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Creation's Face in Moby-Dick.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Creation's Face in Moby-Dick./
Author:	Wells, Richard Jackson Guignard.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
Description:	45 p.
Notes:	Source: Masters Abstracts International, Volume: 83-03.
Contained By:	Masters Abstracts International83-03.
Subject:	American literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28413380
ISBN:	9798538155378

Creation's Face in Moby-Dick.
Wells, Richard Jackson Guignard.

Creation's Face in Moby-Dick. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 45 p.

Source: Masters Abstracts International, Volume: 83-03.

Thesis (M.A.)--University of South Carolina, 2021.

This item must not be sold to any third party vendors.

In 1973, Gerhard T. Alexis published "Two Footnotes on a Faceless Whale" (AN&Q, vol. 11, pp. 99-100) to point out how Melville was alluding to an exchange between Yahweh and Moses in Exodus 33 during a commentary by Ishmael in Chapter 86 "The Tail" of Moby-Dick (1851). By using Ishmael's allusion to the facelessness of Yahweh in relation to his hand in Exodus 33 as a window, I meditate on the relationship between the hand and face images more properly to propose how they are functioning in Melville's epic in regard to the phenomenon of veiling. The corporeal body in both the Old Testament of the King James Bible and Moby-Dick (i.e. the face, hand, arm, leg, etc.) are powerful drivers for plot, expression, and aestheticization and, thus, are images that can be honed in on for performing meaningful readings. I build on this framework by arguing that the outwardly masculine plot in Moby-Dick can be read as a narrative grappling with the Old Testament's representation of the archetypal Son's creation in Genesis as distinctly Motherless under the trinitarian schema of Father, Son, and Holy Ghost. I argue that Melville's controversial character, Ahab, is a direct descendant of Adam still grappling with his origin story, and I use Melville's comparisons of them to make my case. Lastly, I connect Michelangelo's painting, the Creation of Adam, with Ahab's speech to his "fiery father" in Chapter 119 "The Candles" to apply my meditation on the hand and face images in the context of the trinity to argue that Adam and Ahab are both reaching past their Father through the Ghost of their creation for the face of their captured Mother.

ISBN: 9798538155378Subjects--Topical Terms:

523234
American literature.
Subjects--Index Terms:

Creation

Creation's Face in Moby-Dick.
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300 $a 45 p.
500 $a Source: Masters Abstracts International, Volume: 83-03.
500 $a Advisor: Greven, David.
502 $a Thesis (M.A.)--University of South Carolina, 2021.
506 $a This item must not be sold to any third party vendors.
520 $a In 1973, Gerhard T. Alexis published "Two Footnotes on a Faceless Whale" (AN&Q, vol. 11, pp. 99-100) to point out how Melville was alluding to an exchange between Yahweh and Moses in Exodus 33 during a commentary by Ishmael in Chapter 86 "The Tail" of Moby-Dick (1851). By using Ishmael's allusion to the facelessness of Yahweh in relation to his hand in Exodus 33 as a window, I meditate on the relationship between the hand and face images more properly to propose how they are functioning in Melville's epic in regard to the phenomenon of veiling. The corporeal body in both the Old Testament of the King James Bible and Moby-Dick (i.e. the face, hand, arm, leg, etc.) are powerful drivers for plot, expression, and aestheticization and, thus, are images that can be honed in on for performing meaningful readings. I build on this framework by arguing that the outwardly masculine plot in Moby-Dick can be read as a narrative grappling with the Old Testament's representation of the archetypal Son's creation in Genesis as distinctly Motherless under the trinitarian schema of Father, Son, and Holy Ghost. I argue that Melville's controversial character, Ahab, is a direct descendant of Adam still grappling with his origin story, and I use Melville's comparisons of them to make my case. Lastly, I connect Michelangelo's painting, the Creation of Adam, with Ahab's speech to his "fiery father" in Chapter 119 "The Candles" to apply my meditation on the hand and face images in the context of the trinity to argue that Adam and Ahab are both reaching past their Father through the Ghost of their creation for the face of their captured Mother.
590 $a School code: 0202.
650 4 $a American literature. $3 523234
650 4 $a Comparative literature. $3 570001
650 4 $a Aesthetics. $3 523036
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650 4 $a Theology. $3 516533
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653 $a Hand
653 $a Trinity
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710 2 $a University of South Carolina. $b English. $3 1022414
773 0 $t Masters Abstracts International $g 83-03.
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791 $a M.A.
792 $a 2021
793 $a English
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