Bartleby The Scrivener

Bartleby ́s work has to do with the handwritten copying of law documents.

Author: Herman Melville

Publisher: MB Cooltura

ISBN: 9789877446685

Category: Fiction

Page: 69

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Bartleby ́s work has to do with the handwritten copying of law documents. Bartleby is very good at it, but one day, unexpectedly, he obstinately refuses to go on doing the sort of writing demanded and turns the office upside down with the enigmatic phrase: "I prefer not to."

Bartleby the Scrivener

Yes, Bartleby, stay there behind your screen, thoughtI;Ishall persecuteyouno more; youareharmless and noiseless as ... Sometimes an attorney having businesswith me,and calling atmy office and finding no one butthe scrivener there, ...

Author: Herman Melville

Publisher: Hyweb Technology Co. Ltd.

ISBN:

Category: Foreign Language Study

Page: 3

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At the period just preceding the advent of Bartleby, I had two persons as copyists in my employment, and a promising lad as an office-boy. First, Turkey; second, Nippers; third, Ginger Nut. These may seem names, the like of which are not usually found in the Directory. In truth they were nicknames, mutually conferred upon each other by my three clerks, and were deemed expressive of their respective persons or characters.

Bartleby the Scrivener a Story of Wall Street

Bartleby the Scrivener, A Story of Wall Street.

Author: Herman Melville

Publisher:

ISBN: 1542603625

Category:

Page: 60

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Bartleby the Scrivener, A Story of Wall Street. Herman Melville (1819 - 1891) "Bartleby, the Scrivener: A Story of Wall Street" is a short story by the American writer Herman Melville, first serialized anonymously in two parts in the November and December 1853 issues of Putnam's Magazine, and reprinted with minor textual alterations in his The Piazza Tales in 1856. A Wall Street lawyer hires a new clerk who---after an initial bout of hard work---refuses to make copy and any other task required of him, with the words "I would prefer not to". The lawyer cannot bring himself to remove Bartleby from his premises, and decides instead to move his office, but the new proprietor removes Bartleby to prison, where he perishes. Numerous essays have been published on what, according to scholar Robert Milder, "is unquestionably the masterpiece of the short fiction" in the Melville canon.

Social Criticism and Nineteenth Century American Fictions

one DIVIDED SOCIETY , DIVIDED SELVES " Bartleby , the Scrivener " and the Market Society More deeply than any of his predecessors , in " Bartleby , the Scrivener : A Story of Wall Street " ( 1853 ) , Melville explores the interior of ...

Author: Robert Shulman

Publisher: University of Missouri Press

ISBN: 082620726X

Category: Literary Criticism

Page: 348

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The changing market society of the nineteenth century had a deep impact on American writers and their works. The writers responded with important insights into the alienation brought on by the country's capitalist development. Shulman uses theorists from Tocqueville to Gramsci and the New Left historians, as well as drawing on other recent historical and critical studies, to examine major nineteenth-century American works as they illuminate and are illuminated by their society. Using works by Benjamin Franklin, Mark Twain, Herman Melville, Nathaniel Hawthorne, Charles Chesnutt, Walt Witman, Edith Wharton, and Theodore Dreiser, he shows the urgency, energy, and variety of response that capitalism elicited from a range of writers.

Misogyny Misandry and Misanthropy

GILLIAN BROWN The Empire of Agoraphobia " Bartleby the scrivener , A Tale of Wall Street " puts into circu- lation the story of a man about whom " nothing is ascertainable . " Because " no materials exist for a full and satisfactory ...

Author: R. Howard Bloch

Publisher: Univ of California Press

ISBN: 0520065468

Category: Literary Criticism

Page: 260

View: 671

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These essays, originally comprising an issue of Representations, explore the relation between gender, eroticism, and violence through close analysis of a range of both high and popular cultural forms, from R. Howard Bloch on medieval theology to Carol Clover on contemporary slasher films. Does misogyny differ from misandry? Can author intention be separated from social context? Do good women counterbalance or reenforce the misogyny of negative examples? Is an obsession with women itself misogynistic? These questions are approached from various angles by Joel Fineman, Charles Bernheimer, Jacqueline Lichtenstein, Frances Ferguson, Naomi Schor and Gillian Brown. In sum, the authors detail not only the ways in which gender is represented, but also the changes to which representation subjects questions of sexual difference.

Melville and the Theme of Boredom

I do not accept Harold Schechter's thesis that “Bartleby, the Scrivener” is a statement of the irreconcilability between the ethics of the divine and world (366); Schechter imposes upon “Bartleby” the ideology of Plotinus Plinlimmon ...

Author: Daniel Paliwoda

Publisher: McFarland

ISBN: 9780786457021

Category: Literary Criticism

Page: 247

View: 187

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Boredom is a prevalent theme in Herman Melville’s works. Rather than a passing fancy or a device for drawing attention to the action that also permeates his work, boredom is central to the writings, the author argues. He contends that in Melville’s mature work, especially Moby Dick, boredom presents itself as an insidious presence in the lives of Melville’s characters, until it matures from being a mere killer of time into a killer of souls.

Melville s Short Fiction 1853 1856

The narrator of "Bartleby, the Scrivener" is a mild lawyer who admires aggressiveness in others. If he were alive today, he might be among that host of nonviolent men who spend their autumnal Sabbaths vicariously engulfed in the bold ...

Author: William B. Dillingham

Publisher: University of Georgia Press

ISBN: 9780820332710

Category: Literary Criticism

Page: 406

View: 352

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This study treats comprehensively the sixteen short works of fiction that Herman Melville wrote between 1853 and 1856, most of which were published in Harper's and Putnam's magazines. Concentrating on the writer's two basic motivations for writing as he did in these stories, Dillingham argues that Melville created a surface of almost inane congeniality in many of the works, an illusion of vapidity that camouflages a profundity often missed by his readers. He sought to to hide disturbing themes because the magazines for which he was writing would almost certainly have rejected his attempts to be more direct. Dillingham's method is not, however, confined to a reading of the texts. Melville's stories contain so many allusions to the contemporary scene that they constitute in themselves a cultural study. An important contribution of Melville's Short Fiction is its discussion of these allusions. Finally, Dillingham examines the relationship between the short fiction and Melville's own life. Much of the writer's frustration and struggle is concealed in these early works. Melville's friendship with Hawthorne, for example, an intense and yet in some ways disappointing relationship for both men, is explored as an important influence on several of the stories.

Versions of Pygmalion

The odd and powerful prefatory sketch in The Piazza Tales , where " Bartleby the Scrivener " first appeared in book form , is an apparently autobiographical account of how Melville had a porch built on his house in western Massa- ...

Author: Uci Distinguished Professor Emeritus J Hillis Miller

Publisher: Harvard University Press

ISBN: 0674934857

Category: Literary Criticism

Page: 286

View: 677

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Discusses the ethics of writing and reading fiction, the creation and action of characters, and works by Henry James, Melville, Heinrich von Kleist, and Maurice Blanchot

American Fiction and the Metaphysics of the Grotesque

Still , it has the look of a monolith within the domain of American literature . There is something definitely ironic about this situation . When “ Bartleby , the Scrivener : A Story of Wall - Street , " the original magazine version of ...

Author: Dieter Meindl

Publisher: University of Missouri Press

ISBN: 0826210791

Category: Literary Criticism

Page: 262

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By synthesizing Kayser's and Bakhtin's views of the grotesque and Heidegger's philosophy of Being, American Fiction and the Metaphysics of the Grotesque seeks to demonstrate that American fiction from Poe to Pynchon has tried to convey the existential dimension: the pre-individual totality or flow of life, which defines itself against the mind and its linguistic capacity. Dieter Meindl shows how the grotesque, through its self-contradictory nature, has been instrumental in expressing this reality-conception, an antirationalist stance in basic agreement with existential thought. The historical validity of this new metaphysics, which grants precedence to Being--the context of cognition--over the cognizant subject, must be upheld in the face of deconstructive animadversions upon any metaphysics of presence. The notion of decentering the subject, Meindl argues, did not originate with deconstruction. The existential grotesque confirms the protomodernist character of classic American fiction. Meindl traces its course through a number of well-known texts by Melville, James, Gilman, Anderson, Faulkner, and O'Connor, among others. To convey life conceived as motion, these writers had to capture--that is, immobilize--it in their art: an essentially distortive and, therefore, grotesque device. Melville's "Bartleby," dealing with a mort vivant, is the seminal text in this mode of indirectness. As opposed to the existential grotesque, which grants access to a preverbal realm, the linguistic grotesque of postmodern fiction works on the assumption that all reality is referable to language in a textual universe. American Fiction and the Metaphysics of the Grotesque will significantly alter our understanding of certain traditions in American literature.