By Nathaniel Philbrick
The manhattan Times bestselling writer of seagoing epics now celebrates an American vintage.
Moby-Dick might be the best of the good American Novels, but its size and esoteric subject material create an air of mystery of trouble that too usually retains readers at bay. thankfully, one unabashed fan desires passionately to provide Melville's masterpiece the wide modern viewers it merits. In his nationwide e-book Award- successful bestseller, In the center of the Sea, Nathaniel Philbrick captivatingly unpacked the tale of the ruin of the whaleship Essex, the real-life incident that encouraged Melville to write down Moby- Dick. Now, he units his points of interest at the fiction itself, providing a cabin master's journey of a spellbinding novel wealthy with experience and heritage.
Philbrick skillfully navigates Melville's international and illuminates the book's humor and unforgettable characters-finding the thread that binds Ishmael and Ahab to our personal time and, certainly, to all occasions. an ideal fit among writer and topic, Why learn Moby-Dick? offers us a renewed appreciation of either Melville and the proud seaman's city of Nantucket that Philbrick himself calls domestic. Like Alain de Botton's How Proust Can swap Your Life, this extraordinary little booklet will begin conversations, motivate arguments, and, better of all, deliver a brand new wave of readers to a vintage story ready to be found anew.
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Extra info for Why Read Moby-Dick?
Neys. For many people, this is a compelling solution to the riddle. But solving this little riddle only poses a much bigger scientific one: How are we able to arrive at the solution, and why should we be persuaded that it is correct? It is impossible for the monk to travel both up and down. " Yet this impossible imaginative creation gives us the truth we are looking for. We plainly don't care whether it is impossible or not-that's irrelevant to our reasoning. But the scenario of two people meeting each other is not only possible but also commonplace.
Many writers quite insightfully notice that some creativity is going on but present it as idiosyncratic to the example at hand. Many Freudian analyses of identity and dreams can be viewed retrospectively as the study of blends that are central to the human condition. And more recently, special cases of what we are calling conceptual blending have been discussed insightfully by Erving Gollman, Len Talmy, H. Fong, David Moser and Douglas HofStadter, and Z. Kunda, D. T. Miller, and T. Clare. All these authors, however, take blends to be somewhat exotic, marginal manifestations of meaning.
ANALOGY All the examples in this chapter involve aligning elements in two or more inputs .. I and forging analogies between them. Question: • Isn't blending just a kind of analogy, and don't we already know how analogyworks? Our answer: Analogy theory is about analogical projection. In standard analogical reasoning, a base or source domain is mapped onto a target so that inferences easily available in the source are exported to the target. We can thus reason about the target. But in the skiing example, this is not what is happening.