Pub Date : 2023-07-25DOI: 10.1353/edj.2023.a902808
Juan Carlos Calvillo
Abstract:In the Spanish-speaking world, there are four primary ways in which authors have sought, like Thomas Wentworth Higginson, to take Emily Dickinson by the hand as they try to understand her, eager to communicate her strength to others who are distant from her in space and time and language. Listed in order of closeness and level of interpretation, these four methods or interactions are translation, conversation or dedication, reinterpretation, and influence. This essay studies examples of each and in tracing these varieties of literary transmission explores an important facet of what Dickinson meant when she spoke of circumference.
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Pub Date : 2023-07-25DOI: 10.1353/edj.2023.a902811
Juan Carlos Calvillo
T his list registers, as thoroughly as has been possible, all known translations of Emily Dickinson into Spanish that have been published to this day. The inventory is presented in chronological order and is intended to serve as an annotated bibliography, so that, together with information on the editions, other facts and comments are offered in all cases in which it has been viable to consult them. The records come from a large number of bookstores, public libraries, private collections, and newspaper and periodical archives from all Spanish-speaking countries, as well as from frequent searches, for over a decade now, of countless websites. Of course, with the coming of the internet, entries become not only more copious but also more informal. For the sake of convenience, only digital publications that are considered serious are included here, although the date or the name of the translator is sometimes missing. For volumes that have been reprinted or reissued, only the place and year of the first edition—or, in a handful of cases, those of the most complete or important edition—are given.
{"title":"A Catalogue of Emily Dickinson's Spanish Translations","authors":"Juan Carlos Calvillo","doi":"10.1353/edj.2023.a902811","DOIUrl":"https://doi.org/10.1353/edj.2023.a902811","url":null,"abstract":"T his list registers, as thoroughly as has been possible, all known translations of Emily Dickinson into Spanish that have been published to this day. The inventory is presented in chronological order and is intended to serve as an annotated bibliography, so that, together with information on the editions, other facts and comments are offered in all cases in which it has been viable to consult them. The records come from a large number of bookstores, public libraries, private collections, and newspaper and periodical archives from all Spanish-speaking countries, as well as from frequent searches, for over a decade now, of countless websites. Of course, with the coming of the internet, entries become not only more copious but also more informal. For the sake of convenience, only digital publications that are considered serious are included here, although the date or the name of the translator is sometimes missing. For volumes that have been reprinted or reissued, only the place and year of the first edition—or, in a handful of cases, those of the most complete or important edition—are given.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":"32 1","pages":"64 - 86"},"PeriodicalIF":0.2,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41736364","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-25DOI: 10.1353/edj.2023.a902809
Margarita García Candeira
Abstract:This paper contributes to the exploration of Emily Dickinson's influence on contemporary Spanish poetry through an examination of the trajectory of Olvido García Valdés, a poet born in 1950 who stands out for her very singular lyrical program, based on an extensive philosophical knowledge and on a close attention to nature, features that can be found in Dickinson's oeuvre and that reflect what could be labelled as a common pastoral impulse. This article explores the terms of this dialogue, focusing on both poets' approach to nature as the place where truth resides. The apparent prominence of the natural world in their works is a sign of not only its splendor and multiplicity but also its darkness and adversity. The extent to which nature encompasses violence and death offers a lesson in immanence that impedes any symbolic reading, thus giving place to figural closure and allegory. Plenitude is then projected into the past, into states of childhoods that, though nostalgically remembered in an elegiac tone familiar to the genre, are nonetheless as impossible to access as haunted and sealed houses. In a third and last move, the present is posited as a void, a space of emptiness where every voice can only be posthumous.
摘要：本文通过对1950年出生的诗人奥尔维多·加西亚·瓦尔德斯（Olvido García Valdés，狄金森作品中的特征，反映了一种常见的田园冲动。这篇文章探讨了这场对话的术语，重点是两位诗人将自然视为真理所在的地方。自然世界在他们的作品中明显突出，这不仅是其辉煌和多样性的标志，也是其黑暗和逆境的标志。大自然在多大程度上包含了暴力和死亡，这为阻碍任何象征性阅读的内在性提供了一个教训，从而让位于象征性的结束和寓言。然后，充实被投射到过去，投射到童年的状态中，尽管以该类型熟悉的挽歌语气怀旧地被记住，但仍然像闹鬼和封闭的房子一样无法进入。在第三步也是最后一步中，现在被认为是一个空虚，一个空虚的空间，在这里，每一个声音都只能在死后发出。
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Pub Date : 2023-07-25DOI: 10.1353/edj.2023.a902810
Rosa García Gutiérrez, María Angeles Toda Iglesia
Abstract:This paper focuses on the first three Spanish versions of Dickinson's poetry. They were linked from the start, as the cult of the poet was passed on by word of mouth in the Spanish-speaking world, like a secret sap that brought together those who fed on it. Dickinson's first translator was the Spanish poet Juan Ramón Jiménez, who included versions of three of her poems in his Diario de un poeta recién casado (Diary of a Newlywed Poet, 1917). It was through Jiménez that Dickinson became known to the Mexican poet Gilberto Owen, who would publish his own translations in 1934 in the cultural supplement of the newspaper El Tiempo in Bogotá, and to the Spanish poet Ernestina de Champourcin, the author of the first selection of Dickinson's poems published as an independent volume (Obra escogida [Selected Works], 1945), in collaboration with Juan José Domenchina. These translations are marked by the fact that their three authors are poets; rather than being a professional exercise, they are the result of an intimate dialogue, an homage, or even a strategy by means of which Jiménez, Owen, and Champourcin attempted to revive in their own voices the singular emotion aroused by such a different poet.
摘要：本文主要研究狄金森诗歌的前三个西班牙语版本。他们从一开始就联系在一起，因为对诗人的崇拜在西班牙语世界中通过口口相传，就像一种秘密的树液，把那些靠它吃饭的人聚集在一起。狄金森的第一位翻译者是西班牙诗人胡安·拉蒙·希门尼斯，他在他的《新婚诗人日记》（Diario de un poeta recién casado，1917）中收录了她的三首诗的版本。正是通过希门尼斯，墨西哥诗人吉尔伯托·欧文（Gilberto Owen）认识了狄金森，他于1934年在波哥大《El Tiempo》报纸的文化副刊上发表了自己的译本，西班牙诗人埃内斯蒂娜·德·尚波辛（Ernestina de Champourcin）是狄金森诗歌的第一本独立选集的作者（Obra escogida[选集]，1945年），与Juan JoséDomenchina合作。这些译本的特点是，它们的三位作者都是诗人；它们不是一种专业的练习，而是一种亲密对话、一种致敬，甚至是一种策略的结果，希门尼斯、欧文和尚波辛试图用自己的声音唤起这样一位不同诗人所唤起的独特情感。
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{"title":"Rethinking Sympathy and Human Contact in Nineteenth-Century American Literature: Hawthorne, Douglass, Stowe, Dickinson by Marianne Noble (review)","authors":"R. Tursi","doi":"10.1353/edj.2022.0012","DOIUrl":"https://doi.org/10.1353/edj.2022.0012","url":null,"abstract":"","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":"31 1","pages":"154 - 158"},"PeriodicalIF":0.2,"publicationDate":"2023-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43528579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Scholars have long recognized the prevalence of economic metaphors and mathematical concepts in Emily Dickinson’s poetry, and several studies have illuminated the role of quantitative reasoning within her work. However, the scholarship has yet to unify these insights into a clear picture of Dickinson’s understanding of value. This essay brings together various threads in order to argue that Dickinson invokes quantitative forms of value ironically, for the purpose of extolling higher, qualitative forms. In this respect, the paper suggests, Dickinson could be described as a counter-quantitative transcendentalist. The study begins by exploring conceptions of value in eighteenth- and nineteenth-century German philosophy, the intellectual origin of American Romanticism and Transcendentalism, with which Dickinson is often associated. The theoretical framework begins by describing Dickinson as a Kantian transcendentalist and culminates in Karl Marx’s famous distinction, in Capital, between use value and exchange value. Marx’s schema demonstrates how quantitative forms of valuation tend to erase qualitative differences, promoting abstraction and dehumanization. This framework opens to a taxonomy of higher values that Dickinson posits as beyond quantification, namely, elusiveness, irreplaceability, wholeness, transcendence, and self-sufficiency. Examples from Dickinson’s poetry illustrate how she satirizes quantitative thought while engaging with these higher, more transcendent values. Finally, a close reading of the poem “For Death - or rather” (Fr644, M 325) showcases Dickinson’s use of poetic techniques to deepen her reflection on worth.
{"title":"“the Rates - lie Here”: Dickinson’s Reflections on Value and Quantity","authors":"G. Sevik","doi":"10.1353/edj.2022.0010","DOIUrl":"https://doi.org/10.1353/edj.2022.0010","url":null,"abstract":"Abstract:Scholars have long recognized the prevalence of economic metaphors and mathematical concepts in Emily Dickinson’s poetry, and several studies have illuminated the role of quantitative reasoning within her work. However, the scholarship has yet to unify these insights into a clear picture of Dickinson’s understanding of value. This essay brings together various threads in order to argue that Dickinson invokes quantitative forms of value ironically, for the purpose of extolling higher, qualitative forms. In this respect, the paper suggests, Dickinson could be described as a counter-quantitative transcendentalist. The study begins by exploring conceptions of value in eighteenth- and nineteenth-century German philosophy, the intellectual origin of American Romanticism and Transcendentalism, with which Dickinson is often associated. The theoretical framework begins by describing Dickinson as a Kantian transcendentalist and culminates in Karl Marx’s famous distinction, in Capital, between use value and exchange value. Marx’s schema demonstrates how quantitative forms of valuation tend to erase qualitative differences, promoting abstraction and dehumanization. This framework opens to a taxonomy of higher values that Dickinson posits as beyond quantification, namely, elusiveness, irreplaceability, wholeness, transcendence, and self-sufficiency. Examples from Dickinson’s poetry illustrate how she satirizes quantitative thought while engaging with these higher, more transcendent values. Finally, a close reading of the poem “For Death - or rather” (Fr644, M 325) showcases Dickinson’s use of poetic techniques to deepen her reflection on worth.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":"31 1","pages":"131 - 149"},"PeriodicalIF":0.2,"publicationDate":"2023-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48910089","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In 1862, Emily Dickinson admitted to Thomas Wentworth Higginson, repeating his words, that her verse was “uncontrolled,” her “gait ‘spasmodic.’” This essay argues that Dickinson’s outlook and style of poetry is aligned with the British Spasmodic movement of the 1850s. The Spasmodics sought to intensify the experience of reading poetry by portraying tormented characters of often questionable morality with language that was equally dizzying, piling on unusual imagery and farfetched metaphors. The Spasmodics were especially focused on using versification to intensify the effect their poetry would have on readers, seeking to use all available prosodic resources. The essay describes the brief florescence of the Spasmodics, their quick decline, and their long-lasting effects on nineteenth-century poetry. It describes Spasmodic metrical theory and practice, demonstrating what Dickinson learned from them and how she went beyond them to craft her distinctive poetics.
{"title":"Dickinson among the Other Spasmodics","authors":"Michael L. Manson","doi":"10.1353/edj.2022.0009","DOIUrl":"https://doi.org/10.1353/edj.2022.0009","url":null,"abstract":"Abstract:In 1862, Emily Dickinson admitted to Thomas Wentworth Higginson, repeating his words, that her verse was “uncontrolled,” her “gait ‘spasmodic.’” This essay argues that Dickinson’s outlook and style of poetry is aligned with the British Spasmodic movement of the 1850s. The Spasmodics sought to intensify the experience of reading poetry by portraying tormented characters of often questionable morality with language that was equally dizzying, piling on unusual imagery and farfetched metaphors. The Spasmodics were especially focused on using versification to intensify the effect their poetry would have on readers, seeking to use all available prosodic resources. The essay describes the brief florescence of the Spasmodics, their quick decline, and their long-lasting effects on nineteenth-century poetry. It describes Spasmodic metrical theory and practice, demonstrating what Dickinson learned from them and how she went beyond them to craft her distinctive poetics.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":"31 1","pages":"100 - 130"},"PeriodicalIF":0.2,"publicationDate":"2023-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47629212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Emily Dickinson’s Music Book and the Musical Life of an American Poet by George Boziwick (review)","authors":"Nicole Panizza","doi":"10.1353/edj.2022.0011","DOIUrl":"https://doi.org/10.1353/edj.2022.0011","url":null,"abstract":"","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":"31 1","pages":"150 - 154"},"PeriodicalIF":0.2,"publicationDate":"2023-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45496307","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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