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Melville's monumental imagination /Maloney, Ian S., January 1900 (has links)
Texte remanié de: Thesis Ph. D.--College university of New York. / Bibliogr. p. 155-162. Index.
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"And so hell's probable" Herman Melville's Moby-Dick and Pierre as descent narrativesTreichel, Tamara January 2008 (has links)
Zugl.: Heidelberg, Univ., Diss., 2008
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Melville's use of classical mythologySweeney, Gerard M. January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. Description based on print version record. Includes bibliographical references.
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Recht und Literatur als friedlose Konstellation eine Arbeit zu Herman Melvilles Bartleby und Billy Budd und zu William Dean Howells' An imperative duty /Müller, Wolfgang. January 2002 (has links)
Berlin, Freie Universiẗat, Diss., 2002. / Dateiformat: zip, Dateien im PDF-Format.
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Cannibals ate my title : or, Melville's white cannibalism and the laboring bodySchlein, Helene Remy 08 October 2014 (has links)
In Herman Melville’s first novel Typee, he creates a culture of Polynesian cannibals as decidedly more civilized than the comparatively “savage” American missionaries. This report examines Melville’s use of cannibalism as a central metaphor beyond Typee and throughout his works, spanning both time and genre, to complicate U.S. American capitalism and slavery. Melville illustrates how a body’s potential for labor determines its use value to an exploitative extent in which man-eating and laboring become practices that mirror each other and, in conversation, self-destruct. This report traces how Melville expands the object of the cannibal from other to self, ultimately warning that the desires that underlie cannibalism eat at the nation until it consumes itself from the inside, “[feeding] upon the sullen paws of its gloom!” (M-D 131). Melville applies notions of the cannibal from Typee onto the laboring body in Moby-Dick, suggesting cannibalism as tangential to capitalism and wage labor. Melville later revises this association in the short story “Bartleby, the Scrivener,” in which the laborer rejects capitalism and is left to feed on his own body. This preoccupation continues through Benito Cereno, in which slaves cannibalize their master and commandeer the slave ship. While his uses of cannibalism are often shrouded in wordplay and allusion, Melville develops a domestic cannibalism from Moby-Dick’s Ahab’s monomania through Benito Cereno’s Babo’s rage. Melville’s consistent use of cannibalism as a metaphor for self-destrucion adumbrates a career-long tendency to break down differences between the civilized and the savage, ultimately to reveal the United States’ manipulation of laboring bodies as cannibalism disguised. / text
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A critical dictionary of Herman Melville's Polynesian termsChristodoulou, Constantine 25 April 2007 (has links)
The dissertation is divided into five chapters and focuses primarily on MelvilleâÂÂs
Typee, Omoo, Mardi, and Moby Dick.
Chapter I introduces the idea that Melville understood Polynesian better than
what critics have demonstrated, and that he used the Polynesian language to develop his
own multicultural aesthetic.
Chapter II discusses how Melville attempts to resolve his aesthetic
preoccupations by opening his narratives to the literary potential of the Polynesian
language. The chapter examines representative examples of the orthographic
idiosyncrasies of MelvilleâÂÂs Polynesian adoptions and adaptations which describe his
new literary aesthetic. The chapter also investigates how MelvilleâÂÂs Polynesian aesthetic
affects the construction of meaning in his texts. The chapter finally discusses examples
of past editorial choices which have sidestepped MelvilleâÂÂs Polynesian aesthetic and,
thus, provided readers with a limited understanding of the Polynesian languageâÂÂs role in
MelvilleâÂÂs texts. Chapter III analyzes samples of MelvilleâÂÂs Polynesian adoptions and adaptations
from the above narratives to emphasize the role of the Polynesian language in his Pacific
experience. This chapterâÂÂs intention is to underline the interaction between MelvilleâÂÂs
Polynesian language and culture and his texts, which engendered a complex
multicultural aesthetic that permeated his first three works, continued to influence his
later writings, and contributed significantly to his cosmopolitan vision of American
cultural identity.
Chapter IV contains the dictionary, which incorporates approximately two
hundred entries. Each entry is divided into four sections. The first is a series of quotes
from MelvilleâÂÂs texts that illustrate the various meanings that Melville has given to the
term being examined. The second is a list of definitions from various dialects, intended
to underline the various Polynesian linguistic elements that Melville adopted or adapted
to construct each particular term. The third is an interpretative paragraph that explains
how each term is divided into its constituent parts based on MelvilleâÂÂs aesthetic. The
fourth section contains specific quotes from other sources of the particular term that
underline the significance of that source to MelvilleâÂÂs knowledge of the particular term.
Chapter V concludes with the idea that this dissertation is meant as a starting
guide to reexamining MelvilleâÂÂs Polynesian aesthetic.
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Herman Melvilles 'Moby-Dick' und das antike Epos /Hänssgen, Eva. January 2003 (has links)
Th.--Heidelberg--Ruprecht-Karls Univ., 2001. / Bibliogr. p. 271-290.
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Herman Melville as revealed in his Civil War poems, Battle-pieces and Aspects of the WarMathieu, Bertrand January 1964 (has links)
No description available.
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Structure and imagery in Melville's short stories of the 1850's.Raff, Heather Ann. January 1968 (has links)
No description available.
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Air and brass : faith, philosophy, and events in the first six novels of Herman MelvilleFranks, Jesse Gibson January 1969 (has links)
There is no abstract available for this dissertation.
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