Melville, Herman
(New York, N.Y. 1819-1891 New York, N.Y.) : Schriftsteller, Dichter
Subjects
Index of Names : Occident
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Literature : Occident : United States of America
Chronology Entries (12)
| # | Year | Text | Linked Data |
|---|---|---|---|
| 1 | 1847-1888 |
Melville, Herman. [Works]. 1847 Melville, Herman. Omoo : a narrative of adventures in the south seas ; being a sequel to the "Residence in the Marquesas islands". (New York, N.Y. : Osgood ; London : John Murray, 1847). While we were conversing with these worthies, a stranger approached. He was a sun-burnt, romantic-looking European, dressed in a loose suit of nankeen; his fine throat and chest were exposed, and he sported a Guayaquil hat with a brim like a Chinese umbrella. 1849 Melville, Herman. Mardi : and a voyage thither. Vol. 1-2. (New York, N.Y. : Harper & Brothers, 1849). The New Zealander's tattooing is not a prodigy; nor the Chinaman's ways an enigma… Such are a few of the sights of the great South Sea. But there is no telling all. The Pacific is populous as China… The Chinese are no fools. In the operation of making your toilet, how handy to float in your ewer!... He was a tall, dark Islander, a very devil to behold, theatrically arrayed in kilt and turban; the kilt of a gay calico print, the turban of a red China silk… Fastening a red China handkerchief to the blade of our long mid-ship oar, I waved it in the air. But far to the South, past my Sicily suns and my vineyards, stretches the Antarctic barrier of ice: a China wall, built up from the sea, and nodding its frosted towers in the dun, clouded sky. Do Tartary and Siberia lie beyond?... And Kannakoko, King of New Zealand; and the first Tahitian Pomaree; and the Pelew potentate, each possessed long state canoes; sea-snakes, all; carved over like Chinese card-cases, and manned with such scores of warriors, that dipping their paddles in the sea, they made a commotion like shoals of herring. 1849 Melville, Hermann. Redburn : his first voyage ; being the sailor-boy confessions and reminiscences of the son-of-a-gentleman, in the merchant service. (New York, N.Y. : Harper & Bros. ; London : Bentley, 1849). According to his account, he was very particular about his cigars and other things, and never made any importations, for they were unsafe; but always made a voyage himself direct to the place where any foreign thing was to be had that he wanted. He went to Havre for his woolen shirts, to Panama for his hats, to China for his silk handkerchiefs, and direct to Calcutta for his cheroots; and as a great joker in the watch used to say, no doubt he would at last have occasion to go to Russia for his halter; the wit of which saying was presumed to be in the fact, that the Russian hemp is the best; though that is not wit which needs explaining… I shall say no more of this anonymous nymph; only, that when we arrived at Liverpool, she issued from her cabin in a richly embroidered silk dress, and lace hat and veil, and a sort of Chinese umbrella or parasol, which one of the sailors declared "spandangalous;" and the captain followed after in his best broadcloth and beaver, with a gold-headed cane; and away they went in a carriage, and that was the last of her; I hope she is well and happy now; but I have some misgivings… This formed the captain's smoking-seat, where he would perch himself of an afternoon, a tasseled Chinese cap upon his head, and a fragrant Havanna between his white and canine-looking teeth. He took much solid comfort, Captain Riga… Because, in New York he receives his month's advance; in Liverpool, another; both of which, in most cases, quickly disappear; so that by the time his voyage terminates, he generally has but little coming to him; sometimes not a cent. Whereas, upon a long voyage, say to India or China, his wages accumulate; he has more inducements to economize, and far fewer motives to extravagance; and when he is paid off at last, he goes away jingling a quart measure of dollars… Also a pamphlet, with a japanned sort of cover, stamped with a disorderly higgledy-piggledy group of pagoda-looking structures, claiming to be an accurate representation of the "North or Grand Front of Blenheim," and entitled, "A Description of Blenheim, the Seat of His Grace the Duke of Marlborough; containing a full account of the Paintings, Tapestry, and Furniture: a Picturesque Tour of the Gardens and Parks, and a General Description of the famous China Gallery, 6-c… Whereas, in Liverpool, I beheld long China walls of masonry; vast piers of stone; and a succession of granite-rimmed docks, completely inclosed, and many of them communicating, which almost recalled to mind the great American chain of lakes: Ontario, Erie, St. Clair, Huron, Michigan, and Superior… "Who's that Chinese mandarin?" cried the mate, who had made voyages to Canton. "Look you, my fine fellow, douse that mainsail now, and furl it in a trice."… For the whole world is the patrimony of the whole world; there is no telling who does not own a stone in the Great Wall of China. 1850 Melville, Herman. White-jacket, or, The world in a man-of-war. In : Lettell's Living Age, no. 311, 4 May (1850). = (New York, N.Y. : Harper & Brothers, 1850). Why, what are even a merchant-seaman's sorry yarns of voyages to China after tea-caddies, and voyages to the West Indies after sugar puncheons, and voyages to the Shetlands after seal-skins—what are even these yarns, you Tubbs you! to high life in a man-of-war?... His cot-boy used to entertain the sailors with all manner of stories about the silver-keyed flutes and flageolets, fine oil paintings, morocco bound volumes, Chinese chess-men… They have a castor at dinner; they have some other little boys (selected from the ship's company) to wait upon them; they sometimes drink coffee out of china. But for all these, their modern refinements, in some instances the affairs of their club go sadly to rack and ruin. The china is broken; the japanned coffee-pot dented like a pewter mug in an ale-house… Then would masts surmount spires; and all mankind, like the Chinese boatmen in Canton River, live in flotillas and fleets, and find their food in the sea… Or, like a dentist, he seemed intent upon examining their teeth. Quite as often, he would be brushing out their touch-holes with a little wisp of oakum, like a Chinese barber in Canton, cleaning a patient's ear… Let us leave the Past, then, to dictate laws to immovable China; let us abandon it to the Chinese Legitimists of Europe… One was for the purpose of building a seaman's chapel in China; another to pay the salary of a tract-distributor in Greece; a third to raise a fund for the benefit of an African Colonization Society… And thus, with our counterlikes and dislikes, most of us men-of-war's-men harmoniously dove-tail into each other, and, by our very points of opposition, unite in a clever whole, like the parts of a Chinese puzzle. But as, in a Chinese puzzle, many pieces are hard to place, so there are some unfortunate fellows who can never slip into their proper angles, and thus the whole puzzle becomes a puzzle indeed, which is the precise condition of the greatest puzzle in the world—this man-of-war world itself… Metropolitan gentlemen have their club; provincial gossipers their news-room; village quidnuncs their barber's shop; the Chinese their opium-houses; American Indians their council-fire… 1851 Melville, Herman. Moby Dick, or, The whale. (New York, N.Y. : Harpter ; London : Richard Bentley, 1851). Chapter 1. Loomings. Some leaning against the spiles; some seated upon the pier-heads; some looking over the bulwarks of ships from China; some high aloft in the rigging, as if striving to get a still better seaward peep. Chapter 14. Nantucket. THERE is his home; THERE lies his business, which a Noah's flood would not interrupt, though it overwhelmed all the millions in China. Chapter 44. The Chart. Because, an interval of three hundred and sixty-five days and nights was before him; an interval which, instead of impatiently enduring ashore, he would spend in a miscellaneous hunt; if by chance the White Whale, spending his vacation in seas far remote from his periodical feeding-grounds, should turn up his wrinkled brow off the Persian Gulf, or in the Bengal Bay, or China Seas, or in any other waters haunted by his race. So that Monsoons, Pampas, Nor'-Westers, Harmattans, Trades; any wind but the Levanter and Simoon, might blow Moby Dick into the devious zig-zag world-circle of the Pequod's circumnavigating wake. Chapter 48. The First Lowering. A rumpled Chinese jacket of black cotton funereally invested him, with wide black trowsers of the same dark stuff. Chapter 55. Of the Monstrous Pictures of Whales. Of course, he never had the benefit of a whaling voyage (such men seldom have), but whence he derived that picture, who can tell? Perhaps he got it as his scientific predecessor in the same field, Desmarest, got one of his authentic abortions; that is, from a Chinese drawing. And what sort of lively lads with the pencil those Chinese are, many queer cups and saucers inform us. Chapter 64. Stubb's Supper. Stubb's whale had been killed some distance from the ship. It was a calm; so, forming a tandem of three boats, we commenced the slow business of towing the trophy to the Pequod. And now, as we eighteen men with our thirty-six arms, and one hundred and eighty thumbs and fingers, slowly toiled hour after hour upon that inert, sluggish corpse in the sea; and it seemed hardly to budge at all, except at long intervals; good evidence was hereby furnished of the enormousness of the mass we moved. For, upon the great canal of Hang-Ho, or whatever they call it, in China, four or five laborers on the foot-path will draw a bulky freighted junk at the rate of a mile an hour; but this grand argosy we towed heavily forged along, as if laden with pig-lead in bulk. Chapter 87. The Grand Armada. This rampart is pierced by several sally-ports for the convenience of ships and whales; conspicuous among which are the straits of Sunda and Malacca. By the straits of Sunda, chiefly, vessels bound to China from the west, emerge into the China seas… Hence it is, that, while other ships may have gone to China from New York, and back again, touching at a score of ports, the whale-ship, in all that interval, may not have sighted one grain of soil; her crew having seen no man but floating seamen like themselves. So that did you carry them the news that another flood had come; they would only answer—"Well, boys, here's the ark!"… Chapter 89. Fast-Fish and Loose-Fish. They have provided a system which for terse comprehensiveness surpasses Justinian's Pandects and the By-laws of the Chinese Society for the Suppression of Meddling with other People's Business. Chapter 109. Ahab and Starbuck in the Cabin. Now, from the South and West the Pequod was drawing nigh to Formosa and the Bashee Isles, between which lies one of the tropical outlets from the China waters into the Pacific. Chapter 116. The Dying Whale. Look! here, far water-locked; beyond all hum of human weal or woe; in these most candid and impartial seas; where to traditions no rocks furnish tablets; where for long Chinese ages, the billows have still rolled on speechless and unspoken to, as stars that shine upon the Niger's unknown source; here, too, life dies sunwards full of faith; but see! no sooner dead, than death whirls round the corpse, and it heads some other way. 1852 Melville, Herman. Pierre, or, The ambiguities. (New York, N.Y. : Harper & Bros., 1852). Doubled, trebled are the huge S shaped leather springs; the wheels seem stolen from some mill; the canopied seat is like a testered bed. From beneath the old archway, not one horse, but two, every morning now draw forth old Pierre, as the Chinese draw their fat god Josh, once every year from out his fane… Sudden onsets of new truth will assail him, and over-turn him as the Tartars did China; for there is no China Wall that man can build in his soul, which shall permanently stay the irruptions of those barbarous hordes which Truth ever nourishes in the loins of her frozen, yet teeming North; so that the Empire of Human Knowledge can never be lasting in any one dynasty, since Truth still gives new Emperors to the earth… True, in nearly all cases of long, remote voyages—to China, say—chronometers of the best make, and the most carefully treated, will gradually more or less vary from Greenwich time, without the possibility of the error being corrected by direct comparison with their great standard; but skillful and devout observations of the stars by the sextant will serve materially to lessen such errors… "Now in an artificial world like ours, the soul of man is further removed from its God and the Heavenly Truth, than the chronometer carried to China, is from Greenwich. And, as that chronometer, if at all accurate, will pronounce it to be 12 o'clock high-noon, when the China local watches say, perhaps, it is 12 o'clock midnight; so the chronometric soul, if in this world true to its great Greenwich in the other, will always, in its so-called intuitions of right and wrong, be contradicting the mere local standards and watch-maker's brains of this earth… "But though the chronometer carried from Greenwich to China, should truly exhibit in China what the time may be at Greenwich at any moment; yet, though thereby it must necessarily contradict China time, it does by no means thence follow, that with respect to China, the China watches are at all out of the way. Precisely the reverse. For the fact of that variance is a presumption that, with respect to China, the Chinese watches must be all right; and consequently as the China watches are right as to China, so the Greenwich chronometers must be wrong as to China. Besides, of what use to the Chinaman would a Greenwich chronometer, keeping Greenwich time, be? Were he thereby to regulate his daily actions, he would be guilty of all manner of absurdities:—going to bed at noon, say, when his neighbors would be sitting down to dinner. And thus, though the earthly wisdom of man be heavenly folly to God; so also, conversely, is the heavenly wisdom of God an earthly folly to man. Literally speaking, this is so. Nor does the God at the heavenly Greenwich expect common men to keep Greenwich wisdom in this remote Chinese world of ours; because such a thing were unprofitable for them here, and, indeed, a falsification of Himself, inasmuch as in that case, China time would be identical with Greenwich time, which would make Greenwich time wrong. "But why then does God now and then send a heavenly chronometer (as a meteoric stone) into the world, uselessly as it would seem, to give the lie to all the world's time-keepers? Because he is unwilling to leave man without some occasional testimony to this:—that though man's Chinese notions of things may answer well enough here, they are by no means universally applicable, and that the central Greenwich in which He dwells goes by a somewhat different method from this world… The house, whose temporary occupancy Glen had before so handsomely proffered him, would now be doubly and trebly desirable to him. But the pre-engaged servants, and the old china, and the old silver, and the old wines, and the Mocha, were now become altogether unnecessary. 1855 Melville, Herman. Israel Potter : his fifty years of exile. In : Putnam's monthly magazine ; July 1854-March 1855. = (New York, N.Y. : G.P. Putnam & Co. ; London : Low, Son, & Co., 1855). "Why, China pennies to be sure," laughed the youthful gentleman. "See his long, yellow hair behind; he looks like a Chinaman. Some broken-down Mandarin. Pity he's no crown to his old hat; if he had, he might pass it round, and make eight pennies of his four."… A dark tessellated floor, but without a rug; two mahogany chairs, with embroidered seats, rather the worse for wear; one mahogany bed, with a gay but tarnished counterpane; a marble wash-stand, cracked, with a china vessel of water, minus the handle… And in this mirror was genially reflected the following delicate articles:—first, two boquets of flowers inserted in pretty vases of porcelain; second, one cake of white soap; third, one cake of rose-colored soap (both cakes very fragrant); fourth, one wax candle; fifth, one china tinder-box; sixth, one bottle of Eau de Cologne; seventh, one paper of loaf sugar, nicely broken into sugar-bowl size; eighth, one silver teaspoon; ninth, one glass tumbler; tenth, one glass decanter of cool pure water; eleventh, one sealed bottle containing a richly hued liquid, and marked "Otard."… Then receiving the bowl into his gyved hands, the iron ringing against the china, he put it to his lips, and saying, "I hereby give the British nation credit for half a minute's good usage," at one draught emptied it to the bottom… Are not men built into communities just like bricks into a wall? Consider the great wall of China: ponder the great populace of Pekin. 1856 Melville, Herman. The piazza tales. (New York, N.Y. : Dix & Edwards ; London : Sampson Low, Son & Co., 1856). …"How sweet a day"—it was, after all, but what their fathers call a weather-breeder—and, indeed, was become go sensitive through my illness, as that I could not bear to look upon a Chinese creeper of my adoption… 1857 Melville, Herman. The confidence-man : his masquerade. (New York, N.Y. : Dix, Edwards & Co., 1857). Chapter VII. A gentleman with gold sleeve-buttons. Do but think, my dear sir, of the eddies and maëlstroms of pagans in China. People here have no conception of it. Of a frosty morning in Hong Kong, pauper pagans are found dead in the streets like so many nipped peas in a bin of peas. To be an immortal being in China is no more distinction than to be a snow-flake in a snow-squall. What are a score or two of missionaries to such a people? A pinch of snuff to the kraken. I am for sending ten thousand missionaries in a body and converting the Chinese en masse within six months of the debarkation. The thing is then done, and turn to something else." 1888 Melville, Herman. John Marr and other sailors ; with some sea-pieces. = John Marr and other poems. (New York, N.Y. : De Vinne Press, 1888). Unworldly servers of the world. Yea, present all, and dear to me, Though shades, or scouring China's sea… A cutwater nose, ay, a spirited soul; But, bowsing away at the well-brewed bowl, He never bowled back from that last voyage to China. |
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| 2 | 1926-2000 |
Herman Melville and China : general. Yang Jincai : In the late 1970s wide interest in Melville occurred when China slowly walked away from the shadow of the Cultural Revolution. Throughout the 1980s, Melville studies in China were characterized by little reference to American scholarship. The Chinese critical fervor during the period featured a focus on the 'gloominess of Melville'. From the 1990s on, comparative studies of Melville and his contemporaries or disciples began to claim a fuller place in Chinese academe. These comparative approaches render a wealth of literary material that has helped readers in China understand Melville's writing. The most ambitious Melville publishing venture of the 1990s was the translation of Moby Dick. Heading into the twenty-first century, Melville scholarship in China has advanced in varied ways. The brisk publication of Melville's works has augmented Chinese scholars' unrelenting efforts in Melville studies. In contrast with the comparative approaches, critics now depart from the traditional trajectory of biographical and historicist approaches and focus on Melville's artistic project including his manipulation of narration, characterization, and writing technique. Norman Michael Bock : Melville, Herman. Moby Dick : Chinese do not tend, at least not to the extant westerners do, to accord divinity to a single, conscious being. The Judeo-Christian assumption of monotheism encounters constant challenge even in China today, where small family temples may contain side-by-side statues of Christ, the Buddha, and Guanyin – all of whom are perceived as coequal manifestations of the same diffuse metaphysical presence. As the novel progresses, Ishmael moves away from the most extreme Western proclivity for assuming an anthropomorphized, antagonistic god, but appearances notwithstanding, he does not move toward the Chinese sensibility. Traditional Chinese scholars did not assume that the world is indifferent and nonpurposive, as Melville does. They saw the universe, on balance, as benevolent. At the end of the chase, when Ishmael, the sole survivor of the Pequod's crew, is finally alone in the timelessly rolling ocean, buoyed by the coffin of his lost comrade Queequeg, confrontated by the same heartless immensity that drove Pig mad, the narrator can react constructively to the woe he has felt all along. Ishmael now appreciates himself as representative of the archetypal wandering orphan of Judeo-Christian myth, waiting to be picked up by the Rachel to begin life anew on the lee shore. Chinese readers, accustomed to Chinese novels that detail the protagonist's involvement with the ethical concerns presented by the quotidian, will question why Moby Dick ends at this point. Melville, Herman. The bell-tower : Chinese readers will appreciate the continuities, and subtle differences between Hawthorne' The birthmark and Melville's The bell-tower. Both tales focus on a prideful inventor who seeks to create an object that stands beyond the limitations and imperfections of historical existence. Although Melville warns against what he perceived as a misguided American tendency to strive to transcend the realm of historical limitations, he also recognizes that dreamers such as Bannadonna achieve certain precious perspectives on human experience. For Chinese readers, this paradox repeats a point made in Moby Dick and defines a key feature of American culture. Melville, Herman. Bartleby the scrivener : This tale has proven tremendously intriguing to the generation of Chinese students that passed the first National University Entrance Exam conducted after the Cultural Revolution. These readers often attribute to Bartleby a heroic nihilism. Some Chinese students inclined to find evidence of Bartleby's redemption have argued that the protagonist, in dying, seems to fertilize the prison yard, so that 'by some magic, through the clefts, grass-seed, dropped by the birds, has sprung'. Bartleby the scivener provoked a cult of interest among Chinese undergraduates. Many intellectuals who had lost years of educational opportunity to the tumult of the Cultural Revolution now channeled their previously unarticulated inclinations toward nihilism into their readings of this work. |
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| 3 | 1926.1 |
Zheng, Zhenduo. Meiguo wen xue [ID D29708]. Zheng quoted Moby Dick by Herman Melville and appraised Melville as 'one of the rarest symbolic writers'. |
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| 4 | 1933 |
Zhang, Yuerui. Meilijian wen xue [ID D29501]. Zhang devoted a short paragraph to Herman Melville observing him as one of 'the modern important satirists in the New York Group to critique both human hypocrisy and the bloody colonial wars in the Western world'. Apart from his passing remarks on Typee, Omoo, Mardi, and White-acket, he notices 'the theme of incest in Pierre', a book that 'embodies Melville's deepest pessimism'. He concluded that 'Moby Dick was not even recognized as a great novel until the 1920s', displaying his sympathy for the ignored American. His introductory words ignited a wide interest in Melville. |
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| 5 | 1934 |
[Melville, Herman]. Taipi. Wu Guangjian yi. [ID D30230]. Wu Guangjian discusses in a brief introduction Melville's major works, mentioning briefly his volumes of poetry : Timoleon, John Marr and other sailors, and Battle-pieces and aspects of the war. Wu's abridgment of Typee with his critical commentary did much to spread the influence of Melville among Chinese literary scholars. |
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| 6 | 1957 |
[Melville, Herman]. Bei jing : Mobi Dike. Cao Yong yi. [ID D30233]. The postscript dwells on Cao's experience of translating Moby Dick and offers his critical analysis of the novel in terms of its plot and theme. Cao Yong's preface to his revised edition in 1982 is a personal reading of Moby Dick explaining why Cao had to improve his translation. |
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| 7 | 1958 |
Zhou, Jueliang. Bai jing ji : Mobi Dike [ID D30234]. Zhou wrote a review essay, praising Cao Yong's translation of Moby Dick by Herman Melville. It was also a critical survey of Melville's art, asserting that Melville deserves more attention. He said with regard to Melville's literary work that he was a rare writer of his time who represented the various elements of his age. Melville should be observed not only as an individual writer, but also as an important representative in the history of American literature. |
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| 8 | 1978 |
Dong, Hengxun. Meiguo wen xue jian shi [ID D29603]. Dong and his colleagues argue that while Moby Dick contains mysticism – the incomprehensible White Whale suggests Melville's inability to comprehend the powerful drive of American capitalism - Melville's revelation of social inequities and criticism of American capitalist society are obvious throughout. In his preface, Dong also considers Bartleby as a victim of capitalism, for Dong, Bartleby suffers from the depressive alienation of American business life. |
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| 9 | 1982 |
Zhou, Jueliang. Heman Meierweier. In : Wai guo wen xue [ID D30234]. [Herman Melville]. Zhou's ritical survey of Typee, Omoo, Mardi, Redburn, White-jacket, and Moby Dick affirms Melville's stance as a social critic and sees him as an artist who could be deftly realistic, symbolic, and allegorical at the same time. He argues that Moby Dick symbolizes a combination of virtue and vice, and its whiteness both innocence and terror. |
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| 10 | 1991 |
Wang, Yiqun. Lun Bai jing zhong di ren dao zhu yi si xiang [ID D30238]. "Herman Melville is one of the greatest American literary naturalists, who was born in a rich family in New York in 1819. After his father died in debt, 11-year-old Melville had to begin to work early. He once worked as a bank clerk, a salesman, a schoolteacher, but all these failed to offer him a decent livelihood. Then he went to sea at twenty, which provided him rich experiences, especially his sailing experiences that furnished him with abundant material for fiction. For a period of some eight years after his return from the sea, he was at most prolific. Melville composes lots of works, such as Typee (1846), Omoo (1847), Mardi (1849), Redburn (1849), White Jacket (1850), Moby-Dick (1851) etc. Among his works, Moby-Dick is one of the greatest masterpieces of the world. Moby-Dick is a very famous novel showing that Ahab, the captain of the Pequod, leads the crew to pursue and kill the white whale. It is also the story of the struggle and harmony of nature and human beings, reflecting the complex relationship between humanity and nature." |
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| 11 | 1993 |
Ferrantello, Donna. 'The symphony' in 'Moby-Dick' : the Chinese eye in Melville's Storm : the influence of the China trade, oriental thought and universalism on Melville's romanticism. This dissertation is an exploration of the influence of the China trade, Oriental thought and Universalism on Melville's Romanticism, focusing on his novel Moby-Dick. The thesis that Melville writes in a genre of literary religion similar to Transcendentalists is argued on the basis of his use of a meditation process to realize an intuitional epistemology and achieve a harmony of polarities. I characterize his epistemology as related to a hidden Oriental 'geist'. Chapter One explores the influence of the China trade, travel and texts during Melville's age. The China trade was a vehicle for economic exchange in early 19th century America. It was also a powerful source for transmitting knowledge about Oriental culture and thought. The general knowledge of Chinese culture and thought available to the reading of Melville and his contemporaries is discussed with specific attention to Melvilles interests and reading habits. Chapter Two surveys the philosophical literature generated by Transcendentalists, British and German Romantics about the relation between mind and nature. I trace their involvement with polarities to influence from Oriental thought. This interest in a synthesis of polarities also included the unity of science and philosophy. Thus, it is argues that the work of Nature-philosophy writers Herder and Humboldt influenced the quasi-scientific interests of Melville expressed in Moby-Dick. Chapter Three gives a brief analysis of symbol theories found in Emerson, Coleridge and Schelling. I demonstrate how Melville uses external symbols to convey states of consciousness. His use of a meditation process as a spiritual method for recognizing intuitive truth is evident in Melville's language about consciousness. The Oriental 'geist' is revealed in his use of the Universal Yellow Lotus symbol and in contrasting imagery of East and West, the Pacific and Atlantic waters, masculinity and femininity, activity and calm, and Ahab and Ishmael. "The Symphony" chapter provides the epistemological, ontological and cosmological center for the novel's meaning: the Chinese Tao of being. Finally, this enlightenment is related to a 'coming home' experience. Chapter Five situates Melville's Universalist notions on brotherhood, unity of races and religions and the notion of a universal religion in relation to Unitarian Christianity and Transcendentalism, particularly the thought of Samuel Johnson. Both Melville and Johnson depict the sea as a symbol for universality. An embracing maternal spirit as the source of unity for all being and polarities is the nexus of Melville's symphony. |
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| 12 | 2000 |
Ferrantello, Donna. Moby-Dick and peace [ID D30218]. Original study about the influence of Orientalism on Melville and how Transcendentalists and Orientalists were instrumental to Melville's writing of his classic novel. 1) Chapter One - Ishmael's Transcontinental Journey Given the cultural transformations triggered by science, trade and travel, Ishmael questions the meaning of life and religious understandings. What forces shaped Melville’s life? How does he depart from American mainstream Christianity? Why does Ishmael take the journey eastward on the Pequod and within his inner consciousness? What colleagues shared Melville’s explorations? How have modern critics dealt with Melville’s relationship to the Orient? 2) Chapter Two - The Influence of the China Trade, Travel and Texts on Melville's Life and Thought Since Melville's relatives and contemporaries were involved with the China trade and Oriental cultures, they contributed to his knowledge. Passages about the China trade and Oriental culture are shown within Moby-Dick and other works. What other thinkers and texts about the Orient itself were influential? 3) Chapter Three - Transcendence to Peace: Meditation and the Orient Melville expresses both Christian and Oriental images in the novel. After Ishmael asserts his "meditation and water" mythos in the first chapter, what direction does his "dive into consciousness" take? How does Melville develop the unfolding stages of Ishmael’s consciousness? How does symbolism relate to consciousness and the external narration of the whale hunt? How do the writings of Thoreau and Emerson influence Melville's thought? 4) Chapter Four - The Romantic Heritage: Nature- Philosophy and Polarities Why was Melville so involved with the notion of polarities characteristic of Romanticism? How did his Romantic precursors perceive the relationship between mind and matter? What thinkers felt affinity with the wisdom from the Orient? How did Romanticism challenge materialistic orientations? 5) Chapter Five - A Symphony of Peace: Melville and Universalism Melville was surrounded by people engaged with intense religious involvements and radical debate. The revelation of peace and harmony affects Ishmael's understanding of the relationship between Christianity and the world religions. Ishmael's transcendent experience of peace relates to the individual, the relationship between masculine and feminine and the world cultures at large. Who were the Orientalists who influenced and/or paralleled Melville’s own speculations about religion and universal truth? What roles do Ishmael and Queequeg play in this debate? How does the symbolism of the sea express universality? 6) Chapter Six - Conclusion : Writing Moby-Dick the Logos and The Tao Similar to other Transcendentalists and Romantics, Melville discovers enlightenment through intuition and the reconciliation of polarities. Is it possible that the notion of the "Tao" was a germinating seed and design for the artistry of Moby-Dick? The pattern for design, as both conscious and unconscious creation, originates with a way of knowing and perceiving nature. Ishmael’s Romantic and Christian, Jobian quest to know the face of the whale develops and expands into a new understanding of God or a universal consciousness. |
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Bibliography (44)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1934 |
[Melville, Herman]. Taipi. Milewei zhu ; Wu Guangjian yi. (Shanghai : Shang wu yin shu guan, 1934). (Ying Han dui zhao ming jia xiao shuo xuan). Übersetzung von Melville, Herman. Typee : a peep at Polynesian life, during a four month's residence in a valley of the Marquesas. Pt. 1-2. (New York, N.Y. : Wiley and Putnam ; London : John Murray, 1846). [Chinese and English]. 泰丕 |
Publication / MelH20 | |
| 2 | 1943-1947 |
[Melville, Herman]. Bai jing ji. Feng Yidai yi. In : Ou mei xiao shuo ming zhu jing hua [ID D30231]. Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). [Teilübersetzung]. 白鯨記 |
Publication / MelH21 | |
| 3 | 1957 |
[Melville, Herman]. Bei jing : Mobi Dike. Mai'erwei'er ; Cao Yong yi. (Shanghai : Xin wen yi chu ban she, 1957). = [Rev. ed.]. (Shanghai : Shanghai yi wen chu ban she, 1982). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鲸 : 莫比迪克 |
Publication / MelH22 | |
| 4 | 1961 |
[Melville, Herman]. Bai jing. Maierweier zhuan ; Chen Xuezhou yi. (Taibei : Wu zhou, 1961). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨 |
Publication / MelH12 | |
| 5 | 1969 |
[Melville, Herman]. Bai jing ji. He'erman Mei'erwei'er zhu ; Ye Jinyong yi. (Xianggang : Jin ri shi jie she, 1969). (Meiguo wen xue ming zhu yi cong). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH3 |
|
| 6 | 1969 |
[Melville, Herman]. Bai jing ji. He'erman Mei'erwei'er zhu ; Ye Jinyong yi. (Xianggang : Jin ru shi jie she, 1969). (Meiguo wen xue ming zhu yi cong). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH37 | |
| 7 | 1970 |
[Melville, Herman]. Wu bi di you ming 'Bai jing'. Mai'erwei'er yuan zhu ; Liu Yanqiao gai xie. (Xingzhou : Xingzhou shi jie shu ju you xing gong si, um 1970). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 无比敌 : 又名白鲸 |
Publication / MelH49 | |
| 8 | 1971 |
[Melville, Herman]. Taipi. Milewei zhuan ; Sun Zhumin yi. (Taibei : Wu zhou, 1971). (Ming jia xiao shuo xuan). Übersetzung von Melville, Herman. Typee : a peep at Polynesian life, during a four month's residence in a valley of the Marquesas. Pt. 1-2. (New York, N.Y. : Wiley and Putnam ; London : John Murray, 1846). 泰丕 |
Publication / MelH48 | |
| 9 | 1972 |
[Melville, Herman]. Bai jing ji. Meierweier zhu ; Ye Puyong yi. (Xianggang : Jin ri shi jie she, 1972). (Meiguo wen xue ming zhu yi cong). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH38 | |
| 10 | 1972 |
[Melville, Herman]. Lu shi Batuobi. Yu Guangzhong yi. (Xianggang : Jin ri shi jie chu ban she, 1972). (Meiguo duan pian xiao shuo ji jin ; 1). Übersetzung von Melville, Herman. Bartleby, the scrivener : a story of Wall street. Pt. 1-2. In : Putnam's magazine ; Nov.-Dec. (1853). 錄事巴托比 |
Publication / MelH47 | |
| 11 | 1973 |
[Melville, Herman]. Bili Bate. Meierweier zhuan ; Zhuo Luolin yi. (Taibei : Zheng wen shu ju, 1973). (Ying han dui zhao shi jie ming zhu ; 104). Übersetzung von Melville, Herman. Billy Budd. In : Melville, Herman. Billy Budd, and other pieces. (London : Constable, 1924). [Unvollendetes MS, geschrieben 1886-1891]. 比利巴特 |
Publication / MelH43 | |
| 12 | 1975 |
Duan pian xiao shuo ji jin. Huosang deng zhu ; Wei Wei deng yi. (Xianggang : Jin ri shi jie chu ban she, 1975. [Chinese and English]. 短篇小說集錦 [Enthält] : [Hawthorne, Nathaniel]. Qing chun zhi quan. Huosang zhu. Übersetzung von Hawthorne, Nathaniel. Dr. Heidegger's experiment. = The fountain of yonder. In : The Knickerbocker magazine (1837). In : Hawthorne, Nathaniel. Twice-told tales. (Boston : American Stationers Co. ; John B. Russell, 1837)青春之泉 [Melville, Herman]. Lu shi Batuobi. Mei'erwei'er zhu. Übersetzung von Melville, Herman. Bartleby the scrivener : a story of Wall-Street. In : Putnam's Monthly Magazine ; vol. 2, no 11 (Nov. 1853). 錄事巴托比 [Stockton, Frank R.]. Nü ren yu lao hu. Shituokedun zhu. Übersetzung von Stockton, Frank R. The lady, or the tiger ? In : Century magazine ; Nov. (1882). 女人與老虎 [Hemingway, Ernest]. Wo ba ba. Haimingwei zhu. Übersetzung von Hemingway, Ernest. My old man. In : The golden book magazine ; vol. 20, no 120 (Dec. 1934). 我爸爸 |
Publication / HawN1 | |
| 13 | 1980 |
[Melville, Herman]. Bai jing ji. Meierweier zhu ; Li Guangyuan yi. (Tainan : Xin shi ji, 1980). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH16 | |
| 14 | 1981 |
[Melville, Herman]. Bai jing ji. Meierweier ; Deng Xinyang yi. (Taibei : Yuan jing, 1981). (Shi jie wen xue quan ji ; R 83). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH13 | |
| 15 | 1981 |
[Melville, Herman]. Da bai jing. Meierweier yuan zhu. (Taibei : Wei wen, 1981). (Xi yang wen xue ming zhu xuan kan). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 大白鯨 |
Publication / MelH45 |
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| 16 | 1983 |
[Melville, Herman]. Bai jing ji. Heerman Meierweier zhu ; Wang Mingguang yi. (Taibei : Taibei xian dan shui zhen, 1983). (Shi jie wen xue ming zhu). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH33 | |
| 17 | 1984 |
[Melville, Herman]. Bai jing ji. Meierweier zhu. (Jiulong : Wen guang chu ban she, 1984). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH10 |
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| 18 | 1984 |
[Melville, Herman]. Bai jing ji. Meierweier zhu ; Ou Yangyu yi. (Taibei : Zhi wen, 1984). (Xin chaos hi jie ming zhu ; 20). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH31 | |
| 19 | 1987 |
[Melville, Herman]. He Maierweier de "Shui shou Bili Bade". Zhou Jueliang yi. In : Shi jie wen xue ; vol. 6 (1987). Übersetzung von Melville, Herman. Billy Budd. In : Melville, Herman. Billy Budd, and other pieces. (London : Constable, 1924). [Unvollendetes MS, geschrieben 1886-1891]. 赫麦尔维尔的水手毕利伯德 |
Publication / MelH4 | |
| 20 | 1989 |
[Melville, Herman]. Bai jing. Heerman Maierweier yuan zhu ; Xieli Baojiate [Shirley Bogart] gai xie ; Yang Renjing yi. (Beijing : Shao nian er tong chu ban she, 1989). (Cha tu ben wai guo du dian wen xue ming zhu). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨 |
Publication / MelH35 | |
| 21 | 1991 |
Shi jie wen xue ming zhu jing cui. Zhong ying dui zhao. Vol. 1-72. (Taibei : Lu qiao, 1991). (Lu qiao er tong di san zuo tu shu guan). [Enthält] : Homer; Alexandre Dumas; Helen Keller; Mark Twain; Robert Louis Stevenson; Anthony Hope; Charles Dickens; Thomas Hardy; Edgar Allan Poe; Johanna Spyri; Arthur Conan Doyle, Sir; Jack London; Lew Wallace; Charlotte Bronte; Jules Verne; Emily Bronte; Miguel de Cervantes Saavedra; Emma Orczy; Richard Henry Dana; William Shakespeare; Rudyard Kipling; Herman Melville; Sir Walter Scott, bart.; Victor Hugo; James Fenimore Cooper; Johann David Wyss; Jane Austen; Henry James; Jonathan Swift; Stephen Crane; Anna Sewell; Nathaniel Hawthorne; Bram Stoker; Daniel Defoe; H G Wells; William Bligh; Mary Wallstonecraft Shelley; Fyodor Dostoyevsky; O. Henry [William Sydney Porter]; Joseph Conrad. 世界文學名著精粹 |
Publication / Shijie |
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| 22 | 1991 |
[Melville, Herman]. Bai jing ji. Chen Meiyan yi zhu. (Dainan : Wen guo shu ju, 1991). (Shi jie ming zhu Ying Han dui zhao ; 26). [Text in Chinesisch und Englisch]. Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH11 | |
| 23 | 1993 |
[Melville, Herman]. Bai jing ji. Heerman Maierweier yuan zhu ; Zhou Zhe gai xie ; Fan Qihui hui tu. (Taibei : Taibei xian ban qiao shi, 1993). (Shi jie wen xue min zhu zhou ya ping zong zhu bian). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH40 | |
| 24 | 1994 |
[Melville, Herman]. Bai jing ji. Yuehan Hesidun [John Huston] dao yan ; Yuehan Hesidun, Leibulai Boli [Ray Bradbury] bian ju ; Heman Meiwei'er yuan zhu. (Taibei : Di yin chuan bo you xian gong si, 1994). (Kan dian ying xue Ying yu. Shi jie zhen cang ming pian dui bai xuan ji ; 19). [Drehbuch, Regie, Hersteller : John Huston ; Drehbuch : Herman Melville, Ray Bradbury, 1956]. Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨 |
Publication / MelH9 | |
| 25 | 1995 |
[Melville, Herman]. Batuobi. Meierweier yuan zhu ; Heng Litelin [Philippe-Henry Turin] hui tu ; Zhang Lingling yi. (Taibei : Taiwan mai ke, 1995). (Da shi ming zuo hui ben ; 34). Übersetzung von Melville, Herman. Bartleby, the scrivener : a story of Wall street. Pt. 1-2. In : Putnam's magazine ; Nov.-Dec. (1853). 巴托比 |
Publication / MelH41 | |
| 26 | 1996 |
[Melville, Herman]. Bai jing. Meierweier ; Luo Shanchuan yi. (Changsha : Hunan wen yi chu ban she, 1996). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨 |
Publication / MelH29 | |
| 27 | 1997 |
[Melville, Herman]. Bai jing ji. Heman Meierweier yuan zhu ; Deke Weibuleike gai xie ; Duolisi Aisenboge chat tu ; Lin Xiaoqing yi. (Taibei : Qing lin guo ji, 1997). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH15 | |
| 28 | 1997 |
[Melville, Herman]. Ji ming wo wo. Meierweier. (Beijing : Zhongguo dui wai fan yi chu ban gong si, 1997). Übersetzung von Melville, Herman. Cock-a-doodle-doo ! and other stories. (Milano : La Spiega 1991). [Cock-a-doodle-doo ! In : Harper's magazine ; (1853)]. 鸡鸣喔喔 |
Publication / MelH46 |
|
| 29 | 1998 |
[Melville, Herman]. Bai jing ji. Luo Kuang yi. (Xi'an : Shanxi ren min chu ban she, 1998). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH28 | |
| 30 | 1998 |
[Melville, Herman]. Bai jing ji. Mei'erwei'er ; rewritten by David Oliphant. (Taibei : Lu qiao wen hua shi ye you xian gong si, 1998). (Shi jie wen xue ming zhu jing cui ; 27). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH30 | |
| 31 | 1998 |
[Melville, Herman]. Bili Bade. Mei'erwei'er ; rewritten by David Oliphant. (Taibei : Lu qiao wen hua shi ye you xian gong si, 1998). (Shi jie wen xue ming zhu jing cui ; 28). Übersetzung von Melville, Herman. Billy Budd. In : Melville, Herman. Billy Budd, and other pieces. (London : Constable, 1924). [Unvollendetes MS, geschrieben 1886-1891]. 比利巴德 |
Publication / MelH42 | |
| 32 | 1998 |
Bu pei de ling xu : qi ye ling dao li de qi shi : Bolatu, Shashibiya, Jinen, Kelaosaiweizi, Qiujier, Gandi. = The timeless leader : lessons on leadership from : Plato, Shakespeare, Antigone, Melville, Robert Penn Warren, Cleopatra, Churchill, Martin Luther King, von Clausewitz, Castiglione, Gandhi. Yuehan Kelimen [John Clemens] ; Shitifu Aibohete ; Li Wanrong yi.(Taibei : Mai tian chu ban gong si,1998). (Qi hua cong shu ; FP2013). 不朽的领袖 : 企业领导力的启示柏拉图莎士比亚金恩克劳塞维兹邱吉尔甘地 |
Publication / WarR4 | |
| 33 | 1999 |
[Melville, Herman]. Bai jing. Mai'erwei'er ; Ji Xusheng yi. (Beijing : Beijing yan shan chu ban she, 1999). (Shi jie wen xue wen ku). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨 |
Publication / MelH14 | |
| 34 | 1999 |
[Melville, Herman]. Bai jing ji. Meierweier zhu ; Li Shuzhen bian yi. (Taibei : Jiu yi, 1999). (Zhen cang wen ku ; 43). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH17 | |
| 35 | 1999 |
[Melville, Herman]. Bai jing ji. Liu Yuhong, Wan Maolin yi. (Beijing : Beijing yan shan chu ban she, 1999). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH26 | |
| 36 | 1999 |
[Melville, Herman]. Bai jing ji. Luo Bu yi. (Ha'erbin : Ha'erbin chu ban she, 1999). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH27 | |
| 37 | 1999 |
[Melville, Herman]. Bai jing. He'erman Mei'erwei'er zhu ; Rong Xinfang, Wen Rongyue yi. Vol. 1-2. (Beijing : Zhongguo he ping chu ban she, 1999). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨 |
Publication / MelH32 | |
| 38 | 1999 |
[Melville, Herman]. Bai jing. He'erman Mei'erwei'er zhu ; Yang Shanlu, Jiang Qinrong yi. Vol. 1-2. (Beijing : Da zhong wen yi chu ban she, 1999). (Shi jie wen xue ming zhu bai bu). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨 |
Publication / MelH36 | |
| 39 | 2000 |
[Melville, Herman]. Bai jing. Heman Meierweier zhu ; Liao Yihua yi. (Beijing : Wai wen chu ban she, 2000). (Shi jie jing dian ming zhu jie lu cong shu. Zhong ying wen dui zhao du wu ; 1). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨 |
Publication / MelH18 | |
| 40 | 2000 |
[Melville, Herman]. Bai jing ji. Liang Zi yi. (Beijing : Guang ming ri bao chu ban she, 2000). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH19 | |
| 41 | 2000 |
[Melville, Herman]. Bai jing. Maierweier ; Wen Xin deng suo bian. (Beijing : Zhongguo shao nian er tong chu ban she, 2000). (Zhong wai wne xue zuo pin shang xi cong shu. Qing shao nian wen xue xiu yang su du ben ; 106). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨 |
Publication / MelH34 | |
| 42 | 2000 |
[Melville, Herman]. Bai jing ji. Heerman Maierweier yuan zhu ; Zheng Tai bian yi. (Taibei : Taibei xian zhong he shi, 2000). (Wen xue wu yu ; 114). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 白鯨記 |
Publication / MelH39 | |
| 43 | 2000 |
[Melville, Herman]. Da bai jing. Meiweier zhu ; Donna Carlson gai bian. (Taibei : Yuan hengxun, 2000). (Shao nian ming zhu jing xuan ; 6). Übersetzung von Melville, Hermann. Moby Dick. Adapted by Donna Carlson. (Chicago, Ill. : Masterwork Books, 1994). (Young collector's illustrated classics). Übersetzung von Melville, Herman. Moby Dick ; or, the whale. (New York, N.Y. : Harper & Brothers, 1851). 大白鯨 |
Publication / MelH44 | |
| 44 | 2013 |
Melville, Herman, 1819-1891 : works. http://www.gutenberg.org/browse/authors/m#a9. |
Web / MelH1 |
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Secondary Literature (13)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1958 | Zhou, Jueliang. Bai jing ji : Mobi Dike. In : Xi fang yu wen ; vol. 2, no 1 (1958). [The white whale : Moby Dick by Herman Melville]. | Publication / MelH23 | |
| 2 | 1978 |
Dong, Hengxun. Meiguo wen xue jian shi. Dong Hengxun [et al.] bian zhu. Vol. 1-2. (Beijing : Ren min wen xue chu ban she, 1978 / 1986). [A concise history of American literature ; enthält ein Kapitel über Mark Twain, Walt Whitman, William Faulkner, John Steinbeck ; Erwähnung von Henry David Thoreau, Harriet Beecher Stowe, Herman Melville]. 美国文学简史 |
Publication / DongH1 | |
| 3 | 1987-1988 | Kao, Hsin-sheng C. On narrative digression and nonsequential interpolation : comparative study of works by Li Ju-chen and Melville. In : Tamkang review, vol. 18, nos 1-4 (1987-1988). | Publication / MelH6 |
|
| 4 | 1989 | Bock, Norman Michael. Expressions of selfhood in classic American fiction : readings from a Chinese cultural perspective. (Ann Arbor, Mich. : University Microfilms International, 1989). Diss. Univ. of Connecticut, 1989. [Betr. Nathaniel Hawthorne, Herman Melville, Mark Twain, Henry James, F. Scott Fitzgerald, William Faulkner]. | Publication / Twa18 | |
| 5 | 1989 | Zhou, Jueliang. The garden, the river, the sea : a comparative study of Hongloumeng, Huckleberry Finn and Moby Dick. In : Wen yuan : studies in language literature and culture, vol. 2 (1989). | Publication / MelH7 | |
| 6 | 1991 |
Wang, Yiqun. Lun "Bai jing" zhong di ren dao zhu yi si xiang. In : Wai guo wen xue yan jiu ; vol. 4 (1991). [Analysis of the relationship between humanity and nature in Moby Dick]. [Herman Melville]. 解读白鲸中人性与自然的关系 |
Publication / MelH25 | |
| 7 | 1993 |
Ferrantello, Donna. 'The symphony' in 'Moby-Dick' : the Chinese eye in Melville's Storm : the influence of the China trade, oriental thought and universalism on Melville's romanticism. Dissertation Drew University, 1993. (Ann Arbor, Mich. : University Microfilms International, 1993). Dissertation abstracts international ; vol. 54-06, Section A. |
Publication / MelH5 | |
| 8 | 1993 |
Wei, Sili. Chen chuan. (Xianggang : Ming chuang chu ban she, 1993). (Xwei Sili ke xue huan xiang xiao shuo ; 12). [Abhandlung über Herman Melville]. 沉船 |
Publication / MelH53 | |
| 9 | 1996 |
Song, Bosheng. Liu zhi shen tong. Vol. 1-3. (Taibei : Rui ru chu ban, 1996). (Xia yi chun qiu ; 13). [Abhandlung über Moby Dick von Herman Melville]. 六指神童 |
Publication / MelH52 | |
| 10 | 1997 |
[MacPhee, Laurence]. He'erman Mei'erwei'erde Bai jing. (Beijing : Wai yu jiao xue yu yan jiu chu ban she, 1997). Übersetzung von MacPhee. Laurence. Melville's Moby Dick. (New York, N.Y. : Monarch Press, 1964). 赫爾曼梅爾維爾的白鯨 |
Publication / MelH51 | |
| 11 | 2000 |
Ferrantello, Donna. Moby-Dick and peace : Melville's 'gospel of the century' revisited : the influence of the China trade, orientalism and universalism on Melville's romanticism. (Marietta : Open Sky Press, 2000). http://www.melville.org/mbook1.htm. |
Publication / MelH8 | |
| 12 | 2000 |
Luo, Wei. Huo yan shen shi. (Xianggang : Xing he chu ban she, 2000). (Xun meng yuan xi lie ; 393). [Herman Melville Handbuch]. 火焰紳士 |
Publication / MelH50 | |
| 13 | 2012 | Yang, Jincai. The critical reception of Herman Melville in China. In : Leviathan ; vol. 14, issue 2 (2012). | Publication / MelH2 |
|