African Culture and Melville's Art
The Creative Process in Benito Cereno and Moby-Dick
- Publisher's listprice GBP 38.49
-
18 388 Ft (17 512 Ft + 5% VAT)
The price is estimated because at the time of ordering we do not know what conversion rates will apply to HUF / product currency when the book arrives. In case HUF is weaker, the price increases slightly, in case HUF is stronger, the price goes lower slightly.
- Discount 10% (cc. 1 839 Ft off)
- Discounted price 16 549 Ft (15 761 Ft + 5% VAT)
Subcribe now and take benefit of a favourable price.
Subscribe
18 388 Ft
Availability
printed on demand
Why don't you give exact delivery time?
Delivery time is estimated on our previous experiences. We give estimations only, because we order from outside Hungary, and the delivery time mainly depends on how quickly the publisher supplies the book. Faster or slower deliveries both happen, but we do our best to supply as quickly as possible.
Product details:
- Publisher OUP USA
- Date of Publication 20 November 2008
- ISBN 9780195372700
- Binding Hardback
- No. of pages168 pages
- Size 152x236x22 mm
- Weight 397 g
- Language English 0
Categories
Long description:
Here is that rare work that in research and interpretation is original almost from beginning to end. For the first time we discover that slave music and dance are used by Melville in Moby-Dick in the creation of some of his most tragic and avant-garde art. Just as previously unknown African practices, found in travel accounts, reveal a powerful symbolic link between Benito Cereno and Moby-Dick, Frederick Douglass's formulation of joy-sorrow in slave life and music leads to the discovery of a blues aesthetic in Moby-Dick that is full of implications for American culture and the craft of writing. In the future, neither Benito Cereno nor Moby-Dick, should be read as before, for important passages in each spring from Melville's magnificent treatment of a source common to each.
In still more ways, Melville in this volume in not the Melville we have known. Especially in Benito Cereno, the creation of principal characters, symbols, and scenes is drawn from sources hidden in obscurity for roughly a century and a half. Though African influences predominate, Latin American, European, and North American influences are also woven masterfully into the design of the novella. As emphases among them shift back and forth, Melville's art, stunning in its range and subtlety, shimmers with previously undisclosed brilliance. Targeting how he conceived and executed his art, we find in this volume a degree of heretofore unprobed intertexuality in his own work and reveal the other volumes that informed his creative process.
Revisiting Melville's New York and Albany neighborhoods, Sterling Stuckey has given us a stunning reconstruction of the genesis of Moby-Dick and Benito Cereno. His Melville is an 'Africanist' in the best sense: in frequent contact with Ashantee culture, and inspired by the music and dance of the slaves to forge his own poetics of cheer and gloom.
Table of Contents:
Introduction
The Tambourine in Glory
Benito Cereno and Moby Dick
The Hatchet-Polishers, Benito Cereno, and Amasa Delano
Cheer and Gloom: Frederick Douglass and Herman Melville on Slave Music and Dance
Appendix: Chapter XVI from Captain Amasa Delano's A Narrative of Voyages and Travels
