東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

FindBook

Google Book

Amazon

博客來

Creation's Face in Moby-Dick.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Creation's Face in Moby-Dick./
作者:	Wells, Richard Jackson Guignard.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:	45 p.
附註:	Source: Masters Abstracts International, Volume: 83-03.
Contained By:	Masters Abstracts International83-03.
標題:	American literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28413380
ISBN:	9798538155378

Creation's Face in Moby-Dick.
Wells, Richard Jackson Guignard.

Creation's Face in Moby-Dick. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 45 p.

Source: Masters Abstracts International, Volume: 83-03.

Thesis (M.A.)--University of South Carolina, 2021.

This item must not be sold to any third party vendors.

In 1973, Gerhard T. Alexis published "Two Footnotes on a Faceless Whale" (AN&Q, vol. 11, pp. 99-100) to point out how Melville was alluding to an exchange between Yahweh and Moses in Exodus 33 during a commentary by Ishmael in Chapter 86 "The Tail" of Moby-Dick (1851). By using Ishmael's allusion to the facelessness of Yahweh in relation to his hand in Exodus 33 as a window, I meditate on the relationship between the hand and face images more properly to propose how they are functioning in Melville's epic in regard to the phenomenon of veiling. The corporeal body in both the Old Testament of the King James Bible and Moby-Dick (i.e. the face, hand, arm, leg, etc.) are powerful drivers for plot, expression, and aestheticization and, thus, are images that can be honed in on for performing meaningful readings. I build on this framework by arguing that the outwardly masculine plot in Moby-Dick can be read as a narrative grappling with the Old Testament's representation of the archetypal Son's creation in Genesis as distinctly Motherless under the trinitarian schema of Father, Son, and Holy Ghost. I argue that Melville's controversial character, Ahab, is a direct descendant of Adam still grappling with his origin story, and I use Melville's comparisons of them to make my case. Lastly, I connect Michelangelo's painting, the Creation of Adam, with Ahab's speech to his "fiery father" in Chapter 119 "The Candles" to apply my meditation on the hand and face images in the context of the trinity to argue that Adam and Ahab are both reaching past their Father through the Ghost of their creation for the face of their captured Mother.

ISBN: 9798538155378Subjects--Topical Terms:

523234
American literature.
Subjects--Index Terms:

Creation

Creation's Face in Moby-Dick.
LDR:02706nmm a2200385 4500 001 2345113
005 20220531132441.5
008 241004s2021 ||||||||||||||||| ||eng d
020 $a 9798538155378
035 $a (MiAaPQ)AAI28413380
035 $a AAI28413380
040 $a MiAaPQ $c MiAaPQ
100 1 $a Wells, Richard Jackson Guignard. $3 3683986
245 1 0 $a Creation's Face in Moby-Dick.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2021
300 $a 45 p.
500 $a Source: Masters Abstracts International, Volume: 83-03.
500 $a Advisor: Greven, David.
502 $a Thesis (M.A.)--University of South Carolina, 2021.
506 $a This item must not be sold to any third party vendors.
520 $a In 1973, Gerhard T. Alexis published "Two Footnotes on a Faceless Whale" (AN&Q, vol. 11, pp. 99-100) to point out how Melville was alluding to an exchange between Yahweh and Moses in Exodus 33 during a commentary by Ishmael in Chapter 86 "The Tail" of Moby-Dick (1851). By using Ishmael's allusion to the facelessness of Yahweh in relation to his hand in Exodus 33 as a window, I meditate on the relationship between the hand and face images more properly to propose how they are functioning in Melville's epic in regard to the phenomenon of veiling. The corporeal body in both the Old Testament of the King James Bible and Moby-Dick (i.e. the face, hand, arm, leg, etc.) are powerful drivers for plot, expression, and aestheticization and, thus, are images that can be honed in on for performing meaningful readings. I build on this framework by arguing that the outwardly masculine plot in Moby-Dick can be read as a narrative grappling with the Old Testament's representation of the archetypal Son's creation in Genesis as distinctly Motherless under the trinitarian schema of Father, Son, and Holy Ghost. I argue that Melville's controversial character, Ahab, is a direct descendant of Adam still grappling with his origin story, and I use Melville's comparisons of them to make my case. Lastly, I connect Michelangelo's painting, the Creation of Adam, with Ahab's speech to his "fiery father" in Chapter 119 "The Candles" to apply my meditation on the hand and face images in the context of the trinity to argue that Adam and Ahab are both reaching past their Father through the Ghost of their creation for the face of their captured Mother.
590 $a School code: 0202.
650 4 $a American literature. $3 523234
650 4 $a Comparative literature. $3 570001
650 4 $a Aesthetics. $3 523036
650 4 $a Spirituality. $3 534780
650 4 $a Theology. $3 516533
653 $a Creation
653 $a Face
653 $a Hand
653 $a Trinity
690 $a 0591
690 $a 0295
690 $a 0650
690 $a 0647
690 $a 0469
710 2 $a University of South Carolina. $b English. $3 1022414
773 0 $t Masters Abstracts International $g 83-03.
790 $a 0202
791 $a M.A.
792 $a 2021
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28413380