Herunder finder du en liste over anbefalelsesværdige antologier om Melvilles forfatterskab, inklusiv de enkelte bidrag i antologierne.

bloomBloom, Harold (red.). Modern Critical Interpretations: Herman Melville’s Billy Budd, Benito Cereno, ”Bartleby the Scrivener” and Other Tales. New York: Chelsea House, 1987.

Borges, Jorge Luis: ”Prologue to Herman Melville’s ’Bartleby’”; Marx, Leo: ”Melville’s Parable of the walls”; Berthoff, Warner: ”’Certain phenomenal men’: the example of Billy Budd”; Johnson, Barbara: ”Melville’s fist: the execution of Billy Budd”; Sundquist, Eric J.: ”Suspense and tautology in ’Benito Cereno’”; Rogin, Michael Paul: ”Melville and the slavery of the north”; Clark, Michael: ”Witches and Wall Street: possession is nine-tenths of the law”.

bryantBryant, John (red.). A Companion to Melville Studies. Westport, CT: Greenwood Press, 1986.

Part one: Melville’s World – Barbour, James: ”Melville Biography: A Life and the Lives”; Heffernan, Thomas Farel: ”Melville the Traveler”; Yannella, Donald: ”Writing the ’Other Way’: Melville, the Duyckinck Crowd, and Literature for the Masses”; Part Two: Melville’s Work – Weidman, Bette S.: ”Typee and Omoo: A Diverging Pair”; Branch, Watson: ”The Quest for Mardi”; Helfin, Wilson: ”Redburn and White-Jacket”; Bezanson, Walter E.: ”Moby-Dick: Document, Drama, Dream”; Higgins, Brian and Hershel Parker: ”Reading Pierre”; Bergmann, Johannes D.: ”Melville’s Tales”; Cohen, Hennig: ”Israel Potter: Comman Man as Hero”; Bryant, John: ”The Confidence-Man: Melville’s Problem Novel”; Shurr, William H: ”Melville’s Poems: The Late Agenda”; Kenny, Vincent: ”Clarel”; Sealts Jr., Merton M.: ”Innocence and Infamy: Billy Budd, Sailor”; Part Three: Melville’s Thought – Stern, Milton R.: ”Melville, Society, and Language”; Sherill, Rowland A.: ”Melville and Religion”; Bickman, Martin: ”Melville and the Mind”; Shneidman, Edwin S.: ”Melville’s Cognitive Style: The Logic of Moby-Dick”; Part Four: Melville’s Art – Wenke, John: ”Ontological Heroics: Melville’s Philosophical Art”; Rosenberry, Edward H.: ”Melville’s Comedy and Tragedy”; Dettlaff, Shirley M.: ”Melville’s Aesthetics”; Part Five: Melville: His Mark – Widmer, Kingsley: ”Melville and the Myths of Modernism”; Inge, Thomas M.: ”Melville in Popular Culture”; Marovitz, Sanford E.: ”Herman Melville: A Writer for the World”; Tanselle, G. Thomas: ”Melville and the World of Books”.

levinecompanionLevine, Robert S. (red.). The Cambridge Companion to Herman Melville. New York: Cambridge UP, 1998.

Otter, Samuel: ”’Race’ in Typee and White-Jacket”; Stuckey, Sterling: ”The Tambourine in Glory: African Culture and Melville’s Art”; Bryant, John: ”Moby-Dick as Revolution”; Kelley, Wyn: ”Pierre’s Domestic Ambiguities”; Renker, Elizabeth: ”’A —!’: Unreadability in The Confidence-Man”; Buell, Lawrence: ”Melville the Poet”; Franchot, Jenny: ”Melville’s Traveling God”; Martin, Robert K.: ”Melville and Sexuality”; Weinstein, Cindy: ”Melville, Labor, and the Discourses”; Giles, Paul: ”’Bewildering Intertanglement’: Melville’s Engagement with British Culture”; Milder, Robert: ”Melville and the Avenging Dream”.

levinenewcompanionLevine, Robert S. (red.). The New Cambridge Companion to Herman Melville. New York: Cambridge UP, 2014.

Levine, Robert S.: ”Introduction”; Sanborn, Geoffrey: ”Melville and the nonhuman world”; Blum, Hester: ”Melville and oceanic studies”; Greiman, Jennifer: ”Democracy and Melville’s aesthetics”; DeLombard, Jeannine Marie: ”White-Jacket: telling who is – and ain’t – a slave”; Otter, Samuel: ”Reading Moby-Dick”; Kelley, Wyn: ”Pierre, life history, and the obscure”; Thompson, Graham: ”’Bartleby’ and the magazine fiction”; Lee, Maurice S.: ”Skepticism and The Confidence-Man”; Renker, Elizabeth: ”Melville the poet in the postbellum world”; Crane, Gregg: ”Judgment in Billy Budd”; Snediker, Michael: ”Melville and queerness without character”; Tamarkin, Elisa: ”Melville with pictures”; Marr, Timothy: ”Melville’s planetary compass”; Bryant, Johan: ”Wound, beast, revision: versions of the Melville meme”; Gastiglia, Christopher: ”Cold war allegories and the politics of criticism”.


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