Graduation date: 2002

I hold that Melvillean society consists of paradoxical relationships between civilization and barbarianism, evil and good, the corrupt and the natural, the individual and the collective, and the primitive and the advanced. Because these terms are arbitrary and, in the context of the novels, somewhat interchangeable, I explore Melville's thoughts as those emerge in the following groups of novels: Typee, Omoo, and White-Jacket demonstrate the paradox of Melvillean society; Redburn, Moby-Dick, and Mardi illustrate the corrupting effects of capitalism and individualism; and The Confidence-Man, Israel Potter, and Pierre depict a collapsed paradox and the disintegration of Melville's society.

Ce mémoire étudie la façon dont Herman Melville élève la baleine blanche au rang d'une Idée platonicienne, faisant d'elle la métaphore de la mort. Sous le prisme du Phédon de Platon et de La mort de Jankélévitch, nous analysons le roman comme une allégorie, longue réflexion sur le rôle de la littérature et de la mémoire pour parvenir à transcender la mort. Si Achab est condamné dès le début à errer sur l'océan dans une quête métaphysique à la recherche de la Vérité, c'est finalement Ishmael qui, en devenant narrateur, parvient à survire au désastre. Unique rescapé, c'est parce qu'il a côtoyé la mort de près qu'il peut la faire entrer dans le récit et ainsi raconter l'inénarrable.

This dissertation examines the problem of women, marriage, and sexuality in Melville's work. The general absence of female characters in his stories, his frequent depiction of horrific marriages, and his seeming reticence about sexuality have all contributed to the long-standing critical view that his writing reveals a deep-seated hatred and fear of women. In disputing these critical commonplaces, the study argues that Melville always reinforces the importance of the sexual element in human relations. His ideas about women, marriage, and sexuality are informed by his perception of a disturbing tension between men and women in his society, and he makes the paradoxes of his culture concerning gender relations central to his work. The dissertation is organized thematically to isolate and explore the primary manifestations of sexualized human relations in Melville's work: desire, frustration, marriage, transgression, and homoeroticism. Close readings of specific stories, poems, and sections of novels suggest new interpretative trajectories based primarily on considerations of how culture influences gender and sexual meaning. The introduction surveys the tradition of Melville scholarship on the problem of women and sexuality. The sources of the prevailing negative impression concerning his attitudes are traced largely to the demands of the theoretical approaches which have dominated discussion of the sexual issues in Melville's writing. Evidence from Melville's marginalia is then offered to establish the ground for a more balanced view of his perceptions. The second chapter asserts that, for Melville, much of the difficulty of human experience can be attributed to sexual desire. Within his work he probes the psychological nature of these desires, and he interrogates the cultural codes by which desire is regulated. The next chapter, on the marriage theme, locates Melville within the nineteenth century turmoil in marriage ideologies, while chapter four is an analysis of the sexual transgression motif. The violation of cultural rules through which sexual pleasure is licensed and controlled is used metaphorically by Melville to represent the individual quest for personal or artistic freedom. The final chapter describes Melville's consistent use of figurative language associated with negative homoeroticism to dramatize disproportionate power relations between men.

This essay presents an emerging conception of truth and shows how it appropriates Herman Dooyeweerd’s conception. First I compare my “critical hermeneutics” with other reformational models of critique. Then I propose to think of truth as a dynamic correlation between (1) human fidelity to societal principles and (2) a life-giving disclosure of society. This conception recontextualizes the notion of propositional truth, and it links questions of intersubjective validity with Dooyeweerd’s emphasis on “standing in the truth.” While abandoning his idea of transcendent truth, I seek to preserve the holism and normativity of Dooyeweerd’s radical conception.

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Thesis advisor: Christopher P. Wilson / Witnessing Empire is a cultural history of the American war correspondent. I trace the figure through various points of crisis in the making of U.S. sovereignty including the U.S.-Mexico War, the Civil War, and the Spanish-American War. Locating correspondents like Herman Melville, Richard Harding Davis, and Stephen Crane in what Mary Louise Pratt terms "contact zones"--areas of cross-cultural exchange and contest--I show in this interdisciplinary work how the figure emerged through confronting U.S. state power with "on the spot" visual and textual witness accounts of the violence entailed by that power in a period of territorial expansion across the hemisphere, mass media development, and renewed aesthetic challenges to representing war. Revising critical appraisals of U.S. empire, including those of Amy Kaplan, that argue that the war correspondent is simply an apologist for U.S. imperialism through a facile use of romance, realism, spectacle, and sensationalism, I argue that the figure carves out a unique vision via such familiar conventions to unveil the contradictions of U.S. imperialism--particularly, its reliance on a narrative of liberation and protection through conquest. The dissertation thus unveils the correspondent as ambivalent towards this narrative as his witnessed accounts reveal subjects less protected, than abandoned by the state. I argue that through exposing the violence of this abandonment, the correspondent develops a new literary convention that exposes the consequences of modern war. In Chapter 1, I historically situate war correspondence as an emergent form, comparing the writings of the New Orleans-based Picayune war correspondent George Wilkins Kendall, composed on the eve of the U.S.-Mexico War, with Herman Melville's Typee. An unorthodox travel narrative, Typee can be more effectively read as an inaugural work of war correspondence in its challenging of "race war" as a discourse employed to cement state power in the contact zone. Chapter 2 takes up the "on the spot" pencil line drawings of the Civil War "special artists." Comparing these artists' works with the published engravings in the newspapers at the time and the illustrated histories at the turn-of-the-century, I address the visual rhetoric by which war correspondents depicted the crisis of sovereignty entailed by the Civil War. The second half of the dissertation illustrates the emergence of war correspondence as a unique aesthetic form. Chapter 3 looks at how Richard Harding Davis crafts war correspondence as a critique of U.S. imperialism's spectacle-oriented "anti-imperialist" liberation narrative by opposing the production of an "imperial news apparatus" at the turn-of-the-century with the advent of the Spanish-American War. In Chapter 4, I show how Stephen Crane, like Davis, was inspired by the anti-statism and transnationalism of the antebellum filibuster. From his initial experiments in Red Badge of Courage, Crane was focused on the subjectivity of the witness in his correspondence and fiction, ultimately allegorizing the violence of U.S. imperial power and its abandonment of citizens and non-citizens alike in war zone. / Thesis (PhD) — Boston College, 2009. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

Pequod - is an exploration of the translation problem. And an idea to examine the myth of"why the book is always better than the movie."The work began by choosing a character to interpret. My choice was the characteristicCaptain Ahab and his mono manic quest for revenge. The character is taken from HermanMenvilles classic novel "Moby Dick" or "The White wale" from 1851.In order to interpret the character differently, I picked out passages from the novel thatdirectly describes the first sight of the character. And also a paragraph describing thecharacter's inner thoughts and ideas about their environment.I did a survey of the descriptions with leading questions about the character's outfit,garments, materials, colours and accessories. I handle out the survey to 15 creative personsand asked them to interpret the character for me, but also make a quick sketch of him.The participants was totally unaware of witch character it was all about. / Program: Modedesignutbildningen

Recent scholarship has increasingly recognized the unity of Herman Bavinck's (1854-1921) thought, shedding the once-predominant reading that Bavinck was a conflicted thinker caught between modernity and orthodoxy. There were 'two Bavincks', the secondary literature claimed. The catalyst of unity for Bavinck's thinking is located in his deployment of organic language to characterize particular theological loci. The organic motif stems from Bavinck's Trinitarian doctrine of God, according to which God exists as the archetypal and self-existent Three-in-One. Creation, then, is an ectypal reflection of the triune Godhead, and as such can be described as an organism comprising of many unities-in-diversities. This new reading, propelled by James Eglinton, argued that for Bavinck the Trinity ad intra leads to an organic cosmology ad extra. Though this reading has showcased the unity of Bavinck's thought in general, current scholarship on Bavinck's theological epistemology remains fractured along the lines of the 'two Bavinck' thesis, with two sides that emphasize, respectively, the modern strand of Bavinck's thinking or his classical, orthodox, side. This thesis reinvestigates the primary texts in which Bavinck discusses epistemology and argues that the organic motif is also the lens through which his epistemology is to be read. In doing so, this thesis argues that the organic motif allowed Bavinck to utilize both classical (Thomistic) and post-Kantian sources in a way that produces coherence rather than inconsistency. Thus, it is unnecessary to pit Bavinck's use of classical sources against his use of modern sources: particular deployment is not systematic endorsement. The thesis, then, is that a Trinitarian doctrine of God ad intra produces not merely an organic cosmology ad extra, but also an organic epistemology. It then proceeds to demonstrate this in two ways. First, the thesis observes that Bavinck characterizes the sciences (wetenschappen) as a single organism made up of a unity-in-diversity. The specialization and divisions of the sciences mean that each field has its own sphere of existence with unique grounds and methodologies, but there is an underlying theological unity between them that relativizes that diversity precisely because all of the sciences are theological. Second, for Bavinck subjective knowledge can organically correspond with objects because both participate in a larger, organic universe. Mental representations connect with the world because all of creation is primordially interconnected by way of God's organic design. In each of these steps Bavinck's eclectic use of sources and overall creativity and unity are displayed. This thesis also relates his discussion both to his interlocutors and contemporary philosophical and analytic epistemology. Hence, this thesis not only demonstrates the overall coherence of Bavinck's thought, thereby further eradicating ill-conceived notions of there being 'two-Bavincks', but also showcases potentially generative insights concerning the place of theology within the university and the resources theology might provide for philosophical epistemology.

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