Humanism

2017 ◽  
Author(s):  
Christopher Castiglia
Keyword(s):  
Herman Melville ◽  
Nathaniel Hawthorne ◽  
Walt Whitman ◽  
Literary Canon ◽  
Creative Imagination ◽  
Critical Practice ◽  
The Fantastic ◽  
Social Visions ◽  
American Romanticism

This chapter examines the career of Newton Arvin’s creation of queer humanism, combining the progressive socialism of the 1930s and the experiential innovation of an ethics of enhancement. In his readings of Nathaniel Hawthorne, Walt Whitman, and Herman Melville, Arvin conjoined creative imagination, social idealism, and human solidarity, generating a vital critical alternative to a disenchanting “cant of pessimism.” In the works of American Romanticism, Arvin found examples of practiced movements from pain to wonder, generating both personal and social dissatisfaction (generating critique) and endurance (ensuring the perpetual life of ideals). Arvin endorsed the socialist humanism he found in literary depictions of erotic fraternalism. Within those queer social visions, the conventions of prescribed life give way to the fantastic, extraordinary, and unprecedented. In such moments—the moments that Arvin recognized as central to the romance—new assemblages are worked out in the service of human possibility. Throughout his scholarship, Arvin combined imagination, sexuality, and humanism, placing the hybrid—the dispositional ethics of hope—at the center of the American literary canon and of a critical practice still available today.

The Poetics of American Civil War Sacrifice

2018 ◽  
Author(s):  
Randall Fuller
Keyword(s):  
Civil War ◽  
Herman Melville ◽  
Walt Whitman ◽  
Body Politic ◽  
Emily Dickinson ◽  
American Civil War ◽  
The Body ◽  
The Sacrifice

The nature and meaning of sacrifice were fiercely contested in the aftermath of the American Civil War. Historians have documented a long struggle by veterans to ensure the continuing remembrance of their sacrifice. At the same time, American politicians tended to demur from acknowledging these sacrifices, as doing so would reopen the rift that had prompted war in the first place. This chapter probes the work of three Civil War poets—Emily Dickinson, Herman Melville, and Walt Whitman—to uncover the meaning of sacrifice during and after the war. Dickinson’s verses about psychic pain and dislocation are increasingly understood as simultaneous expositions of the personal and political: Melville’s knotty, multi-perspectival poems about the war, Battle-Pieces, question the ideological freight of sacrifice, and Whitman sought to honour the sacrifice of soldiers through a poetics he hoped would heal the body politic. Ultimately only Whitman’s consolatory poetry would find a postwar audience.

Lounging on the Sofa with Leigh Hunt: A New Source for the Notes in Melville's Shakespeare Volume

2008 ◽  
Vol 63 (1) ◽  
pp. 104-115
Author(s):  
Geoffrey Sanborn
Keyword(s):  
Herman Melville ◽  
Nathaniel Hawthorne ◽  
Review Essay ◽  
Implied Reader ◽  
Moby Dick ◽  
Leigh Hunt ◽  
Quarterly Review ◽  
Periodical Essay

Abstract The argument of this essay is that several of the notes that Herman Melville wrote in the back leaves of one of his Shakespeare volumes——notes that have been an object of interest and speculation ever since their discovery in the 1930s——were responses to essays written by Leigh Hunt and collected in a volume called The Indicator. In all likelihood, Melville read these essays——along with a Quarterly Review essay by Francis Palgrave, which has previously been shown to be the source of other notes in the back of the Shakespeare volume——on the sofa of his father-in-law, Lemuel Shaw, shortly before or after the birth of his son Malcolm in February 1849. The discovery of the new source is important both as an aid in identifying when and where Melville took all of these notes and as an indication of how carefully Melville studied the British periodical essay before beginning Moby-Dick (1851). In the essays of writers like Hunt, he encountered a form that seemed as though it could stretch to accommodate his literary and philosophical ambitions without sacrificing the companionship of the implied reader. For at least two years, Melville would believe enough in the possibilities of that form to compose his miraculously sociable expressions of unresolvable hope and rage, to give voice to the seemingly ““wicked,”” and yet to feel, as he told Nathaniel Hawthorne, ““spotless as the lamb.””

Networked Melville

2017 ◽  
Author(s):  
John Haydock
Keyword(s):  
Nineteenth Century ◽  
Herman Melville ◽  
Nathaniel Hawthorne ◽  
Honore De Balzac ◽  
Book Sales ◽  
French Writer

Conventional academic criticism of the works of Herman Melville does not include agreement that the author knew or was influenced by the contemporary and popular French writer Honoré de Balzac until very late in his life. However, the nature of the literary and technological networks of the mid-nineteenth century, along with an examination of important texts, suggests that Melville was not only seeking to rival the Frenchman as a competitor in book sales, but through study and guidance from his friend Nathaniel Hawthorne, attempting to infuse Balzac’s vision of unity of composition into a new American proto-Realist genre.

History, Romance, and the Novel

2019 ◽  
pp. 154-170
Author(s):  
Gretchen J. Woertendyke
Keyword(s):  
United States ◽  
Herman Melville ◽  
Nathaniel Hawthorne ◽  
Edgar Allan Poe ◽  
The United States ◽  
The Novel ◽  
Washington Irving ◽  
The Difference ◽  
The Government ◽  
Conjectural History

This chapter traces Charles Brockden Brown’s theories of romance, history, and the novel, from his earliest fictional-historical essays, “The Rhapsodist” (1789), “Walstein’s School of History” (1799), and “The Difference between History and Romance” (1800); to Wieland; or, The Transformation (1798) and Edgar Huntly; or, Memoirs of a Sleep-Walker (1799); to An Address to the Government of the United States (1803) and “Annals of Europe and America” (1807–1810). For Brown, romance is a form of conjectural history, true because of its imaginative range beyond the limitations of the novel’s verisimilitude. The future-oriented romance is especially suited to the local and regional conditions of the United States and uniquely connected to the geography of the nation. Brown’s influence can be found in later writers of romance, such as Washington Irving, Nathaniel Hawthorne, Edgar Allan Poe, and Herman Melville.

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