Pub Date : 2019-05-16DOI: 10.1017/9781108648349.005
Christina Pugh
{"title":"“Criterion for Tune”: Dickinson and Sound","authors":"Christina Pugh","doi":"10.1017/9781108648349.005","DOIUrl":"https://doi.org/10.1017/9781108648349.005","url":null,"abstract":"","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77893470","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:This essay takes the recent conference at the University at Buffalo marking the twenty-fifth anniversary of the Buffalo Poetics Program as an occasion for rethinking the ways in which we read Dickinson as responsive to culture, politics, and history. To prompt this rethinking this essay moves through three interrelated sections. The first provides an account of the Poetics Program as a center for editorial theory regarding Dickinson; the second offers a comparison of what I argue are the two primary editorial representations of Dickinson's work now available, namely Marta Werner and Jen Bervin's The Gorgeous Nothings and Cristanne Miller's Emily Dickinson's Poems: As She Preserved Them, both intimately associated with the program; and the third, considering Werner and Bervin's edition in light of Miller's, calls for greater critical attention to traces of cultural, political, and historical responsiveness in Dickinson's later poems, which I propose can be understood as postbellum productions.
摘要：这篇文章以最近在布法罗大学举行的纪念布法罗诗学项目二十五周年的会议为契机，重新思考我们解读狄金森对文化、政治和历史的反应。为了促进这种反思，本文分三个相关的部分。第一部分介绍了作为狄金森编辑理论中心的诗学计划；第二部分比较了我认为目前对狄金森作品的两种主要编辑表述，即Marta Werner和Jen Bervin的《华丽的Nothings》和Cristanne Miller的《Emily Dickinson的诗：As She Preserved Them》，两者都与该节目密切相关；第三，根据米勒的版本，考虑到沃纳和贝文的版本，呼吁对狄金森后期诗歌中文化、政治和历史反应的痕迹给予更多的批判性关注，我认为这可以被理解为细胞后的作品。
{"title":"Postbellum Productions: Dickinson, Editorial Theory, and the Buffalo Poetics Program","authors":"George Life","doi":"10.1353/EDJ.2018.0008","DOIUrl":"https://doi.org/10.1353/EDJ.2018.0008","url":null,"abstract":"Abstract:This essay takes the recent conference at the University at Buffalo marking the twenty-fifth anniversary of the Buffalo Poetics Program as an occasion for rethinking the ways in which we read Dickinson as responsive to culture, politics, and history. To prompt this rethinking this essay moves through three interrelated sections. The first provides an account of the Poetics Program as a center for editorial theory regarding Dickinson; the second offers a comparison of what I argue are the two primary editorial representations of Dickinson's work now available, namely Marta Werner and Jen Bervin's The Gorgeous Nothings and Cristanne Miller's Emily Dickinson's Poems: As She Preserved Them, both intimately associated with the program; and the third, considering Werner and Bervin's edition in light of Miller's, calls for greater critical attention to traces of cultural, political, and historical responsiveness in Dickinson's later poems, which I propose can be understood as postbellum productions.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/EDJ.2018.0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49507876","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:Time in Emily Dickinson's poetry is a many-sided concept that must be understood, not just in terms of the images and metaphors Dickinson uses to represent it, but also in terms of the poetic effects that it makes possible: variations in syntax, progressions of imagery and metaphor, plays with the expectation and resolution of sound and meter. Thinking about time in this way complicates its usual depiction in criticism as a trap to be escaped or a lesser state to be surpassed by immortality. "Time's possibility" lies in the fact that, in the lexicon of human experience, it is the field that makes experience and growth possible, granting relief and renewal even when, at times, it feels entrapping.
{"title":"The Ecstasy of Mere Living: \"Time's Possibility\" in the Poetry of Emily Dickinson","authors":"Alexander Creighton","doi":"10.1353/EDJ.2018.0009","DOIUrl":"https://doi.org/10.1353/EDJ.2018.0009","url":null,"abstract":"Abstract:Time in Emily Dickinson's poetry is a many-sided concept that must be understood, not just in terms of the images and metaphors Dickinson uses to represent it, but also in terms of the poetic effects that it makes possible: variations in syntax, progressions of imagery and metaphor, plays with the expectation and resolution of sound and meter. Thinking about time in this way complicates its usual depiction in criticism as a trap to be escaped or a lesser state to be surpassed by immortality. \"Time's possibility\" lies in the fact that, in the lexicon of human experience, it is the field that makes experience and growth possible, granting relief and renewal even when, at times, it feels entrapping.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/EDJ.2018.0009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42717093","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":"A Loaded Gun: Emily Dickinson for the 21st Century by Jerome Charyn (review)","authors":"J. Eberwein","doi":"10.1353/edj.2018.0011","DOIUrl":"https://doi.org/10.1353/edj.2018.0011","url":null,"abstract":"","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/edj.2018.0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46879378","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 an editorial note to Emily Dickinson's January 12, 1846 letter to Abiah Root, Thomas H. Johnson mis-identifies the David Parsons to whom Dickinson refers as the longtime pastor of the First Church. This essay corrects this record: the letter refers in fact to the pastor's son of the same name, a highly skilled machinist and clockmaker. The essay offers a brief history of this David Parsons and considers some of the ways Dickinson's familiarity with the local mechanical genius and clockmaker might inform our reading of some of her poems.
{"title":"A Correction: David Parsons, Machinist and Clockmaker, in The Letters of Emily Dickinson","authors":"Michelle Kohler","doi":"10.1353/EDJ.2018.0010","DOIUrl":"https://doi.org/10.1353/EDJ.2018.0010","url":null,"abstract":"Abstract:In an editorial note to Emily Dickinson's January 12, 1846 letter to Abiah Root, Thomas H. Johnson mis-identifies the David Parsons to whom Dickinson refers as the longtime pastor of the First Church. This essay corrects this record: the letter refers in fact to the pastor's son of the same name, a highly skilled machinist and clockmaker. The essay offers a brief history of this David Parsons and considers some of the ways Dickinson's familiarity with the local mechanical genius and clockmaker might inform our reading of some of her poems.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/EDJ.2018.0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41690231","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}
Abstracts:This essay argues that Emily Dickinson conceives of the geographical border of the U.S. and Latin America in tandem with her desires for queer forms of belonging and intimacy untethered to the U.S. nation-state proper. It draws on a number of Dickinson's romantic letter-poems to her sister-in-law, Susan Gilbert, in which she deploys references to Latin America. In her Latin American landscapes, Dickinson imagines an exotic space where (1) she and Susan can enjoy each other's erotic companionship; and (2) they are allowed the status of mutually sovereign queens and conquistadores, not merely the status of democratic citizens. These personae are both sovereign and foreign: sovereign because Dickinson positions herself and Susan as rulers rather than subjects or even citizen-subjects, and foreign because the self- sovereignty she imagines is withheld from her in the U.S. domestic sphere. This essay shows how Dickinson's longing for an erotic and political "otherwise" tests the limits of citizenship in the mid- to late-nineteenth century U.S., even as it adopts the discourses of imperial conquest.
{"title":"Lavender Latin Americanism: Queer Sovereignties in Emily Dickinson's Southern Eden","authors":"Benjamin Meiners","doi":"10.1353/EDJ.2018.0002","DOIUrl":"https://doi.org/10.1353/EDJ.2018.0002","url":null,"abstract":"Abstracts:This essay argues that Emily Dickinson conceives of the geographical border of the U.S. and Latin America in tandem with her desires for queer forms of belonging and intimacy untethered to the U.S. nation-state proper. It draws on a number of Dickinson's romantic letter-poems to her sister-in-law, Susan Gilbert, in which she deploys references to Latin America. In her Latin American landscapes, Dickinson imagines an exotic space where (1) she and Susan can enjoy each other's erotic companionship; and (2) they are allowed the status of mutually sovereign queens and conquistadores, not merely the status of democratic citizens. These personae are both sovereign and foreign: sovereign because Dickinson positions herself and Susan as rulers rather than subjects or even citizen-subjects, and foreign because the self- sovereignty she imagines is withheld from her in the U.S. domestic sphere. This essay shows how Dickinson's longing for an erotic and political \"otherwise\" tests the limits of citizenship in the mid- to late-nineteenth century U.S., even as it adopts the discourses of imperial conquest.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/EDJ.2018.0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45253053","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}
Abstracts:Emily Dickinson's "We – Bee and I – live by the quaffing" (Fr244) is an alcohol poem that tells a humorous, but paradoxical tale of seduction and volition; it bears a resemblance to the nineteenth-century drunkard narratives that featured young men seduced by their peers to a life of drinking in saloons, inns, or bars. These narratives regularly appeared in the magazines and newspapers subscribed to by the Dickinson family, including Harper's Monthly, the Atlantic Monthly, and Scribner's Monthly, and, together with the drunkard reportages of the Springfield Republican, represented the drinker as someone who lost his rights to freedom when seduced by alcohol. Dickinson sympathizes with the socially marginalized drunkard, so much so that in the poem, "We – Bee and I –," she playfully affords the speaker a companion to drink with and a space to drink in that acts as substitution for a traditional saloon; namely, nature. In this, and other alcohol-related poems, nature operates as a space of seduction that affords the drunkard the opportunity, and right, to reconcile his volitional freedom, as a habitual drinker, with the inexorable attraction of alcohol.
{"title":"\"We – Bee and I – live by the quaffing –\": Seduction and Volitional Freedom in Emily Dickinson's Alcohol Poems","authors":"Helen Koukoutsis","doi":"10.1353/EDJ.2018.0004","DOIUrl":"https://doi.org/10.1353/EDJ.2018.0004","url":null,"abstract":"Abstracts:Emily Dickinson's \"We – Bee and I – live by the quaffing\" (Fr244) is an alcohol poem that tells a humorous, but paradoxical tale of seduction and volition; it bears a resemblance to the nineteenth-century drunkard narratives that featured young men seduced by their peers to a life of drinking in saloons, inns, or bars. These narratives regularly appeared in the magazines and newspapers subscribed to by the Dickinson family, including Harper's Monthly, the Atlantic Monthly, and Scribner's Monthly, and, together with the drunkard reportages of the Springfield Republican, represented the drinker as someone who lost his rights to freedom when seduced by alcohol. Dickinson sympathizes with the socially marginalized drunkard, so much so that in the poem, \"We – Bee and I –,\" she playfully affords the speaker a companion to drink with and a space to drink in that acts as substitution for a traditional saloon; namely, nature. In this, and other alcohol-related poems, nature operates as a space of seduction that affords the drunkard the opportunity, and right, to reconcile his volitional freedom, as a habitual drinker, with the inexorable attraction of alcohol.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/EDJ.2018.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46062111","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}
Abstracts:This essay examines recent volumes by new American poets that center on Emily Dickinson. Emerging poets Patricia Lockwood, Paul Legault, Janet Holmes, and Rebecca Hazelton read Dickinson by rewriting her, and by doing so, offer themselves as alternate versions of Dickinson, the essay argues. The essay uses Jay Bolter and Richard Grusin's concept of remediation to analyze contemporary poetry centering on Dickinson, and makes the argument that Dickinson's poetry has never not been remediated. At once multiplying and erasing Dickinson in their remediations of her, the contemporary poets examined here exemplify an emerging American poetics in which Dickinson's influence is both more immediate and more distant.
{"title":"Unauthorized Editions: New American Poets Remediating Dickinson","authors":"L. Biederman","doi":"10.1353/EDJ.2018.0001","DOIUrl":"https://doi.org/10.1353/EDJ.2018.0001","url":null,"abstract":"Abstracts:This essay examines recent volumes by new American poets that center on Emily Dickinson. Emerging poets Patricia Lockwood, Paul Legault, Janet Holmes, and Rebecca Hazelton read Dickinson by rewriting her, and by doing so, offer themselves as alternate versions of Dickinson, the essay argues. The essay uses Jay Bolter and Richard Grusin's concept of remediation to analyze contemporary poetry centering on Dickinson, and makes the argument that Dickinson's poetry has never not been remediated. At once multiplying and erasing Dickinson in their remediations of her, the contemporary poets examined here exemplify an emerging American poetics in which Dickinson's influence is both more immediate and more distant.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/EDJ.2018.0001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45070818","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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