Titlebook: Melville and Aesthetics; Samuel Otter,Geoffrey Sanborn Book 2011 Samuel Otter and Geoffrey Sanborn 2011 aesthetics.America.Case Studies.mu

用肘

biopsy

Battle Music: Melville and the Forms of War,different ways. Whitman, who would declare that the “war of attempted secession has, of course, been the distinguishing event of my time,” famously left his bohemian New York life for the hospitals of Washington, D.C., where he encountered the industrial-scale carnage of the war firsthand (Whitman 1

white-matter

,Melville’s Song of Songs: , as Aesthetic Pilgrimage,192). That Melville could anticipate the failure of his grand, all-encompassing Bible did not make the lack of recognition that followed the publication of . any easier. Melville kept on writing after this major blow, but he did not venture to fashion a new text of scriptural scope until he set to w

ALOFT

射手座

Dead Bones and Honest Wonders: The Aesthetics of Natural Science in ,s pose a threat to Ishmael’s vision of a reality that transcends the sensible world. With only a handful of exceptions, Tyrus Hillway’s claims that Melville denounced the “coldness and inhumanity of the scientific mind” and its “destruction of beauty” have lain largely untouched since he first made them in the 1940s (Hillway 1950, 411).

Anthropoid

Melvillean Provocation and the Critical Art of Devotion,rising, if we assume the gravitational pull on these authors of Melville, who tried different genres across discrete works as well as inside them, and whose most famous novel was once classified as a work of cetology.

observatory

Battle Music: Melville and the Forms of War,dmund Wilson in . (1962)—after he moved to New York City in 1864, Melville with his brother Allan toured the front in the Shenandoahs, riding out on a three-day cavalry hunt for John Mosby—still the degree to which the very shape and structure of Whitman’s daily life was transformed by the war stands him in marked contrast to Melville.

出汗

Bouquet

,Strange Sensations: Sex and Aesthetics in “The Counterpane”,e poses a question (I will argue) about these categories and their relationship to one another—indeed, he asks whether they are different categories at all. Under the covers, so to speak, how can we tell the difference—Melville asks— between them?

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