白鲸bai jing

作者：  (美)麦尔维尔(Herman Melville)著;罗山川译

出版社：中国书籍出版社,2006

简介：　　 《白鲸》是美国浪漫主义作家麦尔维尔的代表作，也是世界文学史上 　　最优秀的小说之一，因描写了海上航行和纷繁的捕鲸生活，而被誉为“捕 　　鲸业的百科全书”。《剑桥文学史》称之为世界文学史上最伟大的海洋传 　　奇小说之一。就其文学价值而言，亦被称为美国的《哈姆莱特》。 　　 《白鲸》与福克纳的《熊》、海明威的《老人与海》一起被誉为美国 　　文学史上的三大动物史诗。 　　 《白鲸》在1985年入选美国《生活》杂志评选出的20部“人类有史以 　　来最佳书”。美国著名的浪漫主义作家霍桑曾盛赞《白鲸》是“一部何等 　　伟大的作品”。美国作家海明威将它列入推荐给青年作家“提高艺术水平 　　”的书目中。法国作家、诺贝尔文学奖获得者加缪亦十分推崇此书。 　　 许多评论家认为《白鲸》是“美国想象力最辉煌的表达”，而这部书 　　也被认为“部分是戏剧，部分是历险故事，部分是哲学探讨，部分是科学 　　研究，部分是史诗”。 　　

白鲸

作者：  赫尔曼·梅尔维尔

出版社：译林出版社 2017年10月

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【目录】

【免费在线读】
MOBY DICK;
or, THE WHALE.
CHAPTER 1. Loomings.
Call me Ishmael. Some years ago—never mind how long precisely—having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off—then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me.
There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs—commerce surrounds it with her surf. Right and left, the streets take you waterward. Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land.
Look at the crowds of water-gazers there.
Circumambulate the city of a dreamy Sabbath afternoon. Go from Corlears Hook to Coenties Slip, and from thence, by Whitehall, northward. What do you see?—Posted like silent sentinels all around the town, stand thousands upon thousands of mortal men fixed in ocean reveries. Some leaning against the spiles; some seated upon the pier-heads; some looking over the bulwarks of ships from China; some high aloft in the rigging, as if striving to get a still better seaward peep. But these
are all landsmen; of week days pent up in lath and plaster—tied to counters, nailed to benches, clinched to desks. How then is this? Are the green fields gone? What do they here?
But look! here come more crowds, pacing straight for the water, and seemingly bound for a dive. Strange! Nothing will content them but the extremest limit of the land; loitering under the shady lee of yonder warehouses will not suffice. No. They must get just as nigh the water as they possibly can without falling in. And there they stand—miles of them—leagues. Inlanders all, they come from lanes and alleys, streets
and avenues—north, east, south, and west. Yet here they all unite.
Tell me, does the magnetic virtue of the needles of the compasses of all those ships attract them thither?
Once more. Say you are in the country; in some high land of lakes. Take almost any path you please, and ten to one it carries you down in a dale, and leaves you there by a pool in the stream. There is magic in it. Let the most absent-minded of men be plunged in his deepest reveries—stand that man on his legs, set his feet a-going, and he will infallibly lead you to water, if water there be in all that region.
Should you ever be athirst in the great American desert, try this experiment, if your caravan happen to be supplied with a metaphysical professor. Yes, as every one knows, meditation and water are wedded for ever.
But here is an artist. He desires to paint you the dreamiest, shadiest, quietest, most enchanting bit of romantic landscape in all the valley of the Saco. What is the chief element he employs? There stand his trees, each with a hollow trunk, as if a hermit and a crucifix were within; and here sleeps his meadow, and there sleep his cattle; and up from yonder cottage goes a sleepy smoke. Deep into distant woodlands winds a mazy way, reaching to overlapping spurs of mountains bathed in their hill-side blue. But though the picture lies thus tranced, and though this pine-tree shakes down its sighs like leaves upon this shepherd’s head, yet all were vain, unless the shepherd’s eye were fixed upon the magic stream before him. Go visit the Prairies in June, when for scores on scores of miles you wade knee-deep among Tiger-lilies—what is the one charm wanting?—Water—there is not a drop of water there! Were Niagara but a cataract of sand, would you travel your thousand miles to see it? Why did the poor poet of Tennessee, upon suddenly receiving two handfuls of silver, deliberate whether to buy him a coat, which he sadly needed, or invest his money in a pedestrian trip to Rockaway Beach? Why is almost every robust healthy boy with a robust healthy soul in him, at some time or other crazy to go to sea? Why upon your first voyage as a passenger, did you yourself feel such a mystical vibration, when first told that you and your ship were now out of sight of land? Why did the old Persians hold the sea holy? Why did the Greeks give it a separate deity, and own brother of Jove? Surely all this is not without meaning.
And still deeper the meaning of that story of Narcissus, who because he could not grasp the tormenting, mild image he saw in the fountain, plunged into it and was drowned. But that same image, we ourselves see in all rivers and oceans. It is the image of the ungraspable phantom of life; and this is the key to it all.
Now, when I say that I am in the habit of going to sea whenever I begin to grow hazy about the eyes, and begin to be over conscious of my lungs, I do not mean to have it inferred that I ever go to sea as a passenger.
For to go as a passenger you must needs have a purse, and a purse is but a rag unless you have something in it. Besides, passengers get sea-sick—grow quarrelsome—don’t sleep of nights—do not enjoy themselves much, as a general thing;—no, I never go as a passenger; nor, though I am something of a salt, do I ever go to sea as a Commodore, or a Captain, or a Cook. I abandon the glory and distinction of such offices to those who like them. For my part, I abominate all honourable respectable toils, trials, and tribulations of every kind whatsoever. It is quite as much as I can do to take care of myself, without taking care of ships, barques, brigs, schooners, and what not.
And as for going as cook,—though I confess there is considerable glory in that, a cook being a sort of officer on ship-board—yet, somehow, I never fancied broiling fowls;—though once broiled, judiciously buttered, and judgmatically salted and peppered, there is no one who will speak more respectfully, not to say reverentially, of a broiled fowl than I will. It is out of the idolatrous dotings of the old Egyptians upon broiled ibis and roasted river horse, that you see the mummies of those creatures in their huge bake-houses the pyramids.
“Grand Contested Election for the Presidency of the United States.
“WHALING VOYAGE BY ONE ISHMAEL. “BLOODY BATTLE IN AFFGHANISTAN.”
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简介：陈世丹、屈晓丽主编的《美国文学史(上下超越概念高等院校英语专业系列教材)》选择Washington Irving，James Fenimore Cooper,William Cullen Bryant Edgar Allan Poe，Ralph Waldo Emerson，Henry David Thoreau，Nathaniel Hawthorne，Herman Melville和Henry Wadsworth Longfellow为19世纪浪漫主义时期美国文学的代表作家；Walt Whitman。Emily Dickinson，Harriet Beecher Stowe，Mark Twain，Henry James，Edith Wharton，Jack London．Theodore Dreiser和Willa Cather为19世纪现实主义时期美国文学的代表作家；Ezra Pound，Wallace Stevens．T．S．Eliot.Ernest Hemingway,William Faulkner和Eugene O’Neill为20世纪现代主义时期美国文学的代表作家；Robert Frost，F．Scott Fitzgerald和Arthur Miller为20世纪现代主义文学繁荣时期仍坚持现实主义文学创作的代表作家。第二……

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简介：For this Sesquicentennial Norton Critical Edition, the Northwestern-Newberry text of Moby-Dick has been generously footnoted to include dozens of biographical discoveries, mainly from Hershel Parker''s work on his two-volume biography of Melville. 　　A section of 'Whaling and Whalecraft' features prose and graphics by John B. Putnam, a sample of contemporary whaling engravings, as well as, new to this edition, an engraving of Tupai Cupa, the real-life inspiration for the character of Queequeg. 　　Evoking Melville’s fascination with the fluidity of categories like savagery and civilization, the image of Tupai Cupa fittingly introduces 'Before Moby-Dick: International Controversy over Melville,' a new section that documents the ferocity of religions, political, and sexual hostility toward Melville in reaction to his early books, beginning with Typee in 1846. 　　The image of Tupai Cupa also evokes Melville’s interest in the mystery of self-identity and the possibility of knowing another person’s 'queenly personality' (Chapter 119). That theme (focused on Melville, Ishmael, and Ahab) is pursued in 'A Handful of Critical Challenges,' from Walter E. Bezanson’s classic centennial study through Harrison Hayford’s meditation on 'Loomings' and recent essays by Camille Paglia and John Wenke. 　　In 'Reviews and Letters by Melville,' a letter has been redated and a wealth of new biographical material has been added to the footnotes, notably to Melville’s 'Hawthorne and His Mosses.' 'Analogues and Sources' retains classic pieces by J. N. Reynolds and Owen Chase, as well as new findings by Geoffrey Sanborn and Steven Olsen-Smith. 　　In 'Reviews of Moby-Dick' emphasizes the ongoing religious hostility toward Melville and highlights new discoveries, such as the first-known Scottish review of The Whale. 　　'Posthumous Praise and the Melville Revival: 1893-1927' collects belated, enthusiastic praise up through that of William Faulkner. 'Biographical Cross-Light' is Hershel Parker’s somber look at what writing Moby-Dick cost Melville and his family. 　　From Foreword through Selected Bibliography, this Sesquicentennial Norton Critical Edition is uniquely valuable as the most up-to-date and comprehensive documentary source for study of Moby-Dick.

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简介：Summary: Publisher Summary 1 Taking as its point of departure recent insights about the performative nature of genre, The Poetics and Politics of the American Gothic challenges the critical tendency to accept at face value that gothic literature is mainly about fear. Instead, Agnieszka Soltysik Monnet argues that the American Gothic, and gothic literature in general, is also about judgment: how to judge and what happens when judgment is confronted with situations that defy its limits. Poe, Hawthorne, Melville, Gilman, and James all shared a concern with the political and ideological debates of their time, but tended to approach these debates indirectly. Thus, Monnet suggests, while slavery and race are not the explicit subject matter of antebellum works by Poe and Hawthorne, they nevertheless permeate it through suggestive analogies and tacit references. Similarly, Melville, Gilman, and James use the gothic to explore the categories of gender and sexuality that were being renegotiated during the latter half of the century. Focusing on "The Fall of the House of Usher," The Marble Faun, Pierre, The Turn of the Screw, and "The Yellow Wallpaper," Monnet brings to bear minor texts by the same authors that further enrich her innovative readings of these canonical works. At the same time, her study persuasively argues that the Gothic's endurance and ubiquity are in large part related to its being uniquely adapted to rehearse questions about judgment and justice that continue to fascinate and disturb.   Publisher Summary 2 While many critics have argued the American gothic literary genre is primarily about the pleasure of fear, Monnet (American literature, U. of Lausanne, Switzerland) suggests that American gothic is primarily about the pleasures of (often ambiguous) judgment. In other words, American gothic engages with the problems of judgment when there is the lack of a shared paradigm. Furthermore, this engagement with judgment is often simultaneously an indirect intervention into major political issues of the day. Having defined the genre thusly, Monnet engages with the works of canonical literary authors as American gothic, partly in order to demonstrate the value of bringing genre studies to bear on well known and often studied works. She discusses the ways Edgar Allan Poe's short stories demonstrate his interest in ethical issues, particularly focusing on the "The Fall of the House of Usher" as resonant of anxieties about slave revolt. She reads Nathaniel Hawthorne's The Marble Faun as concerned with the ethical crisis posed by slavery wherein the physical movement of a dark travel narrative becomes a trope for the operations of denial. Herman Melville's Pierre is read as "a masterpiece of epistemological and moral skepticism," an exploration of "the nexus of shame, secrecy, and epistemological issues related to socially prohibited forms of desire," and one of America's earliest queer texts. Finally, she compares Henry James's The Turn of the Screw to Charlotte Perkins Gilman's "The Yellow Wall-Paper" through explorations of issues of female madness and queer complicities. Annotation 漏2010 Book News, Inc., Portland, OR (booknews.com)  

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简介：This Companion examines the full range and vigor of the American novel. From the American exceptionalism of James Fenimore Cooper to the apocalyptic post-Americanism of Cormac McCarthy, these newly commissioned essays from leading scholars and critics chronicle the major aesthetic innovations that have shaped the American novel over the past two centuries. The essays evaluate the work, life and legacy of influential American novelists including Melville, Twain, James, Wharton, Cather, Faulkner, Ellison, Pynchon and Morrison, while situating them within the context of their literary predecessors and successors. The volume also highlights less familiar, though equally significant writers such as Theodore Dreiser and Djuna Barnes, providing a balanced and wide-ranging survey of use to students, teachers and general readers of American literature.

Moby Dick or, the whale

作者：  (美)赫尔曼·麦尔维尔(Herman Melville)著;曹庸译

出版社：上海译文出版社,2007

简介：　　 本书讲的是“裴廓德”号捕鲸船在船长亚哈的带领下与魔 鬼般的白鲸 　　——莫比·迪克之间进行的一场殊死搏斗。 　　 主人公亚哈因为捕鲸被莫比·迪克咬掉了一条腿，他带着复仇的誓言 　　再次出海。亚哈是那种蔑视上帝与自然的巨人，为了 能再次捕获白鲸，他 　　不惜一切代价。在整个捕鲸过程中，船员们 或甘心情愿、或被动、或迟疑 　　地与亚哈一起奋战，一步步走向鲸 死人亡、两败俱伤的悲惨结局。 　　 作为幸存者和追述者，伊什梅尔以真实的经历和感受向我 们描述了整 　　个事件的始末，使小说充满了浓郁的海洋气息和传 奇色彩，同时也展现了 　　作者丰富的航海和捕鲸知识。 　　

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简介：Summary: Publisher Summary 1 The sexually and emotionally unavailable male, resolutely ungraspable, elusive, a hermetically sealed vessel of chastity and purity emerged as an idiosyncratic figure in 19th-century American writing, says Greven (English, Connecticut College), and he investigates where that man came from and what he was doing here. Through works by Irving, Cooper, Hawthorne, Poe, Stowe, and Melville, he traces the development of a white, middle-class, Northern identity in the antebellum US that reflected fears as the birth rate dropped, that the new country would not be able to generate its future. Annotation 漏2006 Book News, Inc., Portland, OR (booknews.com)   Publisher Summary 2 02This book explores the construction of male sexuality in nineteenth century American literature and comes up with some startling findings. Far from desiring heterosexual sex and wishing to bond with other men through fraternity, the male protagonists of classic American literature mainly want to be left alone. Greven makes the claim that American men, eschewing both marriage and male friendship, strive to remain emotionally and sexually inviolate. Examining the work of traditional authors-Hawthorne, Poe, Melville, Cooper, Irving, Stowe-Greven discovers highly untraditional and transgressive representations of desire and sexuality. Objects of desire from both women and other men, the inviolate males discussed in this study overturn established gendered and sexual categories, just as this study overturns archetypal assumptions about American manhood and American literature.   Publisher Summary 3 This book makes the case that American men want neither marriage nor male friendship but only to be left alone, emotionally and sexually inviolate.   Publisher Summary 4 This book explores the construction of male sexuality in nineteenth century American literature and comes up with some startling findings. Far from desiring heterosexual sex and wishing to bond with other men through fraternity, the male protagonists of classic American literature mainly want to be left alone. Greven makes the claim that American men, eschewing both marriage and male friendship, strive to remain emotionally and sexually inviolate. Examining the work of traditional authors-Hawthorne, Poe, Melville, Cooper, Irving, Stowe-Greven discovers highly untraditional and transgressive representations of desire and sexuality. Objects of desire from both women and other men, the inviolate males discussed in this study overturn established gendered and sexual categories, just as this study overturns archetypal assumptions about American manhood and American literature.   Publisher Summary 5 This book makes the case that American men want neither marriage nor male friendship but only to be left alone, emotionally and sexually inviolate.  

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简介：Includes short stories, poems, plays, and essays by Nathaniel Hawthorne, Stephen Crane, James Joyce, Ernest Hemingway, Frank O'Connor, Flannery O'Connor, Toni Cade Bambara, Sandra Cisneros, William Blake, William Wordsworth, John Keats, Robert Browning, Emily Dickinson, Thomas Hardy, Gerard Manley Hopkins, A.E. Housman, William Butler Yeats, Robert Frost, Robert Graves, Stevie Smith, Countee Cullen, Dylan Thomas, Lawrence Ferlinghetti, Philip Larkin, Anthony Hecht, Peter Meinke, Robert Mezey, June Jordan, Bruce Bennett, Deborah Pope, Molly Peacock, Katherine McAlpine, Jill Bialosky, Nick Flynn, Sophocles, Tennessee Williams, Langston Hughes, Joan Didion, Judith Ortiz Cofer, Herman Melville, Franz Kafka, James Thurber, Richard Wright, Shirley Jackson, Ursula K. LeGuin, Harlan Ellison, Amy Tan, Tennyson, Edwin Arlington Robinson, Wallace Stevens, Claude McKay, Bertolt Brecht, W.H. Auden, Muriel Rukeyser, Richard Wilbur, Denise Levertov, Philip Levine, Marge Piercy, Stephen Dunn, Rober t Pinsky, Nikki Giovanni, Carolyn Forche, Henrik Ibsen, August Wilson, Jonathan Swift, Thomas Jefferson, Emma Goldman, Martin Luther King Jr., William Faulkner, James Baldwin, Chinua Achebe, Bharati Mukherjee, Alice Walker, Barry Lopez, Jamaica Kincaid, Louise Erdrich, Paul Laurence Dunbar, Amy Lowell, Ezra Pound, T.S. Eliot, E.E. Cummings, Anne Sexton, Etheridge Knight, Yevgeny Yevtushenko, Wole Soyinka, Linda Hogan, Taslima Nasrin, Arthur Miller, Lorraine Hansberry, Athol Fugard, Virginia Woolf, Zora Neale Hurston, George Orwell, Maya Angelou, Kate Chopin, Charlotte Perkins Gilman, Irwin Shaw, Alice Munro, Raymond Carver, Joyce Carol Oates, Sappho, Shakespeare, Thomas Campion, John Donne, Edmund Waller, Andrew Marvell, Robert Burns, Walt Whitman, Matthew Arnold, Edna St. Vincent Millay, Dorothy Parker, Theodore Roethke, Elizabeth Bishop, May Sarton, Robert Hayden, Anthony Hecht, Adrienne Rich, Sylvia Plath, Audre Lord, Lucille Clifton, Seamus Heaney, Billy Collins, Sharon Olds, Gary Soto, Susan Glaspell, Erich Fromm, Maxine Hong Kingston, Edgar Allan Poe, Leo Tolstoy, D.H. Lawrence, Katherine Anne Porter, Bernard Malamud, Bessie Head, Tim O'Brien, Leslie Marmon Silko, Percy Bysshe Shelley, Antonio Machado, Wilfred Owen, Pablo Neruda, Dylan Thomas, Philip Larkin, Maxine Kumin, Mary Oliver, Samuel Beckett, Woody Allen, Harvey Fierstein, Mark Twain, Jessica Mitford, and others.

Billy Budd, sailor

作者：  (美)麦尔维尔(Herman Melville)著;许志强译

出版社：人民文学出版社,2010

简介：　　麦尔维尔于一八九一年去世，遗作《水手比利·巴德》藏匿在一只铁盒子里。三十年后被一位学者发现。铁盒中的手稿经过编辑整理后出版，在读者中间迅速获得好评，博尔赫斯、E.M.福斯特盛赞的经典，被誉为“美国文学的大师之作”。 　　《比利·巴德》被称为有史以来写得最好的小长篇。麦尔维尔在这部才华横溢、文思稠密的小说中，创作了一个与法律有关的寓言，藉此说明在邪恶面前理性和智力是如何无力保护纯真无辜。 　　青年比利·巴德被强征到英国战舰当水手。他长相英俊，人很单纯，与舰长及水手们相处得都不错，但遭到兵器教官克腊格特的妒忌，后者诬告他谋反。比利·巴德失手打死了克腊格特。在临时组织的军事法庭上，这个案子引起了争论。舰长既是惟一的“犯罪”目击者，又是审判官，他知道比利不是故意杀人，但当时处在战争时期，尤其是前不久英国海军发生过兵变，这就使得舰长这个关键人物的观点偏向了不利于告的方面。经过长时间的辩论后，一把不公正的“正义之剑”斩向了比利·巴德——他被判处绞刑，死后被马上海葬了。　　 更多>>

Moby Dick

作者：  [美]Herman Melville[著]

出版社：安徽科学技术出版社,2002

简介：本书是《插图版英语世界名著系列丛书》中的一册，收录了美国著名作家梅尔维尔的《白鲸》，全书故事感人，情节生动，具有极强的可读性；经过当代人改编简写后，语言现代、精练简约、浅易易懂，篇幅适中，非常适合中学生阅读；为了方便读者阅读，编者特请了一批经验丰富的中学教师，对书中较难的词汇、句子和语法给予注释，并在每幅图下给出部分难句的的译文。书中惟妙惟肖的插图既可帮助读者理解内容，又可使阅读变得兴致盎然、轻松有趣。

The best short stories of Jack London /

作者：  With an introduction by Eugene Burdick.

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简介：    Book Description     "Raw and Raked, Wild and Free..."          ...that was the way Jack London saw life, and the more he lived it the more enamored of it he became. "All I saw," he once wrote, "was glamor of conquest, of scarlet adventure and yellow gold. ...The life was brave and wild, and I was living the adventure I had read so much about."          Brilliant, poetic, swift with violence and action, his stories clearly illustrate the unique spirit of his unbridled genius. Critics admitted that the young firebrand -- "while frightfully primitive" -- was challenging Poe, Kipling and Melville as a one-in-a-million storyteller. The tales in this volume have been thrilling readers for nearly half a century.          Book Dimension :     length: (cm)17.4 width:(cm)10.7

Typee

作者：  (美)赫尔曼·麦尔维尔(Herman Melville)著;马慧琴，舒程译

出版社：文化艺术出版社,2011

简介：　　《泰比》是一部既算不上严格意义上的自传也不全是虚构，而是一部“ 融冒险、轶事、人种学和社会批评于一体的著作”。从表面上看，《泰比》确实像一部游记，叙述了主人公托莫的一些难忘的经历。他与同伴托比因忍受不了“多利号”船上枯燥无味的漂泊生活和残暴船长的呵斥与虐待而弃船闯入异域泰比峡谷。他们发现这里没有传说中所说的那么可怕，当然其中也不乏坏人，正如白人社会一样，异域泰比既有善良的人也有邪恶的人。他们初到时的感觉是这样一番情景：“我的感觉真是好极了!我该如何描绘眼前的这一切呢?……狭长的山谷，蜿蜒像一个巨大的枝桠交叉的棚架，景色怡人，我越往前走，就越觉得这个峡谷可爱迷人。远远望去，它愈加宽阔，一直通向远方的一条溪谷。”托莫满怀好奇，愿冒生命之险前往探测。他觉得眼前的一切实在太诱人，即使真要葬身于土人之腹也值得一试。于是，土人的葬礼、舞蹈、宗教仪式及文身等都成了托莫感兴趣并想了解的“他者”。出乎意料的是，他和他的同伴非但没有被土人吃掉，反而受到格外的“尊重 ”与“款待”。托莫可以与土著美女菲厄蔚荡舟游玩，自由嬉戏，过着一种胜似夫妻的生活…… 　　 “波里尼西亚三部曲”是麦尔维尔在19世纪40年代创作的作品：《泰比》、《奥穆》和《玛迪》。它们看似描写作者远航南海和与马克萨斯群岛的食人生番为伍的经历，但读者只要稍事留意便可发现，麦尔维尔的这些早期作品不仅仅是一些历险故事或传记色彩很浓的叙事小说。与其他任何文学名著一样，它们同样闪烁着思想的光辉。不管麦尔维尔在南海漂泊时的所见所闻有没有真实性可言，他至少经历了一个与自己生活时代迥然不同的社会，即波里尼西亚殖民社会。 本书为“波里尼西亚三部曲”之长篇小说《泰比》，是以作者在南太平洋的生活为依据写成。书中描写了作者在马克萨斯岛上的食人部落泰比人中的惊险经历，揭示了资本主义文明给当地土著人的淳朴生活带来的破坏，因此受到教会的谴责。作品给美国文学带来了崭新的领域和内容，在美国读者中广受欢迎，作者因此赢得了海洋文学家的称誉。

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出版社：

简介：'The French New Wave: Critical Landmarks' is a new and expanded edition of a classic anthology of writings by critics and filmmakers associated with the 'nouvelle vague'. The new edition, published to mark the 40th anniversary of the New Wave, features all the articles from the first edition, including Bazin's seminal 'La Politique des Auteurs' and, new to the volume, a new translation of Truffaut's 'Une Certaine Tendance du Cinema Francais' (A Certain Trend in French Cinema). In addition, the collection includes articles by and interviews with Bazin, Godard, Chabrol and others that helped to shape contemporary debates about the history, aesthetics and practice of cinema, as well as a case study offering three different perspectives on Godard's 'A bout de souffle'. The new edition features a new preface by Peter Graham alongside his preface to 1968 edition, and an introduction by Ginette Vincendeau that contextualises the 'nouvelle vague' in the light of recent developments in film theory and history and its influence on subsequent French film-making. There is also a new bibliography of works on the New Wave in English and French, making this an indispensable read for anyone interested in the New Wave and its long-lasting effects on the theory and practice of cinema. Contributions by: Alexandre Astruc, Andre Bazin, Robert Benayoun, Raymond Borde, Claude Chabrol, Jean-Luc Godard, Gerard Gozlan, Luc Moullet, Georges Sadoul and Francois Truffaut. The Editors: Peter Graham has enjoyed a varied career as a film critic, food writer, translator and film-maker. His publications include 'A Dictionary of the Cinema' (1964 and 1968), 'Classic Cheese Cookery' (1988 and 2004) and 'Mourjou: The Life and Food of an Auvergne Village' (1998 and 2004). He lives in Mourjou, France. Ginette Vincendeau is Professor of Film Studies and Director of the Film Studies Programme at King's College London. Her recent publications include 'Journeys of Desire: European Actors in Hollywood' (co-edited with Alastair Phillips), BFI 2006; 'La Haine' (2005) and 'Jean-Pierre Melville: An American in Paris', BFI 2003. She is the editor of the 'Cine-Files: French Film Guides series and a regular film reviewer for 'Sight and Sound', BBC Radio 3 and 4 and the BBC World Service.

Mardi

作者：  (美)赫尔曼·麦尔维尔(Herman Melville)著;于建华，季小明，仇湘云译

出版社：文化艺术出版社,2011

简介：　　《波里尼西亚三部曲：玛迪》是麦尔维尔创作的第三部南海小说，也是其“波里尼西亚三部曲”的压卷作。在这部小说中，麦尔维尔假托虚构的国家讽刺了美国的民主制和南部盛行的蓄奴制。从篇幅上讲，这部作品远远超过了他的前两部小说；从情节上看，《玛迪》似乎又是一则英雄救美人的故事。小说的叙述者塔吉为了搭救土著少女伊勒，不惜杀死土著祭司而遭其儿子追杀报复，整个叙述扑朔迷离。作品的情节虽属浪漫，但仍未摆脱欧洲中心论的“白人优越”思想的阴影。少女伊勒其实就是殖民意识的产物，具有丰富的想象性。此形象的虚构很大程度上满足了塔吉的占有欲和殖民心态。塔吉触犯法规，本该受到惩罚，但他出奇地受到玛迪群岛土著人的敬重。他俨然扮演上帝的使者，君临天下。他把土著少女伊勒理想化是为了自己的行为合理化，以便在种族上获得认同。这恰好可以应证萨伊德的观点，即受殖民压迫的东方总是被女性化甚至被征服。此外，作品还描写了19世纪上半叶西方殖民扩张时期的自我膨胀和帝国冲动意识。作者主要通过对想象国多米诺拉（Dominora）维凡萨（Vivenza）的描写暗示了美国肆意扩张的野心和民主的虚伪性。因此，《玛迪》仍是一部关怀殖民政治意识，反映殖民扩张的作品。 　　“波里尼西亚三部曲”是麦尔维尔在19世纪40年代创作的作品：《泰比》、《奥穆》和《玛迪》。它们看似描写作者远航南海和与马克萨斯群岛的食人生番为伍的经历，但读者只要稍事留意便可发现，麦尔维尔的这些早期作品不仅仅是一些历险故事或传记色彩很浓的叙事小说。与其他任何文学名著一样，它们同样闪烁着思想的光辉。不管麦尔维尔在南海漂泊时的所见所闻有没有真实性可言，他至少经历了一个与自己生活时代迥然不同的社会，即波里尼西亚殖民社会。《波里尼西亚三部曲：玛迪》为“波里尼西亚三部曲”之长篇小说《玛迪》，一部关怀殖民政治意识，反映殖民扩张的作品。

Moby-dick

作者：  Herman Melville[著]

出版社：中国对外翻译出版公司,2011

简介：　　《白鲸》是梅尔维尔最杰出的作品，世界海洋文学的经典之作。小说以第一人称叙述：伊什梅尔受雇于“裴郭德号”出海猎鲸，老船长亚哈是个狡猾老练的水手，计划向一只前次航行中毁了他一条腿的白鲸莫比·迪克复仇。大副斯达巴克试图说服亚哈放弃复仇的计划，但疯狂的老人反而胁迫他遵从命令。在寻找莫比·迪克的过程中，他们捕到了一些鲸鱼。后来，他们发现了白鲸莫比·迪克，亚哈在与之交战三昼夜后，用鱼叉刺中白鲸。白鲸被激怒了，将船撞沉，船上只有伊什梅尔逃生，亚哈被标枪绳套住了脖子而丧生，其他的成员全部遇难。这部小说具有史诗般的规模和沉郁瑰奇的文笔，通篇充满象征。有的人认为追杀是一种报复的象征，报复行动的结局往往是同归于尽；而另一种理解则认为亚哈的追杀是一种追求，这种追求是人类的两大追求之一，即原始的满足本能欲望(情欲、暴力等等)的追求。 　　

Herman Melville and Imperialism:A Cultural Critique of Melville’s Polynesian Trilogy

作者：  杨金才著

出版社：南京大学出版社,2001

简介：本书用英文写成，分三个部分探讨了美国作家赫尔曼·麦尔维尔(Herman Melville)与帝国主义的问题。

Moby-Dick /

作者：  Herman Melville, edited and with an introduction by Charles Child Walcutt

出版社：

简介：Book Description "What's the use of elaborating what, in its very essence, is so short-lived as a modern book? Though I wrote the Gospels in this century, I should die in the gutter." — Herman Melville, in a letter to Nathaniel Hawthorne, 1851 One hundred-fifty years have passed since Herman Melville wrote his masterpiece. Yet Moby-Dick endures as an indisputable literary classic that continues to speak to readers today. Join Captain Ahab, an eerily compelling madman, as he pursues an unholy war against a creature as vast and dangerous and unknowable as the sea itself. In his monomaniacal quest, Ahab focuses his distilled hatred and suffering — and that of generations before him — against one single creature, and pursues it relentlessly. More than just a novel of adventure, more than an encyclopedia of whaling lore and legend, this is a haunting, mesmerizing, and important social commentary populated with several of the most unforgettable and enduring characters in literature. Written with wonderfully redemptive humor, Moby-Dick is a profound and timeless inquiry into character, faith, and the nature of perception. Synopsis: No American masterpiece casts quite as awesome a shadow as Melville's monumental "Moby Dick. Mad Captain Ahab's quest for the White Whale is a timeless epic--a stirring tragedy of vengeance and obsession, a searing parable about humanity lost in a universe of moral ambiguity. It is the greatest sea story ever told. Far ahead of its own time, "Moby Dick was largely misunderstood and unappreciated by Melville's contemporaries. Today, however, it is indisputably a classic. As D.H. Lawrence wrote, "Moby Dick "commands a stillness in the soul, an awe . . . [It is] one of the strangest and most wonderful books in the world." Amazon.co.uk Arguably Herman Melville's greatest work, and hailed as a classic American novel, Moby Dick tells the tale of one man's fatal obsession and his willingness to sacrifice his life and that of his crew to achieve his goal. The story follows the fortunes of Captain Ahab and the culturally and spiritually diverse crew of the Pequod, a 19th century whaling ship. The Pequod is on its last voyage out of New Bedford, Mass, in pursuit of Moby Dick, the great white whale which has been Ahab's obsessional quarry and bitter adversary for many years. Narrated by sole survivor Ishmael, the tale forms a complex fictional fusion, combining a wealth of literary symbolism, hidden meaning and philosophical debate with adventure narrative and a detailed historical account of the 19th century whaling trade. --Emily Lowson From Library Journal In a sense, this work is the piece de resistance of the textual revolution in American scholarship of the past generation. The first half is the final MLA "Approved Text" of the classic novel, prepared under the auspices of the Center for Editions of American Authors. The second half consists of an Historical Note detailing background, genetic composition, publication, and ensuing critical reception; a discussion of its textual history; and some relevant marginalia. The work is not only thorough and rigorous, but, considering the scholarly grittiness of the endeavor, surprisingly lucid and graceful in its exposition. Highly recommended for special collections. Earl Rovit, City Coll., CUNY From School Library Journal Grade 5 Up-Opening with the classic line, "Call me Ishmael," the narrator's New England accent adds a touch of authenticity to this sometimes melodramatic presentation. The St. Charles Players do a credible job on the major roles, but some of the group responses, such as "Aye, aye Captain," sound more comic than serious. This adaptation retains a good measure of Melville's dialogue and key passages which afford listeners a vivid connection with the lengthy novel. Background music and appropriate sound effects enhance the telling of the story about Captain Ahab's obsessive pursuit of the malevolent white whale. The cassettes are clearly marked, and running times are noted on each side of the tapes. Announcements at the beginning of each side and a subtle chime signal at the end make it easy to follow the story, but a stereo player must be used to hear some dialogue. The lightweight cardboard package is inadequate for circulation. Done in a radio theatre format, the recording does a nice job of introducing the deeper themes of the book and covering the major events. For school libraries that support an American literature curriculum, this recording offers a different interpretation of an enduring classic. Barbara Wysocki, Cora J. Belden Library. Rocky Hill, CT About Author Herman Melville (1819-1891) was born in New York City and became a seaman at a young age. His works include Typee, The Confidence Man, and Pierre. Andrew Delbanco is the Julian Clarence Levi Professor in the Humanities at Columbia University. Tom Quirk is the Catherine Paine Middlebush Professor of English at the University of Missouri-Columbia. Book Dimension:

Omoo

作者：  (美)赫尔曼·麦尔维尔(Herman Melville)著;艾黎译

出版社：文化艺术出版社,2011

简介：　　赫尔曼·麦尔维尔(herman melville.1819—1891)是19世纪美国文学的重要作家。他不仅是小说家，而且还是一位卓越的哲学家、诗人，以极其敏锐的目光关注着自己生活的时代及其社会变迁。 　　 麦尔维尔生于纽约的一个英荷裔家庭，父母双方都出身于名门大户，生活较为安逸。麦尔维尔兄妹八人，他排行老三。1830年，他父亲因经营不善而破产，全家只好前往奥尔巴尼。1832年，父亲又因过分劳累和精神疲惫而卧病不起，不幸早逝。之后，麦尔维尔一家的生活更无着落，他不得不早早弃学，协助母亲兄长养家糊口，先是当雇员，干农活，做小学教员，最后还当了水手。1839年，麦尔维尔应征随“圣劳伦斯”号船去了英国利物浦，从此开始了他的航海生涯。在漫长而又充满浪漫奇异的航海生涯中，麦尔维尔游历了利物浦、西印度群岛和南太平洋群岛等地。1844年回到美国后开始创作小说。 　　 麦尔维尔1847年结婚后，携妻儿搬到马萨诸塞州，在那儿生活了13余年。在那里，他有幸结识了当时早巳享誉文坛的霍桑(nathaniel hawthollle ，1804—1864)。其《白鲸》(moby dick，1851)就是那时写就并题献给这位文坛益友的。继《白鲸》之后，麦尔维尔声誉每况愈下。失望中，他再度游历欧洲，足迹几乎遍及伦敦、巴黎、意大利、希腊和近东的巴勒斯坦等地。这些经历构成了他晚期作品的素材和背景，如《皮埃尔》(pierre，1852)、《伊滋莱尔·波特》(israel potter，1855)、《骗子》(the confidence— man，1857)和《克拉莱尔》(clarel，1876)等。《比利·巴德》(billy budd,1924)是他的最后作品，直到他去世后20多年才得以问世。 　　 麦尔维尔的作品可以分成三大类：第一类是他早期的小说。这些作品大都是依据某些史实和作者本人的海上经历而创作的，如《泰比》(typee，1846)、《奥穆》( omoo，1847)和《雷德伯恩》(redburn，1849)，其中也包括寓言性很强的《玛迪》(mardi，1849)，以及《皮埃尔》和《骗子》等。第二类是《白鲸》，这是作者的登峰造极之作。第三类是他的后期作品，其中有不少堪称大手笔的短篇和诗作，如他的《贝尼托·塞莱诺》(benito cereno，1856)、《书记员巴特尔比》(bartleby,the scrivener，1856)、《比利·巴德》和诗集《克拉莱尔》、《战事集》(battle—pieces and aspects of the war， 1866)等。这里选译其早期作品“波里尼西亚三部曲”：《泰比》、《奥穆》和《玛迪》。

50 great American short stories /

作者：  edited and with an introduction by Milton Crane.

出版社：

简介：     THE CLASSIC STORIES     Edgar Allan Poe's "MS. Found in a Bottle," Bret Harte's "The Outcasts of Poker Flat," Sherwood Anderson's "Death in the Woods," Stephen Vincent Benet's "By the Waters of Babylon"     THE GREAT WRITERS     Melville, James, Dreiser, Faulkner, Hemingway,Steinbeck, McCullers     THE LITTLE-KNOWN MASTERPIECES     Edith Wharton's "The Dilettante," Finley Peter Dunne's "Mr. Dooley on the Popularity of Firemen,"Charles M. Flandrau's "A Dead Issue," James Reid Parker's "The Archimandrite's Niece"