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Originally published in 1968. Professor Dryden sees Melville's novels both as metaphysical processes and as technical forms. The novelist is not a reporter but a creator, and what he creates from his experience is his vision of truth. Herman Melville saw the function of the novelist in terms of his ability to expose the reader to truth while simultaneously protecting him from it or, in other words, to enable the reader to experience reality indirectly and, therefore, safely. In Melville's own writing, however, this function became more difficult as his nihilism deepened. He became increasingly sensitive to his own involvement in the world of lies, and when he could no longer protect himself from the truth, he could no longer transform it into fiction. Melville's struggle to maintain the distinction between art and truth was reflected in the changing forms of his novels.Dryden traces Melville's evolving metaphysical views and studies their impact on the craftsmanship of this acutely self-conscious artist from his early novels—Typee, Redburn, and White Jacket—through Moby-Dick, Pierre, Israel Potter, and The Confidence-Man to the posthumously published Billy Budd and the closely related Benito Cereno, and he concludes that "all of Melville's narrators are in some way portraits of the artist at work." Dryden's study is a unique contribution to Melville scholarship and an important journey through the world of the novelist's vision. As such, it has significant implications for the novel as a genre and for understanding its development in America.

Literary form --- History --- Melville, Herman, --- Technique. --- Literature: history & criticism

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E. M. Forster first encountered Billy Budd in 1926. Some twenty years later, he embarked on a collaboration with Benjamin Britten and Eric Crozier, adapting Melville's novella for the opera stage. The libretto they produced poignantly reaffirms the Forsterian creed of salvation through personal relationships. This study presents an extensive exploration of Forster's involvement in the interpretation, transformation and re-creation of Melville's text. It situates the story of the Handsome Sailor in the wider context of Forster's literary oeuvre, his life, and his life writings. In detailed readings, Billy Budd becomes a lens through which the themes, patterns and leitmotifs of Forsterian thought and creative imagination are brought into focus. A close re-examination of the libretto sketches serves to shed new light on the collaborative process in which Melville's story was changed to fit an archetypal array of plot and character types that is central to Forster's own storytelling.

Libretto. --- Literature --- History and criticism. --- Melville, Herman, --- Forster, E. M. --- Britten, Benjamin, --- Storytelling --- Opera --- Melville --- Forster --- Britten --- Novella --- Benjamin Britten --- Billy Budd (opera) --- E. M. Forster --- Herman Melville --- Homosexuality --- Libretto

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Cet ouvrage explore le labyrinthe de Melville dont l’écriture est parcourue par une interrogation sur les origines religieuses et politiques du mythe de l’Amérique. L’ordre linéaire des signifiants, la logique causale et la langue même du texte de surface s’évanouissent pour faire place à un autre mode d’organisation dans lequel tout signe devient potentiellement un symbole polysémique. Le texte de surface en masque un autre où les signes et les symboles tissent des réseaux multiples de correspondance et dont l’expression se veut non-verbale. Les corps et les éléments de l’univers physique, les jeux de ténèbres et de lumière, la dynamique des couleurs et des formes recèlent la langue fluide du Nouveau Monde en devenir. Viola Sachs, director of the Laboratoire de Recherche sur l’imaginaire américain of the Université de Paris VIII, introduces a provocative collection of articles which show that the Melvillean surface English text with its geographic, historical and cultural references, its realistic details and alphabetic letters conceals another one woven out of associations, analogies and correspondences between all sorts of images and signs. The hidden text questions American identity, its mythic religious and political origins. This goes together with the disarticulation of the English language of the surface text and the elaboration of a nonverbal language. The dynamic flux of its signs expresses the process of becoming of a New World.

Symbolism in literature. --- National characteristics, American, in literature. --- Myth in literature. --- Melville, Herman, --- Symbolism. --- Signs and symbols in literature --- Symbolism in folk literature --- Melville, Herman --- Melvill, German --- Melville, Hermann --- Meville, Herman --- Melvil, Cherman --- Mai-erh-wei-erh, Ho-erh-man --- Melṿil, Herman --- Tarnmoor, Salvator R. --- מלוויל, הרמן, --- מלויל, הרמן, --- ميلڤيل، هرمن، --- 麥爾維爾, --- Virginian spending July in Vermont, --- Melvill, Herman, --- imaginaire --- symbole --- littérature --- États-Unis --- mythocritique --- Melville, Herman (1819-1891) --- Critique et interprétation --- Critique et interprétation

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"This book offers a new perspective on the making of Afro-Brazilian, African-American and African studies through the interrelated trajectory of E. Franklin Frazier, Lorenzo Dow Turner, Frances and Melville Herskovits in Brazil. The book compares the style, network and agenda of these different and yet somehow converging scholars, and relates them to the Brazilian intellectual context, especially Bahia, which showed in those days much less density and organization than the US equivalent. It is therefore a double comparison: between four Americans and between Americans and scholars based in Brazil"--

Ethnology --- Black people --- Black persons --- Blacks --- Negroes --- Cultural anthropology --- Ethnography --- Races of man --- Social anthropology --- Anthropology --- Human beings --- Social life and customs. --- Turner, Lorenzo Dow. --- Frazier, E. Franklin, --- Herskovits, Frances S. --- Herskovits, Melville J. --- Herskovits, Frances Shapiro, --- Shapiro, Frances, --- Herskovits, M. J. --- Herskovits, Melville Jean, --- Herskovitz, Melville J. --- Frazier, Franklin, --- Frėzher, Ė. Franklin, --- Frazier, Edward Franklin, --- Turner, Lorenzo D. --- Bahia (Brazil : State) --- Bahia (Brazil : Captaincy) --- Bahia (Brazil : Province) --- Intellectual life. --- Study and teaching. --- Ethnology.

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Blick ins BuchDer Kredit gilt gemeinhin als neutrale Transaktion, die dazu dient, ökonomische Akteure möglichst effizient und profitabel miteinander zu vernetzen. In der realistischen Erzählliteratur des 19. Jahrhunderts zeichnet sich jedoch ein ganz anderes Bild ab: Kreditfiktionen von Autorinnen und Autoren wie Honoré de Balzac, Gustave Flaubert, George Eliot, Gottfried Keller oder Herman Melville präsentieren den Kredit als volatile und ruinöse Fiktion, die soziale Reibungen und Konflikte erzeugt und die Realität selbst in ein verkäufliches Gut ummünzt. So kristallisiert sich in Texten des Realismus ein wildes Wissen über die ontologischen, epistemologischen und gesellschaftlichen Verwerfungen der Schuldenwirtschaft heraus.

Politische Ökonomie --- Theorien der Gabe --- Soziologie --- Wirtschaftsgeschichte --- Karl Marx --- Gustave Flaubert --- Honoré de Balzac --- Herman Melville --- Literaturtheorie --- Ökonomische Utopien --- Political Economy --- The Gift Economy --- Sociology --- History of Economics --- Literary Theory --- 1800-1899