Abstract:This article centers Emily Dickinson’s imaginative and, at times, playful writing style—her word-making—to make legible her sapphic world-making in letters and poems to and about Susan Huntington Gilbert Dickinson. Through this wor(l) d-making, Dickinson taps into new modes of occupying time, creating a polyvalent present tense that holds in tension the grief of losing Susan to marriage and the ecstasy of reading and writing about pleasurable memories and anticipated reunions. Out of this tension emerge possibilities for a present experienced otherwise, lived aslant from both the past-oriented time of remembrance and mourning and the future-oriented time of the nation and its chronobiopolitical rhythms—both of which threaten to foreclose the continuation of Dickinson’s intimacies with Susan. Contemporary readers and critics have also found in the creative relationship to time that Dickinson cultivates through her sapphic wor(l) d-making the opportunity to reach across the centuries, immerse themselves in her writing, and momentarily slip into a different temporal order.
{"title":"“Oh Sumptuous moment / Slower go”: Emily Dickinson’s Sapphic Wor(l)d-Making","authors":"Emily Coccia","doi":"10.1353/edj.2022.0008","DOIUrl":"https://doi.org/10.1353/edj.2022.0008","url":null,"abstract":"Abstract:This article centers Emily Dickinson’s imaginative and, at times, playful writing style—her word-making—to make legible her sapphic world-making in letters and poems to and about Susan Huntington Gilbert Dickinson. Through this wor(l) d-making, Dickinson taps into new modes of occupying time, creating a polyvalent present tense that holds in tension the grief of losing Susan to marriage and the ecstasy of reading and writing about pleasurable memories and anticipated reunions. Out of this tension emerge possibilities for a present experienced otherwise, lived aslant from both the past-oriented time of remembrance and mourning and the future-oriented time of the nation and its chronobiopolitical rhythms—both of which threaten to foreclose the continuation of Dickinson’s intimacies with Susan. Contemporary readers and critics have also found in the creative relationship to time that Dickinson cultivates through her sapphic wor(l) d-making the opportunity to reach across the centuries, immerse themselves in her writing, and momentarily slip into a different temporal order.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66296316","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":"The Poetry of Emily Dickinson: Philosophical Perspectives ed. by Elisabeth Camp (review)","authors":"G. L. Stonum","doi":"10.1353/edj.2022.0005","DOIUrl":"https://doi.org/10.1353/edj.2022.0005","url":null,"abstract":"","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45889528","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":"Contingent Figure: Chronic Pain and Queer Embodiment by Michael D. Snediker (review)","authors":"Clare Mullaney","doi":"10.1353/edj.2022.0004","DOIUrl":"https://doi.org/10.1353/edj.2022.0004","url":null,"abstract":"","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66296307","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:Drawing on recent scholarship that identifies continuities between past and present celebrity cultures, this essay provides a new way of interconnecting Dickinson's complex response to nineteenth-century celebrity and her twenty-firstcentury celebrity status. It argues that examining Dickinson's appropriation of her era's celebrity discourse to create her defiant authorial identity helps illuminate aspects of her representation in recent biopics that foreground her queer iconicity. Dickinson and Thomas Wentworth Higginson's correspondence reveals her fascination with celebrity and exemplifies the ways in which in her lifetime she constructed her notability among a coterie of admirers by defying expectations determining public success and failure and conventions separating public and private figures. Originally outside the public view, Dickinson's defiance as a poet and person has subsequently become a signature aspect of her posthumous reputation, with recent films such as A Quiet Passion (2016) and Wild Nights with Emily (2018) and the Apple TV+ series Dickinson (2019-2021) developing the insights of biographical and critical studies that emphasize her gender and sexual non-conformity. These visual works highlight a rebellious Dickinson's availability to endorse queer lives and experiences and her growing status as an LGBTQ+ icon. Viewed in the context of Dickinson's negotiations with nineteenth-century celebrity culture, these works can also be said to grapple with her queer celebrity: her position as an anomalous figure whose twenty-first-century popularity stems from her shunning of nineteenth-century mass-media attention and her disordering, or queering, in her writings of its distinctions between publicity and privacy to curate her circumscribed renown.
{"title":"\"You'll be the only Dickinson they talk about in two hundred years\": Queer Celebrity, Thomas Wentworth Higginson, A Quiet Passion, Wild Nights with Emily, and Apple TV+'s Dickinson","authors":"Páraic Finnerty","doi":"10.1353/edj.2022.0000","DOIUrl":"https://doi.org/10.1353/edj.2022.0000","url":null,"abstract":"Abstract:Drawing on recent scholarship that identifies continuities between past and present celebrity cultures, this essay provides a new way of interconnecting Dickinson's complex response to nineteenth-century celebrity and her twenty-firstcentury celebrity status. It argues that examining Dickinson's appropriation of her era's celebrity discourse to create her defiant authorial identity helps illuminate aspects of her representation in recent biopics that foreground her queer iconicity. Dickinson and Thomas Wentworth Higginson's correspondence reveals her fascination with celebrity and exemplifies the ways in which in her lifetime she constructed her notability among a coterie of admirers by defying expectations determining public success and failure and conventions separating public and private figures. Originally outside the public view, Dickinson's defiance as a poet and person has subsequently become a signature aspect of her posthumous reputation, with recent films such as A Quiet Passion (2016) and Wild Nights with Emily (2018) and the Apple TV+ series Dickinson (2019-2021) developing the insights of biographical and critical studies that emphasize her gender and sexual non-conformity. These visual works highlight a rebellious Dickinson's availability to endorse queer lives and experiences and her growing status as an LGBTQ+ icon. Viewed in the context of Dickinson's negotiations with nineteenth-century celebrity culture, these works can also be said to grapple with her queer celebrity: her position as an anomalous figure whose twenty-first-century popularity stems from her shunning of nineteenth-century mass-media attention and her disordering, or queering, in her writings of its distinctions between publicity and privacy to curate her circumscribed renown.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45857196","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:Between 1965 and 2020, the literary work of Emily Dickinson was in the spotlight of fifteen translators in Poland. Among them, there are thirteen poets. Between 2015 and 2020, three new volumes of translations appeared. In this article, we analyze the problems Emily Dickinson's poetry presents translators at the phonic, lexical, syntactic, metaphorical, and punctuation levels. We thoroughly research translations by Stanisław Barańczak, Ludmiła Marjańska, Maciej Maleńczuk and Kazimierz Żarski. They deserve attention because they reveal new possibilities of approaching the issue of poetic translation. In Barańczak and Marjańska, we see a model of fidelity to the original. Maleńczuk, a poet and rock guitarist, combines words with music, transforming Dickinson's poems into songs. Żarski enters into a dialogue with Dickinson in his poems, creating expressive conversations in which the contemporary poet reconsiders the problems raised by Dickinson. Thanks to the above-mentioned translations, Polish literature is enriched and, at the same time, the popularity of American literature in Europe is strengthened.
摘要:1965年至2020年间，埃米莉·狄金森的文学作品受到波兰15位译者的关注。其中有13位诗人。2015年至2020年间，出现了三本新的译本。本文从语音、词汇、句法、隐喻和标点等方面分析了艾米莉·狄金森诗歌翻译中存在的问题。我们深入研究了Stanisław Barańczak, Ludmiła Marjańska, Maciej Maleńczuk和Kazimierz Żarski的翻译。它们为解决诗歌翻译问题提供了新的可能性，值得关注。在Barańczak和Marjańska中，我们看到了一个忠实于原作的模型。诗人兼摇滚吉他手Maleńczuk将文字与音乐结合在一起，将狄金森的诗变成了歌曲。Żarski在他的诗歌中与狄金森进行了对话，创造了富有表现力的对话，当代诗人在对话中重新思考了狄金森提出的问题。由于上述翻译，波兰文学得到了丰富，同时也加强了美国文学在欧洲的普及。
{"title":"Polish Translations of Emily Dickinson's Poetry (1965–2020)","authors":"Małgorzata Krzysztofik, A. Wzorek","doi":"10.1353/edj.2022.0001","DOIUrl":"https://doi.org/10.1353/edj.2022.0001","url":null,"abstract":"Abstract:Between 1965 and 2020, the literary work of Emily Dickinson was in the spotlight of fifteen translators in Poland. Among them, there are thirteen poets. Between 2015 and 2020, three new volumes of translations appeared. In this article, we analyze the problems Emily Dickinson's poetry presents translators at the phonic, lexical, syntactic, metaphorical, and punctuation levels. We thoroughly research translations by Stanisław Barańczak, Ludmiła Marjańska, Maciej Maleńczuk and Kazimierz Żarski. They deserve attention because they reveal new possibilities of approaching the issue of poetic translation. In Barańczak and Marjańska, we see a model of fidelity to the original. Maleńczuk, a poet and rock guitarist, combines words with music, transforming Dickinson's poems into songs. Żarski enters into a dialogue with Dickinson in his poems, creating expressive conversations in which the contemporary poet reconsiders the problems raised by Dickinson. Thanks to the above-mentioned translations, Polish literature is enriched and, at the same time, the popularity of American literature in Europe is strengthened.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66296266","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:Like a number of nineteenth-century thinkers including Nietzsche, Emerson, and Whitman, Emily Dickinson challenges the metaphysical map that had charted thought in religion and philosophy along analogical paths since Plato. With far more anxiety than her contemporaries, she challenges the rule of analogy as what grounds, aligns, and configures experience, with radical implications for poetics, for metaphysics, and for the risks of post-metaphysical meaning. Dickinson's work balances on the edge of analogy, at a break in its idealization and its reign of/as intelligibility. Her resistance to analogy threatens incoherence but also points to new senses in which the rupture of likeness within unity is affirmative. In the twentieth century, Emmanuel Levinas explores the possibility of such a positive post-metaphysics, theorizing a mode for valuing multiplicity rather than unity in both the world and art. His challenge to totality points not to a destructive collapse of coherence but to another kind of making-sense of experience, both in conduct and interpretation. Does Dickinson also? Do her moments of disorientation also open to reorientation? Sometimes. Dickinson's verses are terse and lapidary, and closer analysis shows them to be self-interruptive, full of cracks and breaks that rupture what at first seem declarations or definitions or iconic representations of states or observations. Yet these interruptions can be positive ventures, where the limitations of analogy are exposed, and its ruptures experienced not only negatively but also positively, in ways that are clarified in Levinasian terms.
{"title":"Emily Dickinson at the Edge of Analogy: Levinasian Enigma","authors":"Shira Wolosky","doi":"10.1353/edj.2022.0002","DOIUrl":"https://doi.org/10.1353/edj.2022.0002","url":null,"abstract":"Abstract:Like a number of nineteenth-century thinkers including Nietzsche, Emerson, and Whitman, Emily Dickinson challenges the metaphysical map that had charted thought in religion and philosophy along analogical paths since Plato. With far more anxiety than her contemporaries, she challenges the rule of analogy as what grounds, aligns, and configures experience, with radical implications for poetics, for metaphysics, and for the risks of post-metaphysical meaning. Dickinson's work balances on the edge of analogy, at a break in its idealization and its reign of/as intelligibility. Her resistance to analogy threatens incoherence but also points to new senses in which the rupture of likeness within unity is affirmative. In the twentieth century, Emmanuel Levinas explores the possibility of such a positive post-metaphysics, theorizing a mode for valuing multiplicity rather than unity in both the world and art. His challenge to totality points not to a destructive collapse of coherence but to another kind of making-sense of experience, both in conduct and interpretation. Does Dickinson also? Do her moments of disorientation also open to reorientation? Sometimes. Dickinson's verses are terse and lapidary, and closer analysis shows them to be self-interruptive, full of cracks and breaks that rupture what at first seem declarations or definitions or iconic representations of states or observations. Yet these interruptions can be positive ventures, where the limitations of analogy are exposed, and its ruptures experienced not only negatively but also positively, in ways that are clarified in Levinasian terms.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47201690","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 argues that the language of Hamlet emboldened Dickinson to develop her prosodic music. The essay’s argument unfolds in three steps. The first step instances Dickinson’s prosodic music by reading the poem draft “When what they sung for is undone” (Fr1545A, M 630). This step finds Dickinson’s prosodic music arise in distinctive word arrangements that show three features: interlaced phonic echoes, the rhythms of short-lined verse where rhyme marks stanzas, and the motions of intonation. The essay’s second step interprets the evidence of Shakespeare’s influence in the one poem where Dickinson named not only Shakespeare, but also Hamlet, Romeo, and Juliet, “Drama’s Vitallest Expression is the Common Day” (Fr776, M 381). A new reading of this poem shows that Shakespeare inspired Dickinson to develop her lyric art. The essay’s third step pursues the copious evidence of Shakespeare’s influence elsewhere in Dickinson’s writing. This step explicates categories of reference to Shakespeare and to Hamlet, focuses on the songs on death in the play, and interleaves in its discussion of these songs the reading of two Dickinson poems on death, “All overgrown by cunning moss” (Fr146, M 86) and “Praise it - ’tis dead - ” (Fr1406, M 595). Prosodic and thematic ties relate the songs in Hamlet to these poems and show that Dickinson’s lyric art is more inventively resonant in her own distinctive arrangements of words.
{"title":"Dickinson’s Prosodic Music and the Songs on Death in Hamlet","authors":"J. Simons","doi":"10.1353/edj.2021.0009","DOIUrl":"https://doi.org/10.1353/edj.2021.0009","url":null,"abstract":"Abstract:This essay argues that the language of Hamlet emboldened Dickinson to develop her prosodic music. The essay’s argument unfolds in three steps. The first step instances Dickinson’s prosodic music by reading the poem draft “When what they sung for is undone” (Fr1545A, M 630). This step finds Dickinson’s prosodic music arise in distinctive word arrangements that show three features: interlaced phonic echoes, the rhythms of short-lined verse where rhyme marks stanzas, and the motions of intonation. The essay’s second step interprets the evidence of Shakespeare’s influence in the one poem where Dickinson named not only Shakespeare, but also Hamlet, Romeo, and Juliet, “Drama’s Vitallest Expression is the Common Day” (Fr776, M 381). A new reading of this poem shows that Shakespeare inspired Dickinson to develop her lyric art. The essay’s third step pursues the copious evidence of Shakespeare’s influence elsewhere in Dickinson’s writing. This step explicates categories of reference to Shakespeare and to Hamlet, focuses on the songs on death in the play, and interleaves in its discussion of these songs the reading of two Dickinson poems on death, “All overgrown by cunning moss” (Fr146, M 86) and “Praise it - ’tis dead - ” (Fr1406, M 595). Prosodic and thematic ties relate the songs in Hamlet to these poems and show that Dickinson’s lyric art is more inventively resonant in her own distinctive arrangements of words.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45611719","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":"Writing in Time: Emily Dickinson’s Master Hours by Marta Werner (review)","authors":"Alexandra Socarides","doi":"10.1353/edj.2021.0011","DOIUrl":"https://doi.org/10.1353/edj.2021.0011","url":null,"abstract":"","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46850530","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 examines a number of western landscapes in Dickinson’s works in relation to the westward expansionism and settler colonialism of her time. It rethinks how Dickinson’s poems of the western sublime speak to a consistent geo-poetic imagination about moving westward as a national cultural thought experiment and a social-economic necessity, vacillating between industrial advancement and pastoral idealism, between utilitarianism and symbolism. The intricate connection between these enmeshed perceptions of the American West is manifested in a number of western scenarios, such as the sunset, the gold rush, and the prairies. The various western (or westward-moving) topographies gesture towards an expansionist enthusiasm for the pragmatic (as well as symbolic) value of the American West, yet not without acknowledging predicament, tension, and fracture. In particular, by comparing one prairie poem by Dickinson with William Cullen Bryant’s 1833 poem “The Prairies,” a poem informed by colonialistexpansionist ideology, the essay reveals how Dickinson’s westward-looking poetic production speaks to the concerted and yet conflicted cultural efforts of her time to both represent and to reimagine, to utilize and to aestheticize, to preserve and yet also to sanitize American place identity by manufacturing her own poetic wilderness.
{"title":"“To make a prairie it takes a clover and one bee”: Dickinson’s Manufacturing of the Wild West","authors":"Li-hsin Hsu","doi":"10.1353/edj.2021.0007","DOIUrl":"https://doi.org/10.1353/edj.2021.0007","url":null,"abstract":"Abstract:This essay examines a number of western landscapes in Dickinson’s works in relation to the westward expansionism and settler colonialism of her time. It rethinks how Dickinson’s poems of the western sublime speak to a consistent geo-poetic imagination about moving westward as a national cultural thought experiment and a social-economic necessity, vacillating between industrial advancement and pastoral idealism, between utilitarianism and symbolism. The intricate connection between these enmeshed perceptions of the American West is manifested in a number of western scenarios, such as the sunset, the gold rush, and the prairies. The various western (or westward-moving) topographies gesture towards an expansionist enthusiasm for the pragmatic (as well as symbolic) value of the American West, yet not without acknowledging predicament, tension, and fracture. In particular, by comparing one prairie poem by Dickinson with William Cullen Bryant’s 1833 poem “The Prairies,” a poem informed by colonialistexpansionist ideology, the essay reveals how Dickinson’s westward-looking poetic production speaks to the concerted and yet conflicted cultural efforts of her time to both represent and to reimagine, to utilize and to aestheticize, to preserve and yet also to sanitize American place identity by manufacturing her own poetic wilderness.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47161538","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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