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Specters of "Moby-Dick": A particula...

Lardas, John Howard.

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Specters of "Moby-Dick": A particular history of cultural metaphysics in America (Herman Melville).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Specters of "Moby-Dick": A particular history of cultural metaphysics in America (Herman Melville)./
作者:	Lardas, John Howard.
面頁冊數:	497 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-08, Section: A, page: 2938.
Contained By:	Dissertation Abstracts International64-08A.
標題:	Religion, History of. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=3103438

Specters of "Moby-Dick": A particular history of cultural metaphysics in America (Herman Melville).
Lardas, John Howard.

Specters of "Moby-Dick": A particular history of cultural metaphysics in America (Herman Melville). - 497 p.

Source: Dissertation Abstracts International, Volume: 64-08, Section: A, page: 2938.

Thesis (Ph.D.)--University of California, Santa Barbara, 2003.

This study explores, by way of Herman Melville's <italic>Moby-Dick</italic> (1851), the religious, theological, and anthropological “origins” of the culture idea in nineteenth-century America as well as the history of religious reflection this particular moral and epistemological position has since generated. On one hand, I argue that Melville struggled to articulate a metaphysical understanding of culture as theological inquiry was becoming untethered from the traditional language of theology. In <italic> Moby-Dick</italic> Melville explored the quality, authority, and moral legitimacy of those factors of shared existence—material conditions, networks of representation, social attitudes, and political traditions—that mediated between self and self-knowledge, self and other, as well as self and the invisible universe. It was a new kind of argument that took as its focus the economy of forces, both visible and invisible, in which and through which the self was made and the community made to cohere.Subjects--Topical Terms:

1017471
Religion, History of.

Specters of "Moby-Dick": A particular history of cultural metaphysics in America (Herman Melville).
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245 1 0 $a Specters of "Moby-Dick": A particular history of cultural metaphysics in America (Herman Melville).
300 $a 497 p.
500 $a Source: Dissertation Abstracts International, Volume: 64-08, Section: A, page: 2938.
500 $a Chair: Catherine L. Albanese.
502 $a Thesis (Ph.D.)--University of California, Santa Barbara, 2003.
520 $a This study explores, by way of Herman Melville's <italic>Moby-Dick</italic> (1851), the religious, theological, and anthropological “origins” of the culture idea in nineteenth-century America as well as the history of religious reflection this particular moral and epistemological position has since generated. On one hand, I argue that Melville struggled to articulate a metaphysical understanding of culture as theological inquiry was becoming untethered from the traditional language of theology. In <italic> Moby-Dick</italic> Melville explored the quality, authority, and moral legitimacy of those factors of shared existence—material conditions, networks of representation, social attitudes, and political traditions—that mediated between self and self-knowledge, self and other, as well as self and the invisible universe. It was a new kind of argument that took as its focus the economy of forces, both visible and invisible, in which and through which the self was made and the community made to cohere.
520 $a On the other hand, I argue that <italic>Moby-Dick</italic> has been a resource <italic>for</italic> twentieth-century intellectuals, writers, and visual artists who have appropriated Melville's style in order to raise religious questions <italic>about</italic> culture as insistent and vexing, if not more so, than those raised within more traditional religious settings. Since the Melville Revival of the 1920s, <italic>Moby-Dick</italic> has continued to generate questions concerning the problems of transcendence and transgression. Such questions have been religious in nature and intent in so far as they have been inquiries into the perceptual possibilities within a particular historical moment and correctives to the social hierarchies of significance that ordered experience. Figures such as D. H. Lawrence, Lewis Mumford, F. O. Matthiessen, Orson Welles, Ralph Ellison, C. L. R. James, William S. Burroughs, Don DeLillo, Toni Morrison, and Laurie Anderson have appropriated Melville's style to dramatize the limitations and, more importantly, the possibilities of the critical imagination within an increasingly mediated and imagic reality.
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