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Shattering laughter : = Apocalypse and body in Herman Melville's "Typee".

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Shattering laughter :/
Reminder of title:	Apocalypse and body in Herman Melville's "Typee".
Author:	Schwartz, Michael Adam.
Description:	1 online resource (202 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 69-01, Section: A.
Contained By:	Dissertations Abstracts International69-01A.
Subject:	American literature. -
Online resource:	click for full text (PQDT)
ISBN:	9781109959789

Shattering laughter : = Apocalypse and body in Herman Melville's "Typee".
Schwartz, Michael Adam.

Shattering laughter :Apocalypse and body in Herman Melville's "Typee". - 1 online resource (202 pages)

Source: Dissertations Abstracts International, Volume: 69-01, Section: A.

Thesis (Ph.D.)--Brandeis University, 2007.

Includes bibliographical references

The purpose of my study is to consider primarily from a psychoanalytical perspective Melville's employment in Typee of the trope of the apocalypse. In many of his works, Melville-by consciously or unconsciously employing world-shatteringly-apocalyptic language and imagery-acts to, and re-enacts, the terror, revulsion, and shame which western culture associates with materiality, mortality, gender, and sexuality. Yet Typee, while driven in no small degree by such western-apocalyptic fears of monstrous Body, attempts a different project-to realize the carnivalesque possibility of what Julia Kristeva terms a "laughing apocalypse"-and its success in that endeavor is something which Melville's later work, even Moby-Dick, will be able to recapture only to an ever-lessening degree. In Typee , Melville demonstrates not only the ability to resist the threatening sense of judgment traditionally associated with western apocalypse, but also, more importantly, the capacity to subvert the culture-defining power of the myth by attempting to redefine it as a judgment-free, dissolutive, amorphous, and carnivalesque embrace of Body and Other. While Typee is Melville's most fully-carnivalesque work, it is marked by indecision and a wildly-oscillating tension between western- and laughing-apocalyptic confrontations with Body and Other. By focusing particularly on violently-apocalyptic or psychologically-transitional moments in Typee I attempt to navigate this tension, my goal an understanding of the extent to which Typee's narrator, Tommo, is able to realize the possibilities of laughing apocalypse. Briefly: we witness in Tommo a willingness to leap, to dare, to choose, to act-and to surrender to the unknown immediacy of that which is outside Self. Despite the persistence western-apocalyptic fears and anxieties, Tommo experiences an "elasticity of mind" which results in a significant psychological assimilation into a carnivalesque culture. While Typee's conclusion signals a recoil from carnivalesque possibility and a return to the Body-vilifying culture of western apocalypse, it retains an air of hope which persists-even as it fades-in much of post-Typee Melville.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9781109959789Subjects--Topical Terms:

685398
American literature.
Subjects--Index Terms:

ApocalypseIndex Terms--Genre/Form:

554714
Electronic books.

Shattering laughter : = Apocalypse and body in Herman Melville's "Typee".
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520 $a The purpose of my study is to consider primarily from a psychoanalytical perspective Melville's employment in Typee of the trope of the apocalypse. In many of his works, Melville-by consciously or unconsciously employing world-shatteringly-apocalyptic language and imagery-acts to, and re-enacts, the terror, revulsion, and shame which western culture associates with materiality, mortality, gender, and sexuality. Yet Typee, while driven in no small degree by such western-apocalyptic fears of monstrous Body, attempts a different project-to realize the carnivalesque possibility of what Julia Kristeva terms a "laughing apocalypse"-and its success in that endeavor is something which Melville's later work, even Moby-Dick, will be able to recapture only to an ever-lessening degree. In Typee , Melville demonstrates not only the ability to resist the threatening sense of judgment traditionally associated with western apocalypse, but also, more importantly, the capacity to subvert the culture-defining power of the myth by attempting to redefine it as a judgment-free, dissolutive, amorphous, and carnivalesque embrace of Body and Other. While Typee is Melville's most fully-carnivalesque work, it is marked by indecision and a wildly-oscillating tension between western- and laughing-apocalyptic confrontations with Body and Other. By focusing particularly on violently-apocalyptic or psychologically-transitional moments in Typee I attempt to navigate this tension, my goal an understanding of the extent to which Typee's narrator, Tommo, is able to realize the possibilities of laughing apocalypse. Briefly: we witness in Tommo a willingness to leap, to dare, to choose, to act-and to surrender to the unknown immediacy of that which is outside Self. Despite the persistence western-apocalyptic fears and anxieties, Tommo experiences an "elasticity of mind" which results in a significant psychological assimilation into a carnivalesque culture. While Typee's conclusion signals a recoil from carnivalesque possibility and a return to the Body-vilifying culture of western apocalypse, it retains an air of hope which persists-even as it fades-in much of post-Typee Melville.
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