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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.

The failure of identity in The Confidence-Man has confounded readers since its publication. To some critics, Melville's titular character has seemed to leave his readers in a hopelessness without access to confidence, identity, trust, ethical relationality, and, finally, without anything to say. I argue, however, that Melville's text does not leave us without hope. My argument, consequently, is inextricably bound to a reading of Melville's text as deeply engaged with the concepts it inherits from Geoffrey Chaucer's The Canterbury Tales, an inheritance woefully under-examined by those critics who would leave Melville's text in the mire of hopelessness. In examining how these two texts bind themselves together while simultaneously cutting against each other, my reading finds in The Confidence-Man an alternative way of responsibly living, one that eschews the fatal task of shoring up either our confidence or our embarrassment in favor of an inauthentic redeployment of identity that laughs at both the embarrassment in our confidence and the confidence in our embarrassment.

A perceived opposition between 'culture' and 'nature', presented as a dominant, biased and antagonistic relationship, is engrained in the language of Western culture. This opposition is reflected in, and adversely influences, our treatment of the ecosphere. I argue that through the study of literature, we can deconstruct this opposition and that such an ‘ecocritical’ operation is imperative if we are to avoid environmental catastrophe. I examine the way language influences our relationship with the world and trace the historical conception of ‘nature’ and its influence on the English language. The whale is, for many people, an important symbol of the natural world, and human interaction with these animals is an indication of our attitudes to the natural world in general. By focusing on whale texts (including older narratives, whaling books, novels and other whale-related texts), I explore the portrayal of whales and the natural world. Lastly, I suggest that Schopenhaurean thought, which has affinities in Moby-Dick, offers a cogent approach to ecocritically reading literature.

<p>In 1942, Algerian writer Albert Camus published a philosophical essay called The Myth of Sisyphus along with a fictional counterpart, The Stranger, wherein he presumed the human condition to be an absurd one. This, Camus claimed, was the result of the absence of a god, and consequently of any meaning beyond life itself. Without a god, without an entity greater than man, man has no higher purpose than himself and he himself is inevitably transient. As such, man, so long as he lives, is cursed with the inability to create or partake in anything lasting. The absurd is life without a tomorrow, a life of futility. As one of the main precursors of this view of life and of the human experience, Camus mentioned Herman Melville and Captain Ahab’s chase for the white whale - Moby Dick.</p><p>Now, as will be indicated in the following, the most common critical position holds that the white whale of Moby-Dick, Melville’s magnum opus, is to be interpreted as a symbol of God, and thus Ahab’s chase is tragic by virtue of its impossibility for success. As such, the tragedy is entailed by the futility vis-à-vis its impermanence. However, the ambiguity of Moby-Dick allows for the possibility of several alternative interpretations as to the role of the whale: for instance that of the devil, evil incarnate or merely a "dumb brute". As such, Ahab’s quest might as well be the pursuit of a creature which understands nothing of vengeance, thus rendering his objective equally, if not more fruitless, than the pursuit of a god.</p>

<p>In order to study how science and archeology was exploited for political means during the Third Reich this thesis investigates the scientific institute Ahnenerbe, founded in 1935. The thesis is built up as a literature study combining literature sources from the time of the eventas well as research done around Ahnenerbe after the war.</p><p>The purpose of the thesis is to examine the official and unofficial purposes of the organisation. It investigates how scholars viewed Ahnenerbe at the time, and after the war. It further examines the scientific value of the material published by the organisation, where there is a specific focus on the material covering Germanic Männerbunds.</p>