Melville's own narratives assert the nonredemptive forces of time, change, and natural flux, which the quest is symbolically meant to conquer and subject to a redemptive pattern. Melville's critique of the quest takes the shape of a radical fragmentation of its agonistic, evolutionary force-its progress-which is always directed towards a resolvent end. In this sense, most of his protagonists may be defined as questers, characters who seek, by some (individuating) action, to achieve a monumental point of closure. But the Melvillean narrative (even when narrated by the protagonist) always resists this intention. His rhetoric is digressive and improvisational, his style heterogeneous and parodic, and his endings always indeterminate and equivocal. Significantly, this same quality renders his prose fictions highly resistant to an apocalyptic hermeneutics that strives to redeem the monumental "meaning" of the work from the narrative itself. The destabilising questions raised in Melville's work with regard to redemptive plot and progress ultimately centre on the idea of Providence, in other words, the authorising telos that informs, governs and justifies the quest. By fragmenting this quest, Melville undermines the effective presence of Providence, clearing away what he perceives to be an illusion of control harboured in a dual but related image of the providential God and the providential author as external, "metaphysical" authorities directing their worlds in terms of a master plan toward final and meaningful closure. Melville's fiction, then, imaginatively (and philosophically) engages a world in which such stable authorising centres are absent. It is in terms of this absence that I intend to examine the nature of Melville's prose fictions. The focus in this dissertation is specifically on Typee, Omoo, Mardi, Redburn, White-Jacket, Pierre, Israel Potter and The Confidence-Man. Throughout, however, the canonical Moby-Dick and the unfinished and posthumous Billy Budd, are also drawn into the discussion in order to clarify and extend the points raised. / AFRIKAANSE OPSOMMING: Herman Melville (1819-1891) bly 'n weerspannige en enigmatiese aanwesigheid in die Westerse kanon. Hierdie verhandeling ondersoek die radikale narratiewe strategiëe wat deur Melville ingespan is tydens die komposisie van sy fiksie in prosa. Ek gaan van die standpunt uit dat Melville se werk tot 'n groot mate gedefinieer word deur 'n ondermynende reaksie teen die bevoorregte apokaliptiese en teleologiese narratiewe diskoerse van sy tyd-nasionaal, ontologies, metafisies, en literêr, of esteties-en dat hy hoofsaaklik hierdie diskoerse ondersoek in terme van die argetipiese simboliek van die romantiese soektog of "quest." Teenoor hierdie lineêre en doelgerigte, of beraamde ("plotted"), vooruitgang, beklemtoon Melville se eie verhale die nie-verlossende kragte van tyd, verandering, en natuurlike stroming, dit wat die "quest" simbolies beoog om te oorwin en onderwerp aan 'n verlossings-patroon. Melville se kritiese beoordeling van die "quest" neem die vorm aan van 'n radikale fragmentering van die opposisionele, evolusionêre krag---die progressie-wat altyd op 'n beslissende slot gerig is. In hierdie sin kan ons die meerderheid van sy protagoniste as soekers ("questers") definieer, karakters wat poog, deur middel van die een of ander (individuerende) handeling, om 'n monumentale slot te behaal. Maar die Melvilliese verhaal (selfs wanneer deur die protagonis vertel) werk altyd dié voorneme teë. Sy retorika is uitwydend en improvisatories, sy styl heterogeen en parodies, en sy slotte altyd onbeslis en dubbelsinnig. Dit is aanmerklik dat hierdie einste eienskap sy fiksie hoogs weerstandig maak teen 'n apokaliptiese hermeneutiek wat poog om die monumentale "betekenis" van die werk uit die narratief self te herwin of "verlos." Die ondergrawende vrae wat in Melville se werk ten opsigte van die beslissende verloop ("plot") en progressie geopper word word uiteindelik grotendeels gekoppel aan die idee van die Voorsienigheid, met ander woorde, die outoriserende telos wat die "quest" beïnvloed, regeer en regverdig. Deur die "quest" te fragmenteer, ondermyn Melville die effektiewe teenwoordigheid van die Voorsienigheid, en verwyder daarmee dit wat hy ervaar as 'n illusie van beheer wat behoue bly in die dubbele beeld van die bestierende God en die bestierende outeur as eksterne, "metafisiese" outoriteite wat hulle wêrelde in terme van 'n uitgewerkte plan na 'n finale en betekenisvolle einde lei. Melville se fiksie, dus, op verbeeldingsryke (en filosofiese) wyse, stel 'n wêreld daar waarin sulke outoriserende sentra afwesig is. Dit is in terme van hierdie afwesigheid wat ek beoog om die aard van Melville se fiksies te ondersoek. Hierdie verhandeling fokus op Typee, Omoo, Mardi, Redburn, White-Jacket, Pierre, Israel Potter en The Confidence-Man. Die kanonieke Moby-Dick en die onvoltooide en postume Billy Budd word egter deurgaans in die bespreking opgeneem ter wille van die duidelikheid en uitbreiding van die argument.

Andrew Melville (1545-1622) was the leader of the Presbyterian wing of the Scottish Kirk between 1574 and 1607, and he and his colleagues were a perpetual irritant to James VI and I in his attempts to establish a royal and Episcopal dominance over the Kirk. Yet much of Melville’s reputation has been based on the seventeenth-century Presbyterian historical narratives written by the likes of James Melville (Andrew’s nephew) and David Calderwood. These partisan accounts formed the basis of modern historiography in Thomas M’Crie’s monumentally influential Life of Andrew Melville. Modern historians broadly agree that Melville’s portrayal as a powerful and decisive church leader in these narratives is greatly exaggerated, and that he was at best an influential voice in the Kirk who was quickly marginalised by the adult James VI. However, only James Kirk has commented at any length on Melville’s other role in Jacobean Scotland—that of developing and reforming the Scottish universities. Melville revitalised the near-defunct Glasgow University between 1574 and 1580, and from 1580 to 1607 was principal of St Mary’s College, St Andrews, Scotland’s only divinity college. He was also rector of the University of St Andrews between 1590 and 1597. This thesis provides a detailed account of Melville’s personal role in the reform and expansion of the Scottish universities. This includes an analysis of his direct work at Glasgow, but focuses primarily on St Andrews, using the untapped archival sources held there and at the Scottish National Library and Archives to create a detailed picture of the development of the University after the Reformation. This thesis also evaluates the intellectual content of Melville’s reform programme, both as it developed during his time in Paris, Poitiers and Geneva, and as we see it in action in St Andrews.

This dissertation traces the historical emergence of what I call the romance with Melville during the postwar moment and argues that its striking endurance demands that we rethink the relationship between the discipline’s past and present. For the enduring vitality of the romance with Melville throughout the twentieth century points to deep continuities across major cuts in the discipline’s history. These continuities that the romance makes visible suggest that the discipline’s past is not so monolithically invested in masculinism, nationalism, and racism as many dominant voices have claimed it was, and also that the discipline’s present has not broken with its predecessors as completely as many had thought. I begin with a chapter that introduces the prevalence of the romance with Melville in American literary history, interrogates why Melville’s work lends itself so readily to this hermeneutic move, and articulates how the persistence of this move upsets the authoritative histories of American literary studies. My second chapter describes how Melville’s final story Billy Budd elicited a remarkably explicit transatlantic conversation about the affective and political ramifications of postwar heteronormativity. Chapter 3 examines C.L.R. James’s conversation with postwar Americanists about Moby-Dick, a conversation in which James sought to galvanize the critical community to fight the anti-democratic Cold War immigration laws under which James himself was being deported. My final chapter analyzes Ralph Ellison’s use of Moby-Dick, “Bartleby,” “Benito Cereno,” and The Confidence-Man to argue that American literature is fundamentally concerned with and informed by issues of racial injustice and inequality. In both his literary criticism and his fiction, Ellison, I argue, used Melville’s writing to criticize the racial negligence of American literary critics and to reflect on the ironies of his own abiding loyalty to white canonical writers like Melville. When one follows the various permutations of the romance with Melville in this moment and attends to the contestations it facilitated, one finds a rich, politically multivalent critical discourse that in many important but unacknowledged ways lays the groundwork for the political desires and textual attachments that continue to animate American literary studies. / text

This essay examines three of Herman Melville’s shorter fictions: Bartleby, Benito Cereno and Billy Budd. An analysis and comparison is made of the forces of power relations and resistance between the main characters in the three stories. Foucault’s theories of power are used as a basis for the analysis. Apparent power structures such as law and military hierarchy are analysed, but the focus is on more subtle relations based on language, knowledge, conformity with norms, silence, capitalism and position. It is argued that, apart from the apparent power structures, one needs to consider the more subtle power relations and acts of resistance for an understanding in the shifts of power positions. The study examines how the resisting oppressed party in each of the three works of fiction ends up dead, and that on a first reading resistance may seem futile. A further examination of the seemingly re-established conventional order, however, reveals shifts in power positions, shifts that indicate instability in the norms of society. It is argued that positions of power are to some extent reversed in the studied works of fiction, where the dominant party ends up suffering.

A study of any one of Herman Melville’s works is bound to be a fascinating and informative venture. Within the products of his prolific writing career are keen, precise, enlightening observations about nineteenth-century America. Religion, politics, business, literature, and philosophy are all within the realm of Melville’s careful consideration. Melville was a man who reacted to his world with intense curiosity and passion. Melville was also extremely introspective – searching, questioning, and examining himself with equal intensity. “Bartleby the Scrivener” offers an interesting synthesis of Melville’s double vision. Within the confines of this tale are Melville’s reaction to his world and his reaction to himself. The purpose of this study is to examine the kaleidoscopic perspective of Melville, the complexity of his world and mind. Examining Bartleby as a simple man, a superman, and the artist in society acknowledges the complexity of Melville’s mind and art and furthers understanding of this particular story, Melville’s others works and Melville himself. Most scholarly considerations of “Bartleby” have centered on one perspective to the exclusion of all others; to do so is a violation of Melville’s purpose, plan and message. Bartleby is, first of all, considered as a simple man, a fictitious character in a story in relation to other fictitious characters. At this level it is possible to understand how Melville used the basic elements of fiction in his story to show the broad literary motifs with which he was concerned. Within the second level of consideration Bartleby is seen as one of Melville’s supermen, a man who by virtue of his tragic vision, isolated existence, and nonmaterialistic mindset rises above the superficiality, pettiness, and mundane nature of the common man. At the third and final level Bartleby is considered as the artist in society. The autobiographical element in this consideration is extensive. Melville depicts the plight of himself and all creative individuals in modern capitalistic societies, contending that the artist is partially responsible for the intellectual salvation of the common man. The artist’s purpose or quest is to enlighten the understanding of simple men, to help them see the complexity and darkness of reality. Such enlightenment makes supermen out of simple men. An examination of “Bartleby” at these three levels provides an extensive but not exhaustive analysis of Melville’s story. There are finer shades of meaning and more intricate nuances of thought within the story. The purpose of considering Bartleby as simple man, superman, and artist is to understand the processes of Melville’s mind, the essentials of his thought, and the recurrent patterns of imagery and allusions in his literature. It is to identify the most essential specific themes and ideas in the story and to minimize its complexity and obscurity without sacrificing the richness and depth of Melville’s thought. The study is an attempt to understand and meet Melville as far as possible on his own terms.

Many critics not satisfied with explaining Moby-Dick in terms of the novel, have sough analogies in other literary genres. Most often parallels have been drawn from epic and dramatic literature. Critics have called Moby-Dick either an epic or a tragedy. After examining the evidence presented by both schools of thought, after establishing a workable definition of the epic and listing the most common epic devices, and after examining Moby-Dick in terms of this definition and discovering many of the epic devices in it, I propose the thesis that Melville has written an epic, not unlike the great epics of the past.

To illustrate Melville’s navigation of editorial politics in the periodical marketplace, this study analyzes two stories Melville published in Putnam’s in order to reconstruct the particular historical, editorial, social, and political contexts of these writings. The first text examined in this study is “Bartleby,” published in Putnam’s in November and December of 1853. This reading recovers overtures of sociability and indexes formal appropriations of established popular genres in order to develop an interpretive framework. Throughout this analysis, an examination of the narrator’s ideological bearings in relation to the unsystematic implementation of these ideologies in American public life sets forth a set of interrelated social and political contexts. Melville’s navigation of these contexts demonstrates specific compositional maneuverings in order to tend to the expectations of a popular readership but also to challenge ideological norms. Israel Potter, Herman Melville’s eighth book-length novel, serialized in Putnam’s from July of 1854 to March of 1855, is the focus of the second case study. This study tracks Melville’s engagements and disengagements with a variety of source materials and positions these compositional shifts amid contemporaneous political ideologies, populist histories, middle-class values, audience expectations, and editorial politics. This study will demonstrate that Melville set out to craft texts for a popular readership; however, Melville, struggling to recuperate his damaged credentials, seasoned by demoralizing business dealings, his ambitions attenuated by the realities of the literary marketplace, undertook the hard task of self-editing his works to satisfy his aspirations, circumvent editorial politics, and meet audience expectations.

A literary text is a means for critics to analyze societal influence on the author, and both fashion and body modification serve this same function because they are legible texts with which to interpret the psychological motivations of the wearer in the cultural context in which he or she lives. Fashion theorists such as Roland Barthes and J.C. Flugel have detailed the reasons that they believe dress evolves throughout time, and the following thesis applies their theories to Melville's first novel Typee. In the first chapter, entitled, "Moral Fibers: Dress as the Extension of Self," much emphasis is given to archetypes of dress such as the veil, the corset and military uniforms in the Orient and the Occident. The second chapter, "Cut From the Same Cloth: Body Modification as Semiotic Modality," discusses ritualistic tattooing as a mode of literary expression. / by Tealia DeBerry. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.