Coda

2018 ◽  
pp. 187-192
Author(s):  
Edward Sugden
Keyword(s):  

This coda considers how and why it is that the emergent worlds chronicled in this book have become legible to us now. It seeks to reflect on the contemporary conditions that have made the testimonies and archives covered across the three chapters comprehensible on their own terms, rather than through the lens of a later modernity. It concludes that we now live in a comparably interstitial age as the worlds that make up this book. More precisely, it studies Ishmael in the water at the end of Moby-Dick and suggests that this episode represents a point after a threshold, where he had left the chaotic Pacific and had entered into the beginnings of American modernity. In and around 2001, that era of modernity began to decline, and a new period of systemic uncertainty, our own, began. Ishmael is at the entrance, we at the exit to that age. Ishmael, as he drifts in the water, thus gestures toward anterior ages of transition but also to our future, warning us of the catastrophic consequences of failing to take advantage of these moments of historical promise.

2005 ◽  
Vol 2 (1) ◽  
pp. 20-31 ◽  
Author(s):  
Petra Bendel

Immigration and asylum policies in the European Union have entered into a new period. The author sums up the most important achievements and failures of the EU's efforts to create a common European asylum and immigration system, and she evaluates the new Hague Programme of the European Council (November 2004) in the light of the hitherto existing policies. She concludes that the European Council's new programme lags behind the more promising guidelines of its predecessor of Tampere.


2013 ◽  
Vol 68 (2) ◽  
pp. 145-179
Author(s):  
John Cyril Barton

This essay is the first to examine Melville’s “The Town-Ho’s Story” (Chapter 54 of Moby-Dick [1851]) in relation to W. B. Stevenson’s then-popular-but-now-forgotten British travel narrative, Twenty Years’ Residence in South America (1825). Drawing from suggestive circumstances and parallel action unfolding in each, I make a case for the English sailor’s encounter with the Spanish Inquisition in Lima as important source material for the Limanian setting that frames Melville’s tale. In bringing to light a new source for Moby-Dick, I argue that Melville refracts Stevenson’s actual encounter with the Inquisition in Lima to produce a symbolic, mock confrontation with Old-World authority represented in the inquisitorial Dons and the overall context of the story. Thus, the purpose of the essay is twofold: first, to recover an elusive source for understanding the allusive framework of “The Town-Ho’s Story,” a setting that has perplexed some of Melville’s best critics; and second, to illuminate Melville’s use of Lima and the Inquisition as tropes crucial for understanding a larger symbolic confrontation between the modern citizen (or subject) and despotic authority that plays out not only in Moby-Dick but also in other works such as Mardi (1849), White-Jacket (1850), “Benito Cereno” (1855), Clarel (1876), and The Confidence-Man (1857), wherein the last of which the author wrote on the frontispiece of a personal copy, “Dedicated to Victims of Auto da Fe.”


1970 ◽  
Vol 25 (6) ◽  
pp. 1547-1565
Author(s):  
Viola Sachs
Keyword(s):  

Les circonstances de la colonisation et l'héritage puritain se sont conjugués pour faire du mythe de l'Amérique — recherche de la Nouvelle Terre Promise, rêve d'un Eden nouveau de pionniers — une idée clef de la civilisation américaine. Sur le plan littéraire, elle constitue, depuis le XIXe siècle, comme un point de repère auquel les écrivains confrontent incessamment la réalité, y voyant d'abord la réalisation du rêve, puis, de plus en plus souvent, son effondrement. C'est ce qui explique la prépondérance dans le roman américain, surtout au XIXe siècle, du genre « romance » qui, sous sa forme apparemment fantastique ou moralisante, constitue en réalité une prise de position symbolique par rapport au mythe de l'Amérique. Moby Dick n'échappe pas à cette règle. Nous nous proposons de montrer dans cet article, par une analyse détaillée du texte, que le chef-d'oeuvre de Melville peut être interprété sous cet angle, étant bien entendu qu'il ne s'agit là que d'une dimension de cette oeuvre polyvalente.


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