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Modern Language Quarterly (1963) 24 (3): 237–244.
Published: 01 September 1963
...Allen Guttmann Copyright © 1963 by Duke University Press 1963 FROM TYPEE TO MOBY-DICK MELVILLE’S ALLUSIVE ART By ALLEN GUTTMANN The complex allusiveness of T. S. Eliot and James Joyce has been the subject of much adverse criticism...
Modern Language Quarterly (1967) 28 (4): 492–494.
Published: 01 December 1967
Modern Language Quarterly (1976) 37 (4): 392–393.
Published: 01 December 1976
Modern Language Quarterly (1969) 30 (1): 64–85.
Published: 01 March 1969
... 69 Blaine, Anthony is both cynic and idealist. But in this novel the possi- bilities are extrapolated into polar characters, Anthony’s friends, the idealist Dick Caramel and the cynic Maury Noble (the names them- selves are ironic tags), who function as surrogates, constantly providing...
Modern Language Quarterly (1963) 24 (2): 172–176.
Published: 01 June 1963
...J. J. Boies Copyright © 1963 by Duke University Press 1963 THE WHALE WITHOUT EPILOGUE By J. J. BOIES Herman Melville’s Moby-Dick was first published by Richard Bentley in London in a three-volume edition entitled The Whale ( 1851...
Modern Language Quarterly (1955) 16 (4): 325–331.
Published: 01 December 1955
..., was followed in the Transcript by a list of works which included these erudite items: “a philosophical romance, ‘Redburn’ ; ‘Plute [sic] Jacket ; or the World on [sic] a Man-of-War’ ; ‘Moby Dick’ ; ‘Pierre’ ; ‘Israel Potter’ ; ‘The Prazza [sic] Tales’ . . . .” The Albany Argus, by the same day, had...
Modern Language Quarterly (1940) 1 (2): 195–206.
Published: 01 June 1940
... and his work in a way that leaves them recognizable though unreal. For example: The best general discussion of Melville in print insists that “with Mardi, Moby-Dick, and Pierre . . . . he deliberate- ly set himself against the main currents of fiction-writing of his time” ; it refers...
Modern Language Quarterly (1962) 23 (4): 337–352.
Published: 01 December 1962
... seems to have made an independent, implicit judg- ment which emerges in those sections of Moby-Dick deriving from the Holy State. Melville as creative artist thus appears as a deeper and more perceptive critic than his professional contemporaries ;5 and con- 1 Merton M. Sealts, Jr...
Modern Language Quarterly (1961) 22 (2): 125–134.
Published: 01 June 1961
...- counters them, so to speak, with the arrival of every fresh disaster. In Moby Dick, Captain Ahab sets forth with distinctively Emer- sonian expectations. The white whale, as Ahab conceives of it, is simply a visible object, fraught with metaphysical meaning. Under- taking his voyage around...
Modern Language Quarterly (1988) 49 (2): 173–186.
Published: 01 June 1988
... personages,” and he questions whether characters based on “actual historical personages” have any more “authenticating force [as history] than . . . the ebbing sea of shaggy red prairie grass in My Antonia” (p. 14). If so, however, then why has he not included Mob-Dick as an American...
Modern Language Quarterly (1972) 33 (1): 54–66.
Published: 01 March 1972
...’ By HERSHELPARKER The Melville industry’s biggest year was 1970, with at least eight books. Complicity exempts me from discussing three of them: “Moby-Dick” as Doubloon and two volumes in the Northwestern- Newberry Edition, Marcli and .White-Jacket. Even without these three, the others...
Modern Language Quarterly (1950) 11 (3): 317–324.
Published: 01 September 1950
... Melville’s books there is warm understanding and sympathy shown for the Negro. In Redburn Melville speaks of the freedom Negro sailors enjoy in Liverpool as contrasted with the restrictions on them in their own country.ll In Moby Dick Melville hits a high-water mark in his presentation...
Modern Language Quarterly (1964) 25 (2): 181–186.
Published: 01 June 1964
... mastered the com- mon techniques of fiction.“lHis early works were strongly autobio- graphical, and, once he had found his theme, his knowledge of the craft of fiction was no match for his vision of metaphysical immensity. His later works, from Moby-Dick to Budd,Billy provide ample evidence...
Modern Language Quarterly (1945) 6 (3): 355–356.
Published: 01 September 1945
...Paul H. Kocher Hugh G. Dick. Berkeley and Los Angeles: University California Publications in English, Vol. 13, 1944. Pp. x + 218. $2.00. Copyright © 1945 by Duke University Press 1945 Tom Perte Cross 355 if on no other grounds, by the analysis...
Modern Language Quarterly (1969) 30 (3): 386–401.
Published: 01 September 1969
...- ous shortcomings to Dickens’ mode of characterization, have been found to have serious shortcomings of their own. The stature of Dick- ens, we are now being told, may demand other measures than those formulated by the authors of Middlemarch and The American. How- ever, since the following...
Modern Language Quarterly (2008) 69 (3): 391–413.
Published: 01 September 2008
... Ballard, other science fiction writers later thought of as belonging to postmod- ernism, including Samuel R. Delany and Philip K. Dick, did important work in 1966. Delany published a transitional novel, Babel-17, about an alien language that is literally “a virus from outer space,” in the words...
Modern Language Quarterly (1952) 13 (2): 218–219.
Published: 01 June 1952
... symbolizes the Fall.” (Here the Fall would be succeeded by Eden.) Granted that Moby-Dick, Pierre, The Confidence Man, Billy Budd, and much of Melville’s other work merit search for complex intention, surely Professor Chase is putting a burden of symbolism on Typee more oppressive than...
Modern Language Quarterly (1982) 43 (3): 300–302.
Published: 01 September 1982
... to Mob Dick, “an intense examination of what men might do once ‘meaning’ had become . . . a privately mediated affair between an individual and his conscience” (p. 159). Other theorists were also influential in the development of “a climate in which the possibility of symbolic discourse...
Modern Language Quarterly (1973) 34 (2): 191–199.
Published: 01 June 1973
... chapter on Oliver Twist, he says: Love then can transform the world of Oliver Twist and link “to- gether a little society.” But the death of Dick and Agnes and Fagin is never far away, for the absence of love can as surely poison and turn a “little society” into a jungle as its...
Modern Language Quarterly (2005) 66 (2): 197–226.
Published: 01 June 2005
... better furnished; of their new lodger; and of the probability of a quarrel between him and her mother-in-law, Mrs. Ede.23 The new lodger is the actor Dick, who disrupts Kate’s home by reawak- ening her romantic imagination, which is fed by the literary and the- atrical works to which she...