Plot[ edit ] The narrator, an elderly, unnamed Manhattan lawyer with a comfortable business, already employs two scrivenersNippers and Turkey, to copy legal documents by hand. An increase in business leads him to advertise for a third, and he hires the forlorn-looking Bartleby in the hope that his calmness will soothe the irascible temperaments of the other two.
Albert Camus and C. He writes that Melville, along with other European modernists, can be considered philosophical novelists, that is, novelists who seek to create a world, but a world on a human scale: David Farrell Krell NY: Harper and Row,p.
They belong together, however, in the unity of work-being […] The work is the self-opening openness of the broad paths of the simple and essential decisions in the destiny of an historical people. The earth is the spontaneous forthcoming of that which is continually self-secluding and to that extent sheltering and concealing.
Style, Artist, and Society: Selected Papers, Volume 4 NY: Georges Brazilier, and for a deconstructionist critique of this encounter between Schapiro and Heidegger, see Jacques Derrida, The Truth in Painting. University of Chicago Press, Vintage International,p. At the outset, we need to determine exactly what we mean by Existentialism.
I define it in terms of its emphasis on concrete, lived-experience. And, finally, is this still our world, and, if so, in what ways is it such? James as Existentialists An initial problem here is that perennial philosophical one, the problem of definition.
Existentialism is a curious intellectual movement, in that most of the members of the so-called movement disavowed belonging to it. This is an initial difficulty.
A second difficulty arises when we consider C. James, the Trinidadian intellectual most often identified as a dissident Marxist or a Trotskyite. Not only does he deny being a member of the club, no one really seems to want to let him in the club even after the fact, as scholars seem so readily willing to do with European figures such as Heidegger, Sartre, and Camus.
The problem of definition and self- 3 Donald E. Greil Marcus and Werner Sollors Cambridge: Harvard University Press,pp. James, Marines, Renegades, and Castaways: University Press of New England, p.
Hereafter cited as MRC. So, we need to start with a definition that will help us to identify both Camus and James as Existentialists regardless of their own intentions or the intentions of other scholars.
Additionally, I hope that by starting here, with a proposed definition of Existentialism, we might better see what drew both writers to the work of Herman Melville. Here I propose a rough and ready definition of Existentialism, one that I believe works for both Camus and James, whether they would like it or not.
I wish to propose that, to count as Existentialist, a work must 1 be an expression of the concrete lived experience of its author or creator, 2 it must attempt to make sense of this concrete lived-experience, and 3 it must do so without appealing to factors that ultimately transcend this lived-experience.
I see these as necessary conditions for a work to count as Existentialist, though there may be others. These artists and writers illuminate the experience of the absurd, for our philosophical tools fail us when we try to think through the contradictions of absurdity.
The philosopher who attempts to grapple with the absurd inevitably falls back upon timeworn ideas and ideals, truth foremost among these.
And modern human experience itself is inevitably absurd, according to Camus. The mood of absurdity steals upon us when we least expect it. Previous ages provided various answers to this question, but, as he often does, Camus follows Nietzsche here in claiming that individuals in the modern age have lost faith in the old answers to these questions.
There are absurd marriages, challenges, rancors, silences, wars, and even peace treaties. For each of them the absurdity springs from a comparison. I am thus justified in saying that the feeling of absurdity springs from a comparison.
I am thus justified in saying that the feeling of absurdity does not spring form the mere scrutiny of a fact or an impression but that it bursts from the comparison between a bare fact and a certain reality, between an action and the world that transcends it.
The absurd is essentially a divorce. It lies in neither of the elements compared; it is born of their confrontation. In other words, why go on?Melville‟s World: Albert Camus and C.L.R. James on Moby-Dick Corey McCall [email protected] Elmira College In his essay “The Origin of the Work of Art,” Martin Heidegger claims that the artwork sets up a world, and he proceeds to cite what have become iconic examples of this set-up in the.
"Bartleby, the Scrivener: A Story of Wall Street" is a short story by the American writer Herman Melville, first serialized anonymously in two parts in the November and December issues of Putnam's Magazine, and reprinted with minor textual alterations in his The Piazza Tales in Harold Bloom's Herman Melville's Moby Dick does discuss both views whether Melville was a racist or not a racist.
I gave a direct quote from Melville's book Moby Dick. I asked an open question. Because most of the action of the novel takes place aboard ship, it is not surprising that duty is a major theme in Moby-Dick.
The problem is how it is to be interpreted. For Father Mapple, the first duty of any shipmate is to God. Essays and criticism on Herman Melville's Moby Dick - Suggested Essay Topics.
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