Samuel Otter
Biographic Data
| ID | 956302 |
|---|---|
| NAME | Samuel Otter |
| GIVEN NAMES | Samuel |
| FAMILY NAME | Otter |
| SIGNATURE | OTTER S |
| AFFILIATIONS | University of California, Berkeley |
| VERIFIED | No |
| TOTAL WORKS | 18 |
| TOTAL CITATIONS | 5 |
| WORKS AS AUTHOR | 18 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1994 |
| LATEST PUBLICATION YEAR | 2015 |
| H-INDEX | 1 |
American Renaissance and Us
American Renaissance and Us Samuel Otter (bio) Whether we know it or not, whether we have read it or not, nineteenth-century Americanists have in common F. O. Matthiessen’s 1941 American Renaissance: Art and Expression in the Age of Emerson and Whitman. We have inherited the literary quintet—Emerson, Thoreau, Hawthorne, Melville, and Whitman—whose intellectual relationships Matthiessen so meticulously, even madly, articulated and whom he placed a…
All Astir
All Astir Samuel Otter In a New York Times "Notebook" entry on 18 August 2013, Jesse Wegman reports that Herman Melville is a presence on the United States Supreme Court. Or at least in the mind of Associate Justice Ruth Bader Ginsburg. Describing Ginsburg's lecture at the Glimmerglass Opera Festival in Cooper-stown, New York, about her fascinations with opera and the law, Wegman writes that she invoked Benjamin's Britten aria, "I Accept Their Ve…
All Astir
All Astir
All Astir
Liberal Intellectuals and Public Culture in Modern Britain, 1815-1914
In this book, layered with anecdotes and biographical vignettes, William Lubenow traces the reorientation of public culture in nineteenth-century Britain: from a confessional state in which public office was tied to adherence to the Thirty-nine Articles to a new culture in which liberal values dominated. These liberal values formed ‘a moral mindset’ (p. 2), ‘a multivalent sensibility’ (p. 7) that was characterised by scepticism and tolerance, and…
All Astir
All Astir
All Astir
Law and Imperialism
Law and Imperialism: Criminality and Constitution in Colonial India and Victorian England Preeti Nijhar London, Pickering & Chatto, 2009 220 pp., ISBN: 978-1851966394 (£60.00 hardback) In 1871, the
All Astir
An Aesthetics in All Things
Form," "formalism," and "aesthetics" are not the same thing, although the terms often have been used interchangeably in recent diagnoses of the literary profession, many of which advocate a renewed commitment to the "literary." Scrutiny of the term "form" and of a chapter from Melville's Moby-Dick may suggest extravagant alternatives to another oscillation between the historical and the formal
Melville
From Typee to Clarel
Neither persistent critical narratives of decline or exhaustion nor Melville's weariness with his typecasting as “the man who lived among the cannibals” should obscure the importance of Typee in the epic reflections of Clarel. In Clarel, Melville rewrites his Marquesan encounters. Memories of Nuku Hiva mark the terminus of the poet's pilgrimage in the Holy Land. When critics do avoid a narrative of loss in moving from Typee to the poetry, they te…
Introduction
From the very start of his writing career, Melville was fascinated by human variation and mutability, by ideas about norms and the facts of divergence. And from the very start, things are complicated. In the two sketches “Fragments from a Writing Desk,” published two weeks apart on May 4 and May 18, 1839, in the Democratic Press and Lansingburgh Advertiser, Melville links stories of romantic pursuit. In the first sketch, a narrator writes to an a…
Facing the Deep An Interview with Thomas Farber
The Cambridge Companion to Herman Melville
The Cambridge Companion to Herman Melville is intended to provide a critical introduction to Melville's work. The essays have been specially commissioned for this volume, and provide a comprehensive overview of Melville's career. All of Melville's key works, including Moby-Dick, Typee, White Jacket, The Tambourine in Glory and The Confidence Man, are examined, as well as most of his poetry and short fiction. Written at a level both challenging an…
The Eden of Saddle Meadows
A partir d'une etude sur les implications politiques de l'eden americain dans les oeuvres de T. Cole et N. P. Willis, l'A. montre que l'ideologie melvillienne sous-tendant dans Pierre ; or, The Ambiguities (1852) la representation du paysage de Saddle Meadows reflete de facon hyperbolique le «projet pittoresque» de l'esthetique pre-secessionniste
An Aesthetics in All Things
Form," "formalism," and "aesthetics" are not the same thing, although the terms often have been used interchangeably in recent diagnoses of the literary profession, many of which advocate a renewed commitment to the "literary." Scrutiny of the term "form" and of a chapter from Melville's Moby-Dick may suggest extravagant alternatives to another oscillation between the historical and the formal
The Eden of Saddle Meadows
A partir d'une etude sur les implications politiques de l'eden americain dans les oeuvres de T. Cole et N. P. Willis, l'A. montre que l'ideologie melvillienne sous-tendant dans Pierre ; or, The Ambiguities (1852) la representation du paysage de Saddle Meadows reflete de facon hyperbolique le «projet pittoresque» de l'esthetique pre-secessionniste
The Cambridge Companion to Herman Melville
The Cambridge Companion to Herman Melville is intended to provide a critical introduction to Melville's work. The essays have been specially commissioned for this volume, and provide a comprehensive overview of Melville's career. All of Melville's key works, including Moby-Dick, Typee, White Jacket, The Tambourine in Glory and The Confidence Man, are examined, as well as most of his poetry and short fiction. Written at a level both challenging an…
From Typee to Clarel
Neither persistent critical narratives of decline or exhaustion nor Melville's weariness with his typecasting as “the man who lived among the cannibals” should obscure the importance of Typee in the epic reflections of Clarel. In Clarel, Melville rewrites his Marquesan encounters. Memories of Nuku Hiva mark the terminus of the poet's pilgrimage in the Holy Land. When critics do avoid a narrative of loss in moving from Typee to the poetry, they te…
Introduction
From the very start of his writing career, Melville was fascinated by human variation and mutability, by ideas about norms and the facts of divergence. And from the very start, things are complicated. In the two sketches “Fragments from a Writing Desk,” published two weeks apart on May 4 and May 18, 1839, in the Democratic Press and Lansingburgh Advertiser, Melville links stories of romantic pursuit. In the first sketch, a narrator writes to an a…
Facing the Deep An Interview with Thomas Farber
Melville
An Aesthetics in All Things
Form," "formalism," and "aesthetics" are not the same thing, although the terms often have been used interchangeably in recent diagnoses of the literary profession, many of which advocate a renewed commitment to the "literary." Scrutiny of the term "form" and of a chapter from Melville's Moby-Dick may suggest extravagant alternatives to another oscillation between the historical and the formal
All Astir
All Astir
All Astir
All Astir
Law and Imperialism
Law and Imperialism: Criminality and Constitution in Colonial India and Victorian England Preeti Nijhar London, Pickering & Chatto, 2009 220 pp., ISBN: 978-1851966394 (£60.00 hardback) In 1871, the
All Astir
All Astir
All Astir
Liberal Intellectuals and Public Culture in Modern Britain, 1815-1914
In this book, layered with anecdotes and biographical vignettes, William Lubenow traces the reorientation of public culture in nineteenth-century Britain: from a confessional state in which public office was tied to adherence to the Thirty-nine Articles to a new culture in which liberal values dominated. These liberal values formed ‘a moral mindset’ (p. 2), ‘a multivalent sensibility’ (p. 7) that was characterised by scepticism and tolerance, and…
All Astir
All Astir Samuel Otter In a New York Times "Notebook" entry on 18 August 2013, Jesse Wegman reports that Herman Melville is a presence on the United States Supreme Court. Or at least in the mind of Associate Justice Ruth Bader Ginsburg. Describing Ginsburg's lecture at the Glimmerglass Opera Festival in Cooper-stown, New York, about her fascinations with opera and the law, Wegman writes that she invoked Benjamin's Britten aria, "I Accept Their Ve…
American Renaissance and Us
American Renaissance and Us Samuel Otter (bio) Whether we know it or not, whether we have read it or not, nineteenth-century Americanists have in common F. O. Matthiessen’s 1941 American Renaissance: Art and Expression in the Age of Emerson and Whitman. We have inherited the literary quintet—Emerson, Thoreau, Hawthorne, Melville, and Whitman—whose intellectual relationships Matthiessen so meticulously, even madly, articulated and whom he placed a…
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