LEADER 03766nam 2200433 a 450 001 9910812508003321 005 20221108081328.0 010 $a0-19-772298-9 010 $a0-19-045176-9 010 $a0-19-970686-7 035 $a(CKB)2550000001204371 035 $a(StDuBDS)AH24086716 035 $a(MiAaPQ)EBC431308 035 $a(EXLCZ)992550000001204371 100 $a20110223e20112009 fy| 0 101 0 $aeng 135 $aur||||||||||| 200 10$aAfrican culture and Melville's art$b[electronic resource] $ethe creative process in Benito Cereno and Moby-Dick /$fSterling Stuckey 210 $aNew York ;$aOxford $cOxford University Press$d2011 215 $a1 online resource (ix, 154 p.) 300 $aOriginally published: 2009. 311 $a0-19-537270-0 320 $aIncludes bibliographical references and index. 327 $aIntroduction; 1. The Tambourine in Glory; 2. Benito Cereno and Moby Dick; 3. The Hatchet-Polishers, Benito Cereno, and Amasa Delano; 4. Cheer and Gloom: Frederick Douglass and Herman Melville on Slave Music and Dance; Appendix: Chapter XVI from Captain Amasa Delano's A Narrative of Voyages and Travels 330 $aThis work tells how slave music and dance are used by Melville in 'Moby-Dick' in the creation of some of his most tragic and avant-garde art. Targeting how he conceived and executed his art, we find in this volume a degree of heretofore unprobed intertexuality in his work. 330 $bAlthough Herman Melville's masterworks Moby-Dick and Benito Cereno have long been the subject of vigorous scholarly examination, the impact of African culture on these works has received surprisingly little critical attention. Presenting a groundbreaking reappraisal of these two powerful pieces of fiction, Sterling Stuckey reveals how African customs and rituals heavily influenced one of America's greatest novelists. The Melville that emerges in this innovative, intertextual study is one profoundly shaped by the vibrant African-influenced music and dance culture of nineteenth-century America. Drawing on extensive research, Stuckey reveals how celebrations of African culture by black Americans, such as the Pinkster festival and the Ring Shout dance form, permeated Melville's environs during his formative years and found their way into his finest fiction. Also demonstrated is the extent to which the author of Moby-Dick is indebted to Frederick Douglass's depiction of music, especially the blues, in his classic slave narrative. Connections between Melville's work and African culture are also extended beyond America to the African continent itself. With readings of hitherto unexplored chapters in Delano's Voyages and Travels in the Northern and Southern Hemispheres and other nonfiction sources--such as Joseph Dupuis's Journal of a Residence in Ashantee --Stuckey links Benito Cereno and Moby-Dick , pinpointing the sources from which Melville drew to fashion major characters that appear aboard both the Pequod and the San Dominick . Combining inventive literary and historical analysis, Stuckey shows how myriad aspects of African culture coalesced to create the unique vision conveyed in Moby-Dick and Benito Cereno. Ultimately, African Culture and Melville's Art provides a wealth of insight into the novelist's expressive power and the development of his distinct cross-cultural aesthetic. 606 $aLiterature$2eflch 608 $aElectronic books.$2lcsh 615 7$aLiterature. 676 $a813.3 700 $aStuckey$b Sterling$01629551 801 0$bStDuBDS 801 1$bStDuBDS 801 2$bStDuBDSZ 801 2$bUkPrAHLS 906 $aBOOK 912 $a9910812508003321 996 $aAfrican culture and Melville's art$94074438 997 $aUNINA LEADER 02710nam 2200469z- 450 001 9910137014103321 005 20210211 010 $a9782354571030 010 $a2354571038 035 $a(CKB)3710000000735270 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/50577 035 $a(PPN)19430437X 035 $a(oapen)doab50577 035 $a(EXLCZ)993710000000735270 100 $a20202102d2014 |y 0 101 0 $afre 135 $aurmn|---annan 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aLes intraduisibles du patrimoine en Afrique subsaharienne 210 $cDemopolis$d2014 215 $a1 online resource 311 08$a9782354570743 311 08$a2354570740 327 $tHeritage untranslatables in Sub-Saharan Africa /$rproject led by Barbara Cassin and Danie?le Wozny --$tForobaciye?n yo?ro? baye?le?mabaliw Afiriki Sahara woroduguyanfanjamanaw na /$rBaribara Kasin ani Daniye?li Wozini ka n?emo?go?ya ko?no? --$tKelmiije ndonaandi d?e pirotaako e nder Afrik les-Saharaa /$re ngardiigu Barbaraa Kasen? e Dan?n?el Wosnii. 330 $aLe patrimoine se décline en objets, en monuments, en forêts, en traditions et récits, mais il se dit toujours en « mots ». C'est en mots que se définissent les critères (exceptionnel, universel, symbolique, immatériel, intégrité, authenticité, identité, nature, culture,...) qui conditionnent, en particulier, la reconnaissance internationale d'un bien patrimonial par l'Unesco. Comment s'opère donc le passage des langues « internationales » aux langues d'Afrique ? À travers la constellation des mots « musée » et « patrimoine » et leurs « équivalents » travaillés en sept langues - ici : en français, anglais, fulfulde et bamanakan, bientôt en swahili, sukuma et tsonga pour la seconde livraison - Les intraduisibles du patrimoine proposent quelques pistes pour alimenter la réflexion sur les enjeux, y compris politiques, du patrimoine dans un contexte mondialisé. 606 $aCultural property$zAfrica, Sub-Saharan$vTerminology 606 $aMuseums$xSemiotics$zAfrica, Sub-Saharan 606 $aLanguage and culture$zAfrica, Sub-Saharan 606 $aTranslating and interpreting$zAfrica, Sub-Saharan 615 0$aCultural property 615 0$aMuseums$xSemiotics 615 0$aLanguage and culture 615 0$aTranslating and interpreting 676 $a306.440967 700 $aBarbara Cassin$4auth$0157433 702 $aDanièle Wozny$4auth 906 $aBOOK 912 $a9910137014103321 996 $aLes intraduisibles du patrimoine en Afrique subsaharienne$93030887 997 $aUNINA