the canon, the Cold War, and the struggle for American studies /
First Statement of Responsibility
William V. Spanos.
.PUBLICATION, DISTRIBUTION, ETC
Place of Publication, Distribution, etc.
Durham, N.C. :
Name of Publisher, Distributor, etc.
Duke University Press,
Date of Publication, Distribution, etc.
1995.
PHYSICAL DESCRIPTION
Specific Material Designation and Extent of Item
xiv, 374 pages ;
Dimensions
23 cm.
SERIES
Series Title
New Americanists
INTERNAL BIBLIOGRAPHIES/INDEXES NOTE
Text of Note
Includes bibliographical references (pages 353-363) and index.
CONTENTS NOTE
Text of Note
Moby-Dick and the American Canon -- Metaphysics and spatial form: Melville's critique of speculative philosophy and fiction -- The errant art of Moby-Dick -- Moby-Dick and the contemporary American occasion.
0
SUMMARY OR ABSTRACT
Text of Note
"In The Errant Art of Moby-Dick, one of America's most distinguished critics reexamines Melville's monumental novel and turns the occasion into a meditation on the history and implications of canon formation. In Moby-Dick--a work virtually ignored and discredited at the time of its publication--William V. Spanos uncovers a text remarkably suited as a foundation for a "New Americanist" critique of the ideology based on Puritan origins that was codified in the canon established by "Old Americanist" critics from F. O. Matthiessen to Lionel Trilling. But Spanos also shows, with the novel still as his focus, the limitations of this "New Americanist" discourse and its failure to escape the totalizing imperial perspective it finds in its predecessor.Combining Heideggerian ontology with a sociopolitical perspective derived primarily from Foucault, the reading of Moby-Dick that forms the center of this book demonstrates that the traditional identification of Melville's novel as a "romance" renders it complicitous in the discourse of the Cold War. At the same time, Spanos shows how New Americanist criticism overlooks the degree to which Moby-Dick anticipates not only America's self-representation as the savior of the world against communism, but also the emergent postmodern and anti-imperial discourse deployed against such an image. Spanos's critique reveals the extraordinary relevance of Melville's novel as a post-Cold War text, foreshadowing not only the self-destructive end of the historical formation of the American cultural identity in the genocidal assault on Vietnam, but also the reactionary labeling of the current era as "the end of history.""--Back cover.
OTHER EDITION IN ANOTHER MEDIUM
Title
Errant art of Moby-Dick.
PERSONAL NAME USED AS SUBJECT
Melville, Herman,1819-1891-- Influence.
Melville, Herman,1819-1891., Moby Dick.
Melville, Herman,1819-1891-- Influence.
Melville, Herman,1819-1891-- Influence.
Melville, Herman,1819-1891., Moby Dick.
Melville, Herman,1819-1891-- Influence.
Melville, Herman,1819-1891., Moby Dick.
Melville, Herman,1819-1891.
Melville, Herman.
TITLE USED AS SUBJECT
Moby Dick (Melville, Herman)
TOPICAL NAME USED AS SUBJECT
American literature-- History and criticism-- Theory, etc.
Canon (Literature)
Cold War.
Criticism-- United States-- History-- 20th century.
Literature and society-- United States-- History-- 20th century.
Politics and literature-- United States-- History-- 20th century.
Sea stories, American-- History and criticism-- Theory, etc.
Chefs-d'œuvre (Littérature)
Critique-- États-Unis-- Histoire-- 20e siècle.
Guerre froide.
Littérature américaine-- Histoire et critique-- Théorie, etc.
Littérature et société-- États-Unis-- Histoire-- 20e siècle.
Mer-- Récits américains-- Histoire et critique-- Théorie, etc.
Politique et littérature-- États-Unis-- Histoire-- 20e siècle.