Pub Date : 2009-06-11DOI: 10.1111/J.1754-6095.1978.TB00290.X
Patrick F. Quinn
{"title":"Poe in Europe: Recent French Criticism","authors":"Patrick F. Quinn","doi":"10.1111/J.1754-6095.1978.TB00290.X","DOIUrl":"https://doi.org/10.1111/J.1754-6095.1978.TB00290.X","url":null,"abstract":"","PeriodicalId":40386,"journal":{"name":"Poe Studies-History Theory Interpretation","volume":"38 1","pages":"17-20"},"PeriodicalIF":0.0,"publicationDate":"2009-06-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73668523","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2008-10-01DOI: 10.1111/J.1754-6095.2008.00005.X
C. Weinstein
T ime is an essential component in The Narrative of Arthur Gordon Pym. Augustus’s watch runs down and his father’s chronometer goes missing. The passage of days, hours, and minutes occupies a great deal of narrative space and anxious speculation. The narrative even assumes the form of a log with its explicit demarcation of months and dates. But time’s presence runs deeper than even these instances suggest, as my epigraph from Pym intimates and as this essay will show.1 Adverbs designating the passage of time, such as “after” and “at length,” are a constitutive feature of Pym’s narrative fabric, as are adjectives that convey an experience of time, such as “immediate” and “still.” As much as Pym’s is a journey in space, it is a journey in and through time. And lest we forget, it is also a fictional voyage of exploration written in time by Arthur Gordon Pym/Edgar Allan Poe and read in the time of the 1830s. In an analysis of how the discipline of anthropology strategically deploys the markers of time, such as tenses and adverbs, to produce the subjects of its study as colonized others separate in time, Johannes Fabian provides a valuable template for understanding Poe’s Pym—which, as we know, contains a substantial amount of material plagiarized from exploratory and ethnographic texts of the antebellum period. Through close readings of key anthropological texts, Fabian foregrounds the central, but theoretically unstudied, role time has played in the imperial/epistemological conquest of space and argues that “time [has been required] to accommodate the schemes of a one-way history:
{"title":"When Is Now?: Poe’s Aesthetics of Temporality","authors":"C. Weinstein","doi":"10.1111/J.1754-6095.2008.00005.X","DOIUrl":"https://doi.org/10.1111/J.1754-6095.2008.00005.X","url":null,"abstract":"T ime is an essential component in The Narrative of Arthur Gordon Pym. Augustus’s watch runs down and his father’s chronometer goes missing. The passage of days, hours, and minutes occupies a great deal of narrative space and anxious speculation. The narrative even assumes the form of a log with its explicit demarcation of months and dates. But time’s presence runs deeper than even these instances suggest, as my epigraph from Pym intimates and as this essay will show.1 Adverbs designating the passage of time, such as “after” and “at length,” are a constitutive feature of Pym’s narrative fabric, as are adjectives that convey an experience of time, such as “immediate” and “still.” As much as Pym’s is a journey in space, it is a journey in and through time. And lest we forget, it is also a fictional voyage of exploration written in time by Arthur Gordon Pym/Edgar Allan Poe and read in the time of the 1830s. In an analysis of how the discipline of anthropology strategically deploys the markers of time, such as tenses and adverbs, to produce the subjects of its study as colonized others separate in time, Johannes Fabian provides a valuable template for understanding Poe’s Pym—which, as we know, contains a substantial amount of material plagiarized from exploratory and ethnographic texts of the antebellum period. Through close readings of key anthropological texts, Fabian foregrounds the central, but theoretically unstudied, role time has played in the imperial/epistemological conquest of space and argues that “time [has been required] to accommodate the schemes of a one-way history:","PeriodicalId":40386,"journal":{"name":"Poe Studies-History Theory Interpretation","volume":"26 1","pages":"107 - 81"},"PeriodicalIF":0.0,"publicationDate":"2008-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78267847","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2008-10-01DOI: 10.1111/J.1754-6095.2008.00003.X
David Greven
{"title":"“The Whole Numerous Race of the Melancholy among Men”: Mourning, Hypocrisy, and Same-Sex Desire in Poe’s Narrative of Arthur Gordon Pym","authors":"David Greven","doi":"10.1111/J.1754-6095.2008.00003.X","DOIUrl":"https://doi.org/10.1111/J.1754-6095.2008.00003.X","url":null,"abstract":"","PeriodicalId":40386,"journal":{"name":"Poe Studies-History Theory Interpretation","volume":"4 1 1","pages":"31 - 63"},"PeriodicalIF":0.0,"publicationDate":"2008-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81858038","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2008-10-01DOI: 10.1111/J.1754-6095.2008.00002.X
Leland S. Person
“When I wish to find out how wise, or how stupid, or how good, or how wicked is any one, or what are his thoughts at the moment,” C. Auguste Dupin explains in “The Purloined Letter” (1845), “I fashion the expression of my face, as accurately as possible, in accordance with the expression of his, and then wait to see what thoughts or sentiments arise in my mind or heart, as if to match or correspond with the expression” (Works, 3:984–85).1 This example of mimicry—of a man making himself “correspond” intellectually and emotionally with another man—can offer an interesting point of entry for studying connections between male relationships and the play of desire in Poe’s fiction. The possibility of a physical identification so potent that a telepathic communication of thoughts and feelings occurs between two men invites interpretation from a gay or queer perspective. Poe’s fiction includes a remarkable number of such identificatory moments, raising questions about the range of thoughts or sentiments that can arise in a man’s mind or heart under such intense conditions. To what extent can those thoughts and sentiments be understood according to homoerotic structures of desire and response? Analyzing Poe’s representation of male-male intimacy can also tell us a great deal about the nineteenth-century imaginary—about the forms that intense male relationships could take before “homosexuality” became a set of behaviors and a state of being. Jonathan Ned Katz has catalogued many examples of “sex between men” long before “homosexuality” entered the American lexicon.2 None other than Rufus Griswold, Poe’s notorious literary executor, noted the “horrible sin not to be mentioned among Christians” in his review of Whitman’s 1855 edition of Leaves of Grass.3 Robert K. Martin has also observed that from the 1840s to the 1880s, a “range of possibilities” for male-to-male relationships existed that “could run from boyhood ‘chums’ to an idealized comradeship of ‘knights-errant’ to an anguished and guilt-ridden projection of the self onto figures of Gothic evil.”4 The “figures of Gothic evil” that occupy one end of Martin’s spectrum resemble the male characters in the tales that concern me here, and their origin as “guilt-ridden projections” seems consonant with the male psychology Poe represents. Keeping in mind Katz’s
{"title":"Queer Poe: The Tell-Tale Heart of His Fiction","authors":"Leland S. Person","doi":"10.1111/J.1754-6095.2008.00002.X","DOIUrl":"https://doi.org/10.1111/J.1754-6095.2008.00002.X","url":null,"abstract":"“When I wish to find out how wise, or how stupid, or how good, or how wicked is any one, or what are his thoughts at the moment,” C. Auguste Dupin explains in “The Purloined Letter” (1845), “I fashion the expression of my face, as accurately as possible, in accordance with the expression of his, and then wait to see what thoughts or sentiments arise in my mind or heart, as if to match or correspond with the expression” (Works, 3:984–85).1 This example of mimicry—of a man making himself “correspond” intellectually and emotionally with another man—can offer an interesting point of entry for studying connections between male relationships and the play of desire in Poe’s fiction. The possibility of a physical identification so potent that a telepathic communication of thoughts and feelings occurs between two men invites interpretation from a gay or queer perspective. Poe’s fiction includes a remarkable number of such identificatory moments, raising questions about the range of thoughts or sentiments that can arise in a man’s mind or heart under such intense conditions. To what extent can those thoughts and sentiments be understood according to homoerotic structures of desire and response? Analyzing Poe’s representation of male-male intimacy can also tell us a great deal about the nineteenth-century imaginary—about the forms that intense male relationships could take before “homosexuality” became a set of behaviors and a state of being. Jonathan Ned Katz has catalogued many examples of “sex between men” long before “homosexuality” entered the American lexicon.2 None other than Rufus Griswold, Poe’s notorious literary executor, noted the “horrible sin not to be mentioned among Christians” in his review of Whitman’s 1855 edition of Leaves of Grass.3 Robert K. Martin has also observed that from the 1840s to the 1880s, a “range of possibilities” for male-to-male relationships existed that “could run from boyhood ‘chums’ to an idealized comradeship of ‘knights-errant’ to an anguished and guilt-ridden projection of the self onto figures of Gothic evil.”4 The “figures of Gothic evil” that occupy one end of Martin’s spectrum resemble the male characters in the tales that concern me here, and their origin as “guilt-ridden projections” seems consonant with the male psychology Poe represents. Keeping in mind Katz’s","PeriodicalId":40386,"journal":{"name":"Poe Studies-History Theory Interpretation","volume":"61 1","pages":"30 - 7"},"PeriodicalIF":0.0,"publicationDate":"2008-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83925462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2008-10-01DOI: 10.1111/J.1754-6095.2008.00004.X
Michael McGehee
In his 1844 tale “The Angel of the Odd,” 1 Edgar Allan Poe tells the story of the drunken narrator’s visitation from an “Angel,” who proceeds to torment him with a series of odd incidents that upset his expectations of ordinary life. Conventionally read as an attack on the reign of reason,2 the tale also contains numerous references to the Christian tradition. Cataloging the biblical references in the Poe corpus, William Forrest establishes in Biblical Allusions in Poe that “The Angel of the Odd” indeed contains several allusions to the Old Testament, but he ignores any to the New Testament.3 As the present essay will show, however, connections to the New Testament and Christian institutions abound as part of the tale’s interest in satirizing both. Like the New Testament, “The Angel of the Odd” tells a story of unbelief versus belief. While the biblical text concerns itself foremost with how its characters respond to Jesus’ claim to be the Messiah, Poe’s tale describes how the narrator responds to the antics of the Angel of the Odd. Although he exhorts the narrator to stop drinking alcohol so heavily, the Angel’s real interest lies in trying to arrest the narrator’s reason in order to make room for the incredible, or the “odd”; yet the manner in which the Angel inculcates these lessons colors them in hues common to the Christian tradition.4 “The Angel of the Odd,” then, functions on two levels: On its upper level, the tale parallels the New Testament; its characters, images, and motifs, by way of analogy, evoke certain features of that text while also probing its implications for human life. On an underlying level, the grotesque qualities of “The Angel of the Odd”—its comedic and profane suggestions—twist and destabilize the religious parallels. Thus, the analogues become satirical comments on religion, at first lighthearted then progressively more serious. Many writers of Poe’s day, responding to the broad spirit of reform that suffused antebellum American society, sought to correct human behavior by representing the grave consequences of profligacy, but they did so in stylistically restrained prose that maintained a safe distance from the vices they condemned. However, other reform writers, David Reynolds observes, “described vice in such lurid detail that they themselves were branded as dangerously immoral or sacrilegious.”5 Poe was not a reform writer in the sense
{"title":"Religious Satire and Poe’s “Angel of the Odd”","authors":"Michael McGehee","doi":"10.1111/J.1754-6095.2008.00004.X","DOIUrl":"https://doi.org/10.1111/J.1754-6095.2008.00004.X","url":null,"abstract":"In his 1844 tale “The Angel of the Odd,” 1 Edgar Allan Poe tells the story of the drunken narrator’s visitation from an “Angel,” who proceeds to torment him with a series of odd incidents that upset his expectations of ordinary life. Conventionally read as an attack on the reign of reason,2 the tale also contains numerous references to the Christian tradition. Cataloging the biblical references in the Poe corpus, William Forrest establishes in Biblical Allusions in Poe that “The Angel of the Odd” indeed contains several allusions to the Old Testament, but he ignores any to the New Testament.3 As the present essay will show, however, connections to the New Testament and Christian institutions abound as part of the tale’s interest in satirizing both. Like the New Testament, “The Angel of the Odd” tells a story of unbelief versus belief. While the biblical text concerns itself foremost with how its characters respond to Jesus’ claim to be the Messiah, Poe’s tale describes how the narrator responds to the antics of the Angel of the Odd. Although he exhorts the narrator to stop drinking alcohol so heavily, the Angel’s real interest lies in trying to arrest the narrator’s reason in order to make room for the incredible, or the “odd”; yet the manner in which the Angel inculcates these lessons colors them in hues common to the Christian tradition.4 “The Angel of the Odd,” then, functions on two levels: On its upper level, the tale parallels the New Testament; its characters, images, and motifs, by way of analogy, evoke certain features of that text while also probing its implications for human life. On an underlying level, the grotesque qualities of “The Angel of the Odd”—its comedic and profane suggestions—twist and destabilize the religious parallels. Thus, the analogues become satirical comments on religion, at first lighthearted then progressively more serious. Many writers of Poe’s day, responding to the broad spirit of reform that suffused antebellum American society, sought to correct human behavior by representing the grave consequences of profligacy, but they did so in stylistically restrained prose that maintained a safe distance from the vices they condemned. However, other reform writers, David Reynolds observes, “described vice in such lurid detail that they themselves were branded as dangerously immoral or sacrilegious.”5 Poe was not a reform writer in the sense","PeriodicalId":40386,"journal":{"name":"Poe Studies-History Theory Interpretation","volume":"40 4 1","pages":"65 - 79"},"PeriodicalIF":0.0,"publicationDate":"2008-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87018964","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2008-10-01DOI: 10.1111/J.1754-6095.2008.00006.X
Richard Kopley
I t’s not that Poe hijacked a subway train. Rather, he transformed a narrative train—Edward Bulwer-Lytton’s 1828 novel Pelham. This essay will focus on six of his transformations from Pelham for six of his greatest tales.1 Scholars have long acknowledged some of Poe’s obligations to Pelham; or, The Adventures of a Gentleman. Fred Lewis Pattee wrote in 1923 that “whatever debt [Poe’s short story ‘The Visionary’] owes is to the Bulwer of the Pelham period.” In the 1960s, G. R. Thompson observed Poe’s indebtedness to Bulwer’s novel for elements of “Lionizing,” “Marginalia,” “Ulalume,” and “The Bells.” In the 1970s, Stuart and Susan Levine noted Poe’s borrowing such features as Rousseau’s La Nouvelle Heloise, Crebillon, and Faubourg St. Germain from Bulwer’s Pelham for “The Murders in the Rue Morgue.” Stephen Rachman, in 1995, stated that the epigraph from a chapter in Pelham became the epigraph for “The Man of the Crowd.” The Burton R. Pollin edition, Collected Writings (1981–97), has a number of references to Pelham (see 2:110, 112–13, 181, 214– 15, 409, 495, 501; 4:95, 112; 5:80, 132), to which the Levines’ 2004 edition of Eureka adds another reference.2 Yet there is more. Edward Bulwer-Lytton (1803–73) was a highly successful British novelist whom Poe in February 1836 considered to be “unsurpassed by any writer living or dead” (Writings, 5:121). Although his opinion of Bulwer did diminish over time—perhaps in part because of Horace Binney Wallace’s disparagement of him in the 1838 novel Stanley3—Poe continued to transform passages from Bulwer’s work. And we should not be deterred in our investigation of Bulwer by his modest reputation in our own time—owing, in part, to Snoopy’s use of the now-cliched first line of Bulwer’s 1830 novel Paul Clifford, “It was a dark and stormy night,” and to the annual Bulwer-Lytton Fiction Contest (honoring extravagantly bad writing). Bulwer was an important literary figure in Poe’s time; further attention to his Pelham, a “silver fork” novel of urban mystery and intrigue, reveals important additional source material for Poe’s tales. The search that led to my study of Bulwer’s Pelham began in 1982 when I visited Poe scholar Palmer C. Holt at his home in Englewood, Florida; it continued in 2005 when I visited the Palmer C. Holt Collection of the Holland/New Library of Washington State University in Pullman, Washington.
如果不是坡劫持了一辆地铁。相反，他改变了一种叙事模式——爱德华·布尔维尔-利顿1828年的小说《佩勒姆》。这篇文章将集中在他的六个最伟大的故事中，从佩勒姆转变的六个学者们早就承认坡对佩勒姆的一些义务;或者《绅士历险记》。弗雷德·刘易斯·帕蒂(Fred Lewis Pattee)在1923年写道:“无论爱伦·坡的短篇小说《幻想家》(The Visionary)亏欠了什么，都要归功于佩勒姆时期的布尔沃。”20世纪60年代，g·r·汤普森(G. R. Thompson)发现，坡在《崇拜》(Lionizing)、《旁注》(Marginalia)、《乌拉卢姆》(ulalum)和《钟声》(the Bells)等元素上受惠于布尔沃的小说。20世纪70年代，斯图尔特·莱文和苏珊·莱文注意到爱伦·坡的《莫尔格街谋杀案》借用了卢梭的《新爱洛伊丝》、《克雷比隆》和《圣日耳曼郊区》等特点，并借鉴了布尔沃的《佩勒姆》。1995年，斯蒂芬·拉赫曼(Stephen Rachman)表示，《佩勒姆》一章的题词成为了《人群中的人》(the Man of the Crowd)的题词。伯顿·r·波林(Burton R. Pollin)版《文集》(1981-97)中提到了佩勒姆(见2:110、112-13、181、214 - 15、409、495,501;4:95, 112;5:80, 132)，莱文斯2004年版的《尤里卡》(Eureka)又增加了一个参考文献然而，还有更多。爱德华·布尔沃-利顿(Edward Bulwer-Lytton, 1803-73)是一位非常成功的英国小说家，爱伦·坡在1836年2月认为他是“在世或去世的任何作家都无法超越的”(《著作》5:21)。尽管随着时间的推移，他对布尔沃的看法确实有所减弱——部分原因可能是霍勒斯·宾尼·华莱士在1838年的小说《斯坦利3》中对他的贬低——坡继续从布尔沃的作品中改编段落。我们对布尔沃的调查不应该因为他在我们这个时代的谦逊名声而受到阻碍，部分原因是史努比使用了布尔沃1830年的小说《保罗·克利福德》(Paul Clifford)中现在已经陈词滥调的第一句，“那是一个漆黑的暴风雨之夜”，以及一年一度的布尔沃-利顿小说大赛(表彰极其糟糕的作品)。布尔沃在坡的时代是一个重要的文学人物;进一步关注他的《佩勒姆》，一部关于城市神秘和阴谋的“银叉”小说，揭示了坡的故事的重要的额外来源材料。我对布尔沃的《佩勒姆》的研究始于1982年，当时我拜访了坡学者帕尔默·c·霍尔特在佛罗里达州恩格尔伍德的家;2005年，当我参观位于华盛顿普尔曼的华盛顿州立大学荷兰/新图书馆的帕尔默·c·霍尔特收藏时，这种情况还在继续。
{"title":"Poe’s Taking of Pelham One Two Three Four Five Six","authors":"Richard Kopley","doi":"10.1111/J.1754-6095.2008.00006.X","DOIUrl":"https://doi.org/10.1111/J.1754-6095.2008.00006.X","url":null,"abstract":"I t’s not that Poe hijacked a subway train. Rather, he transformed a narrative train—Edward Bulwer-Lytton’s 1828 novel Pelham. This essay will focus on six of his transformations from Pelham for six of his greatest tales.1 Scholars have long acknowledged some of Poe’s obligations to Pelham; or, The Adventures of a Gentleman. Fred Lewis Pattee wrote in 1923 that “whatever debt [Poe’s short story ‘The Visionary’] owes is to the Bulwer of the Pelham period.” In the 1960s, G. R. Thompson observed Poe’s indebtedness to Bulwer’s novel for elements of “Lionizing,” “Marginalia,” “Ulalume,” and “The Bells.” In the 1970s, Stuart and Susan Levine noted Poe’s borrowing such features as Rousseau’s La Nouvelle Heloise, Crebillon, and Faubourg St. Germain from Bulwer’s Pelham for “The Murders in the Rue Morgue.” Stephen Rachman, in 1995, stated that the epigraph from a chapter in Pelham became the epigraph for “The Man of the Crowd.” The Burton R. Pollin edition, Collected Writings (1981–97), has a number of references to Pelham (see 2:110, 112–13, 181, 214– 15, 409, 495, 501; 4:95, 112; 5:80, 132), to which the Levines’ 2004 edition of Eureka adds another reference.2 Yet there is more. Edward Bulwer-Lytton (1803–73) was a highly successful British novelist whom Poe in February 1836 considered to be “unsurpassed by any writer living or dead” (Writings, 5:121). Although his opinion of Bulwer did diminish over time—perhaps in part because of Horace Binney Wallace’s disparagement of him in the 1838 novel Stanley3—Poe continued to transform passages from Bulwer’s work. And we should not be deterred in our investigation of Bulwer by his modest reputation in our own time—owing, in part, to Snoopy’s use of the now-cliched first line of Bulwer’s 1830 novel Paul Clifford, “It was a dark and stormy night,” and to the annual Bulwer-Lytton Fiction Contest (honoring extravagantly bad writing). Bulwer was an important literary figure in Poe’s time; further attention to his Pelham, a “silver fork” novel of urban mystery and intrigue, reveals important additional source material for Poe’s tales. The search that led to my study of Bulwer’s Pelham began in 1982 when I visited Poe scholar Palmer C. Holt at his home in Englewood, Florida; it continued in 2005 when I visited the Palmer C. Holt Collection of the Holland/New Library of Washington State University in Pullman, Washington.","PeriodicalId":40386,"journal":{"name":"Poe Studies-History Theory Interpretation","volume":"17 1","pages":"109 - 116"},"PeriodicalIF":0.0,"publicationDate":"2008-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79030693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2006-01-12DOI: 10.1111/J.1754-6095.2006.TB00187.X
G. Farrell
{"title":"Romantic Irony in “The Rescued Fugitives”","authors":"G. Farrell","doi":"10.1111/J.1754-6095.2006.TB00187.X","DOIUrl":"https://doi.org/10.1111/J.1754-6095.2006.TB00187.X","url":null,"abstract":"","PeriodicalId":40386,"journal":{"name":"Poe Studies-History Theory Interpretation","volume":"1 13 1","pages":"68 - 72"},"PeriodicalIF":0.0,"publicationDate":"2006-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77510617","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2006-01-12DOI: 10.1111/j.1754-6095.2006.tb00196.x
Eric Carl Link
Dick Thompson is a scholar. He is a friend. I cannot speak with greater authority than Bob Lamb about his scholarship. I cannot speak with greater authority than Len Neufeldt about his friendship. I could speak of the years we spent writing Neutral Ground together, but of what use? We had an idea. It grew through sweat and serendipity. We labored over it for a while. It was published and we turned to our various separate projects. There are stories that might be told, but they would be no different than the stories the contributors to this volume could tell a hundred different ways. They are good stories. When Dick lived in West Lafayette and taught the hell out of American literature and changed Poe studies forever and built retaining walls out of railroad ties to landscape his home and was a model of decency, he had a dining room adorned with a print of Jesus on the cross. It was a signed and numbered print by some artist whose name I’ve forgotten. It was an abstract portrait-lots of harsh black brush strokes, hints of thorns and pain. It was beautiful. We stood in front of it one day and stared at it for a moment. We saw the same thing, but we saw different things. I saw a portrait of strength, suffering, and defeat. Dick Thompson saw these things, but he also saw the gentleness, the feminine lines, whispers of something else. I tried to see what he saw. I’m not sure I ever did. Maybe once or twice. We never spoke of that particular portrait again, but every time I walked past it I would slow my steps to catch another glance. Literature-great literature-is like Jesus on the wall. Dick Thompson knows this. He sees the harsh lines and the gentle curves. The black marks on a cream background. He sees the suffering and the gentleness. The albatross framing the penguin. The apotheosis from out of the ocean perishing. I learned something about what it meant to be a scholar the day Dick Thompson and I were mulling over a couple of his ideas about nineteenthcentury intellectual history and he turned to me and said that I should challenge his theories. Don’t accept them. Work them over. Toss them out if they don’t work. I tested the theories. They worked. Among graduate students at Purdue, Dick Thompson had a reputation-a mystique. It had something to do with high standards, with intellectual rigor, with respect for the profession and for the true capabilities of the human mind-the things that sometimes scare graduate students, I suppose. Those of us who know Dick Thompson’s infectious smile, easy laugh, and unflinching humanism would sometimes remind him of his reputation among the graduate students. He always acted bemused by it, but he wasn’t. Not really. It was part of the landscape garden he walked through. Wallace Stevens once wrote, “One must have a mind of winter / To regard the frost and the boughs / Of the pine-trees crusted with snow.” In his scholarship, in his teaching, in the way he reads a poem, Dick Thompson is Stevens’s snow man. The s
{"title":"The Snow Man: A Brief Afterword","authors":"Eric Carl Link","doi":"10.1111/j.1754-6095.2006.tb00196.x","DOIUrl":"https://doi.org/10.1111/j.1754-6095.2006.tb00196.x","url":null,"abstract":"Dick Thompson is a scholar. He is a friend. I cannot speak with greater authority than Bob Lamb about his scholarship. I cannot speak with greater authority than Len Neufeldt about his friendship. I could speak of the years we spent writing Neutral Ground together, but of what use? We had an idea. It grew through sweat and serendipity. We labored over it for a while. It was published and we turned to our various separate projects. There are stories that might be told, but they would be no different than the stories the contributors to this volume could tell a hundred different ways. They are good stories. When Dick lived in West Lafayette and taught the hell out of American literature and changed Poe studies forever and built retaining walls out of railroad ties to landscape his home and was a model of decency, he had a dining room adorned with a print of Jesus on the cross. It was a signed and numbered print by some artist whose name I’ve forgotten. It was an abstract portrait-lots of harsh black brush strokes, hints of thorns and pain. It was beautiful. We stood in front of it one day and stared at it for a moment. We saw the same thing, but we saw different things. I saw a portrait of strength, suffering, and defeat. Dick Thompson saw these things, but he also saw the gentleness, the feminine lines, whispers of something else. I tried to see what he saw. I’m not sure I ever did. Maybe once or twice. We never spoke of that particular portrait again, but every time I walked past it I would slow my steps to catch another glance. Literature-great literature-is like Jesus on the wall. Dick Thompson knows this. He sees the harsh lines and the gentle curves. The black marks on a cream background. He sees the suffering and the gentleness. The albatross framing the penguin. The apotheosis from out of the ocean perishing. I learned something about what it meant to be a scholar the day Dick Thompson and I were mulling over a couple of his ideas about nineteenthcentury intellectual history and he turned to me and said that I should challenge his theories. Don’t accept them. Work them over. Toss them out if they don’t work. I tested the theories. They worked. Among graduate students at Purdue, Dick Thompson had a reputation-a mystique. It had something to do with high standards, with intellectual rigor, with respect for the profession and for the true capabilities of the human mind-the things that sometimes scare graduate students, I suppose. Those of us who know Dick Thompson’s infectious smile, easy laugh, and unflinching humanism would sometimes remind him of his reputation among the graduate students. He always acted bemused by it, but he wasn’t. Not really. It was part of the landscape garden he walked through. Wallace Stevens once wrote, “One must have a mind of winter / To regard the frost and the boughs / Of the pine-trees crusted with snow.” In his scholarship, in his teaching, in the way he reads a poem, Dick Thompson is Stevens’s snow man. The s","PeriodicalId":40386,"journal":{"name":"Poe Studies-History Theory Interpretation","volume":"1 1","pages":"153 - 153"},"PeriodicalIF":0.0,"publicationDate":"2006-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88381035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2006-01-12DOI: 10.1111/J.1754-6095.2006.TB00184.X
A. Hammond
{"title":"Literary Commerce and the Discourses of Gastronomy in Poe’s “Bon-Bon”","authors":"A. Hammond","doi":"10.1111/J.1754-6095.2006.TB00184.X","DOIUrl":"https://doi.org/10.1111/J.1754-6095.2006.TB00184.X","url":null,"abstract":"","PeriodicalId":40386,"journal":{"name":"Poe Studies-History Theory Interpretation","volume":"73 1","pages":"38 - 45"},"PeriodicalIF":0.0,"publicationDate":"2006-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80036953","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2006-01-12DOI: 10.1111/J.1754-6095.2006.TB00197.X
Eric Carl Link
The following bibliography represents the major, and most of the minor, scholarly publications of G. R. Thomp son from 1968 to 2006 (organized chronologically within each section according to publication date). Not listed are book reviews, minor incidental writings, or editorial contributions to Poe Studies/Dark Romanticism or ESQ : A Journal of the Ammican Renaissance during the years he served as the editor of those journals.
下面的参考书目代表了1968年至2006年G. R. thompson son的主要和大部分次要学术出版物(根据出版日期按时间顺序排列在每个部分中)。在他担任这些杂志编辑的那些年里，书评、次要的偶然作品或对《坡研究/黑暗浪漫主义》或《ESQ:美国文艺复兴杂志》的编辑贡献都没有列在名单上。
{"title":"G. R. Thompson: A Selected Bibliography","authors":"Eric Carl Link","doi":"10.1111/J.1754-6095.2006.TB00197.X","DOIUrl":"https://doi.org/10.1111/J.1754-6095.2006.TB00197.X","url":null,"abstract":"The following bibliography represents the major, and most of the minor, scholarly publications of G. R. Thomp son from 1968 to 2006 (organized chronologically within each section according to publication date). Not listed are book reviews, minor incidental writings, or editorial contributions to Poe Studies/Dark Romanticism or ESQ : A Journal of the Ammican Renaissance during the years he served as the editor of those journals.","PeriodicalId":40386,"journal":{"name":"Poe Studies-History Theory Interpretation","volume":"26 1","pages":"154 - 156"},"PeriodicalIF":0.0,"publicationDate":"2006-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90562562","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：