LEADER 03735nam 2200421 a 450 001 9910453678103321 005 20210111131006.0 010 $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$0947097 801 0$bStDuBDS 801 1$bStDuBDS 801 2$bStDuBDSZ 801 2$bUkPrAHLS 906 $aBOOK 912 $a9910453678103321 996 $aAfrican culture and Melville's art$92139963 997 $aUNINA