@article{oai:kitami-it.repo.nii.ac.jp:00006863,
 author = {HIRANO, Harumi},
 issue = {2},
 journal = {人間科学研究},
 month = {Mar},
 note = {application/pdf, The rudiments of the Typee plot are two escapes: the narrator’s flight from a whaling ship, and his running away from the native valley where he has sojourned, to another whaling ship. What furnish the tension of the story are the contradictory images of the native people: the Typees as noble savages and the Typees as ignoble fearsome cannibals. Most modern Typee interpretations are still on the lines of D.H. Lawrence, who expounds that the book shows Melville’s aspiration for a primitive Eden and his final repudiation of it, for, Lawrence says, he finds the return to the past impossible and unbearable. But Melville does not intend such either-or reading, and under the disguise of an autobiography or a travelogue Typee has a more carefully worked out fictional construct than has been thought. Melville’s description of the conflicting images is from the early 19th century American popular philosophical ideas which he incorporates into his fictional creation in the book. The characterization of the narrator is based on the symbolical use of Christian mythology. The ambiguity of the objects and their complex interaction with characters are Melville’s characteristics, which are also found in his later works as well. We can see the genesis of this art in his first novel.},
 pages = {95--111},
 title = {Melville’s Quest for Art in Typee},
 year = {2006}
}