[pt] A presente dissertação tem como objetivo investigar a historicidade da forma literária de Moby Dick. Pretende-se examinar como epopeia e tragédia atuam como princípios organizadores do enredo, orientando também as discussões temáticas presentes na obra, que envolvem tradições intelectuais e religiosas diversas, tais como o puritanismo e a filosofia iluminista. Também será analisada a forma pela qual o autor problematiza a identidade estadunidense, ao apresentar, tanto em Ahab quanto em Ishmael, alternativas à tradicional imagem do herói americano, marcado por uma inocência pré-lapsariana, tal como elaborada, p. ex., nos ensaios do filósofo trancendentalista Ralph Waldo Emerson. Se a tragédia aparece no romance, por meio de um diálogo constante com as peças de Shakespeare, conservando suas características fundamentais, a epopeia, ligada ao discurso de Ishmael e à descrição dos selvagens no navio, se manifestaria de forma mais difusa, relacionada à tentativa de um resgate de um sentimento de totalidade da vida perdido na modernidade, e articulada a outros tipos de discurso, especialmente à enciclopédia e à forma do ensaio. / [en] This dissertation intends on investigating the historicity of the literary form of Moby Dick, by examining how epic and tragedy act as plot-organizing principles and coordinate the thematic discussions in the book, which involve diverse intellectual and religious traditions, like puritanism and the enlightment philosophy. It also analyzes how the auctor raises questions regarding a national American identity, as he presents, both in Ahab and Ishmael, alternatives to the traditional image of the american hero characterized by a pre-lapsarian innocence, as described in the essays of the transcendentalist philosopher Ralph Waldo Emerson. If tragedy manifests itself in the novel mantaining its essential features through a dialogue with the plays of Shakespeare, the epic, which relates to Ishmael s speech and the description of the savage characters aboard the ship, does it on more subtle and diffuse ways, which are related to an attempt to restore a feeling of totality in life that was lost in modernity. It also appears articulated to other types of speech, especially the encyclopaedic discourse and the form of the essay.

This study examines how Herman Melville’s oeuvre interacts with Old Testament (OT) wisdom literature (the Books of Job, Proverbs, and Ecclesiastes). Using recent historical findings on the rise of religious skepticism and the erosion of Biblical authority in both Europe and the United States, I read Melville as an author steeped in the theological controversies of the eighteenth-century. Specifically, I am interested in teasing out the surprising disavowals of overt religious skepticism in Melville’s writing. By tracing the so-called Solomonic wisdom tradition throughout Melville’s oeuvre, I argue that Melville had developed an epistemology of contemplation towards that body of Biblical texts. Scholarship has traditionally painted Melville as a subversive if not downright skeptical religious thinker. Most studies have produced authorial readings, using texts as forensic evidence to make assertions about the author’s psychology. Incidentally, such assessments have confirmed the narrative of Herman Melville as a grand failed author of the nineteenth century, while ignoring the ambivalent attitudes toward Biblical authority, textual history, and skepticism that emerge in Melville’s writing. The present study intervenes by re-addressing several procedural questions about Melville’s literary dealings with the Bible: How does Melville deal with the distinct topics of religion, theology, religious skepticism, and doubt? How does he think through the relationship between science and religion as well as that of personal religion and theology? I claim that Melville’s work can be read as a continuous contemplation of Biblical wisdom. His writing, I argue, deals productively rather than a destructive with the Bible, its textual history, and authority. Melville’s thinking on theological and religious subjects was not merely subversive but constructive. In mounting this argument, I contradict current scholarship that reads Melville as trying to invent a new American Bible. In contrast, I show how Melville’s philosophical forays, even when critical, are dependent on the ethics, language, and thinking of the OT.

La problématique à l’étude dans ce mémoire est la représentation et conceptualisation de la notion de posthumanité dans trois romans de Philip K.Dick : The Three Stigmata Of Palmer Eldritch, Do Androids Dream Of Electric Sheep? et Ubik. L’analyse de ces romans nous permettra de montrer que l’auteur américain focalise sa réflexion sur le posthumain sur la subjectivité transcendante de personnages qui absorbent, et se substituent à la réalité d’autres personnages dans leur environnement. Nous montrerons également que l’écriture de Dick a évolué vers une vision plus spirituelle ou mystique en se détachant graduellement du récit de science-fiction traditionnel. Ce développement aura des répercussions significatives sur sa postérité cyberpunk. / This thesis examines the problematic of posthumanity in three novels by Philip K. Dick: The Three Stigmata Of Palmer Eldritch, Do Androids Dream Of Electric Sheep and Ubik. I shall argue that the notion of “transcendent subjectivity” is central to Dick’s conceptualization of the posthuman and that the novelist’s engagement with this notion enables a shift in his writing towards a more spiritual or mystical vision. Dick’s vision of the posthuman had a profound impact on cyberpunk authors such as William Gibson, Bruce Sterling and Neil Stephenson. The questioning of the posthuman is a recurring strategy in the work of these writers.

In Herman Melville’s Moby Dick Captain Peleg declares, “Ahab has his humanities.” Although many facets of Ahab’s character have been explored, his humanities have not been discussed at length. The Oxford English Dictionary defines “humanities” as “human attributes; traits or touches of human nature or feeling; points that concern man, or appeal to the human sensibilities.” This definition is vague; the specific qualities which should be included must be enumerated, since the humanities of one culture may not be the same as those of another. Ahab has been associated with two cultures – The Western, Christian tradition and the Near Eastern, Zoroastrian tradition. Ahab has been a Quaker associated with Calvinists, groups which hold different views of human actions. Further, Ahab has been in an authoritative position for many years. Out of these five strands of his background, the old man’s humanities must be drawn. First, a workable definition of “humanities” can be developed through an exploration of positive attributes in Zoroastrianism and Christianity in general; qualities of particular merit in Quakerism and Calvinism can also be described. Of special interest is Father Mapple’s sermon listing a series of “woes” and “delights.” In addition, certain qualities necessary in a good leader must be examined. Second, to get some perspective on Ahab’s character on the final voyage, one must attempt to piece together the old man’s life prior to the final voyage to see what, if any, “humanities” were present. This discussion will offer some thoughts on the relations of Ahab’s name to his stance toward God, men and nature. Third, Ahab’s humanities during the final voyage may be seen in his relationships with three significant characters: Starbuck, Pip and Fedallah. In each discussion four points are noteworthy: (1) the similarities and differences in the individual’s and Ahab’s backgrounds, (2) the motivation for Ahab’s actions toward the individual, (3) the actions of Ahab, and (4) the results of the relationship upon Ahab and the other individual. Fourth, Ahab’s humanistic feelings are often expressed when he is alone. Nature acts upon the old man, and he responds. Thus the sea and sky offer him a chance to express some of his humane ideas. This study, then, attempts to answer the following questions: Did Ahab at any time possess attributes which might be termed “humanities?” Did Ahab’s humanities partly derive from specific strands of his background? Did Ahab retain all, some, or none of his humanities until his death?

In my thesis, Philip K. Dick's Do Androids Dream of Electric Sheep? is examined using French psychoanalyst Jacques Lacan's mirror stage theory. In the novel, humans have built androids that are almost indistinguishable from humans except that they lack a sense of empathy, or so the humans believe. The Voigt-Kampff Machine is a polygraph-like device used to determine if a subject shows signs of empathy in order to confirm if one is an android or a human. Yet, should empathy be the defining quality of determining humanity? In his article "The mirror stage as formative of the function of the ‘I’ as revealed in psychoanalytic experience," Lacan refers to a particular critical milestone in an infant's psychological development. When the baby looks in a mirror, they come to the realization that the image they are seeing is not just any ordinary image; it is actually themselves in the mirror. This "a-ha" moment of self-realization is what Lacan's Mirror Stage Theory is based on. According to Lacan's theory, the image that the child sees in a mirror becomes an "Other" through which they will always scrutinize and pass judgment on, for it is not how they have pictured themselves to be in their mind’s eye. I hypothesize that the androids are humans' artificial and technological Other. It is my thought that Dick uses the conflict of determining the biological from the artificial, the effort to differentiate humans from androids and biological animals from artificial ones, to illustrate Lacan's psychoanalysis of the mirror stage and its importance in our continual search for determining what humanity is and who we really are.

Ce mémoire présente les dernières avancées de l'horloge à réseau optique à atomes de strontium du LNE-SYRTE, Observatoire de Paris. Après avoir passé en revue les principes généraux des horloges à réseau optique et le fonctionnement de l'horloge, l'accent est mis sur les améliorations qui ont été apportées à l'expérience depuis 2007. Les éléments les plus importants sont une nouvelle cavité ultra-stable de référence pour le laser d'horloge, le développement d'une technique de détection non-destructive, et la construction d'une deuxième horloge à réseau optique de Sr. La cavité ultra-stable est composée d'un spacer ULE et deux miroirs en silice fondue et a montré un niveau de bruit thermique à 6.5E-16, ce qui la place parmi les meilleures du monde. La détection non-destructive est réalisée par une mesure de phase d'un faisceau sonde de faible intensité qui traverse les atomes placés dans un bras d'un interféromètre Mach-Zender. L'aspect non-destructif permet de recycler les atomes d'un cycle à l'autre et augmente par conséquent le rapport cyclique, ce qui permet d'optimiser la stabilité de l'horloge. Avec ces nouveaux outils la stabilité de fréquence attendue est à 2.2E-16/tau^(1/2) pour une séquence optimisée. Les comparaisons les plus récentes entre les deux horloges Sr atteignent un niveau de stabilité de 1E-16 après environ 1000 s, ce qui nous a permis de caractériser les décalages de fréquence liés au réseau avec une précision sans précédent. Ces mesures assurent un contrôle des effets liés au réseau au niveau de 1E-18, même pour des profondeurs de piège aussi grandes que 50 Er.

Ce mémoire présente les dernières avancées de l'horloge à réseau optique à atomes de strontium du LNE-SYRTE, Observatoire de Paris. Après avoir passé en revue les principes généraux des horloges à réseau optique et le fonctionnement de l'horloge, l'accent est mis sur les améliorations qui ont été apportées à l'expérience depuis 2007. Les éléments les plus importants sont une nouvelle cavité ultra-stable de référence pour le laser d'horloge, le développement d'une technique de détection non-destructive, et la construction d'une deuxième horloge à réseau optique de Sr. La cavité ultra-stable est composée d'un spacer ULE et deux miroirs en silice fondue et a montré un niveau de bruit thermique à 6.5E-16, ce qui la place parmi les meilleures du monde. La détection non-destructive est réalisée par une mesure de phase d'un faisceau sonde de faible intensité qui traverse les atomes placés dans un bras d'un interféromètre Mach-Zender. L'aspect non-destructif permet de recycler les atomes d'un cycle à l'autre et augmente par conséquent le rapport cyclique, ce qui permet d'optimiser la stabilité de l'horloge. Avec ces nouveaux outils la stabilité de fréquence attendue est à 2.2E-16/tau^(1/2) pour une séquence optimisée. Les comparaisons les plus récentes entre les deux horloges Sr atteignent un niveau de stabilité de 1E-16 après environ 1000 s, ce qui nous a permis de caractériser les décalages de fréquence liés au réseau avec une précision sans précédent. Ces mesures assurent un contrôle des effets liés au réseau au niveau de 1E-18, même pour des profondeurs de piège aussi grandes que 50 Er.

La problématique à l’étude dans ce mémoire est la représentation et conceptualisation de la notion de posthumanité dans trois romans de Philip K.Dick : The Three Stigmata Of Palmer Eldritch, Do Androids Dream Of Electric Sheep? et Ubik. L’analyse de ces romans nous permettra de montrer que l’auteur américain focalise sa réflexion sur le posthumain sur la subjectivité transcendante de personnages qui absorbent, et se substituent à la réalité d’autres personnages dans leur environnement. Nous montrerons également que l’écriture de Dick a évolué vers une vision plus spirituelle ou mystique en se détachant graduellement du récit de science-fiction traditionnel. Ce développement aura des répercussions significatives sur sa postérité cyberpunk. / This thesis examines the problematic of posthumanity in three novels by Philip K. Dick: The Three Stigmata Of Palmer Eldritch, Do Androids Dream Of Electric Sheep and Ubik. I shall argue that the notion of “transcendent subjectivity” is central to Dick’s conceptualization of the posthuman and that the novelist’s engagement with this notion enables a shift in his writing towards a more spiritual or mystical vision. Dick’s vision of the posthuman had a profound impact on cyberpunk authors such as William Gibson, Bruce Sterling and Neil Stephenson. The questioning of the posthuman is a recurring strategy in the work of these writers.

This thesis examines the connections between three frequently associated nineteenth-century texts, Carlyle's Sartor Resartus, Melville's Moby Dick, and Thoreau's Walden. It begins by reviewing the contexts normally offered for them, and then proposes an alternative one, "dialogic irony," that is based upon the complementary theoretical models of Friedrich Schlegel and Mikhail Bakhtin. After this conceptual background is outlined, the various modes of dialogic irony presented in the three works are discussed. That of Walden arises out of a close analogy between self and text: both are a series of inner voices juxtaposed with and often contradicting one another. Sartor complicates this relatively unobstructed form of selfhood through the inclusion of the Editor, whose unitary voice represents a challenge to the kind of selfhood sanctioned by Walden. Moby Dick also challenges dialogic irony, but its forms of opposition are more penetrating and various: while in Carlyle's text dialogic irony is ultimately affirmed through the figure of Teufelsdrockh, Ishmael is left stranded and displaced by the multitude of voices in his text. Melville's work therefore provides an excellent way to review and critique some of the prevailing assumptions about dialogue in contemporary criticism, a task sketched in the conclusion.

Within Judeo-Christianity there is a belief in an all perfect God who is omniscient, omnipotent, and omnibenevolent. However, in this world evil and suffering exists, so how is it possible that an all perfect God can exist? This is called the problem of evil. This thesis examines the problem of evil and how philosophers like Alvin Plantinga, John Hick, and Richard Swinburne attempt to solve the problem of evil through different theodicies. In this paper I argue that all three philosophers and their theodicies fail to solve the problem of evil. I then turn to the writings of Herman Melville, specifically Mardi: and a Voyage Thither and Moby-Dick; or, The Whale, and consider how he, as an author, struggled with the problem of evil and religion. While Melville may have struggled I argue that within his works we can find part of the solution to the problem of evil. Through these two novels Melville demonstrates that God is not good. My final chapter considers this fact that God is not good and also considers how God is not evil. In the end I argue that God is neither good nor evil which allows us to no longer have to face the problem of evil.