Abstract:Marianne Moore was largely silent about Dickinson, especially in her poems, where there are as yet no documented quotations or allusions. But we know that Moore read Dickinson, first in her senior year of college and more extensively by the early 1930s, and that she came to admire Dickinson’s work. “A Jellyfish,” one of Moore’s earliest published poems, contains parallels to Dickinson that are—initially—most likely unintentional, but they are parallels that Moore would have likely recognized years later. Considering “A Jellyfish” in light of Moore’s decision to revise and reprint the poem in her final collections, I suggest that this late inclusion—a marked exception to Moore’s famous omissions—functions as a tacit, retrospective acknowledgement of what she and Dickinson have in common and exposes Moore’s interest in and ambivalence about disappearance, as related both to her own career and reputation and to affective experiences of loss and disappointment. “A Jellyfish,” thus, also exemplifies how the complex work of allusion is not always bound by intentionality.
{"title":"“Visible, invisible”: Dickinson and Disappearance in Marianne Moore’s “A Jellyfish”","authors":"Calista Mcrae","doi":"10.1353/edj.2021.0008","DOIUrl":"https://doi.org/10.1353/edj.2021.0008","url":null,"abstract":"Abstract:Marianne Moore was largely silent about Dickinson, especially in her poems, where there are as yet no documented quotations or allusions. But we know that Moore read Dickinson, first in her senior year of college and more extensively by the early 1930s, and that she came to admire Dickinson’s work. “A Jellyfish,” one of Moore’s earliest published poems, contains parallels to Dickinson that are—initially—most likely unintentional, but they are parallels that Moore would have likely recognized years later. Considering “A Jellyfish” in light of Moore’s decision to revise and reprint the poem in her final collections, I suggest that this late inclusion—a marked exception to Moore’s famous omissions—functions as a tacit, retrospective acknowledgement of what she and Dickinson have in common and exposes Moore’s interest in and ambivalence about disappearance, as related both to her own career and reputation and to affective experiences of loss and disappointment. “A Jellyfish,” thus, also exemplifies how the complex work of allusion is not always bound by intentionality.","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":"47368809","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:Emily Dickinson’s “To pile like Thunder” is a complex and puzzling poem that has received detailed commentary from both literary critics and linguists. In this article, we briefly examine how the poem’s prosodic elements of structure and sound relate to, and iconically simulate, its theme. In particular, we apply the principles of conceptual integration network theory, informally known as “blending,” to show how the blending model opens up the dynamic cognitive processes that underpin the poem’s metaphors. By revealing these processes, we are able to show how they build to a coherent account of a reader’s construal of what the poem does. Through this focus on the “how” and the “why” of a poem’s cognitive effects, our approach provides a robust and rigorous analysis that illuminates rather than controverts other interpretations. Our conclusion shows that Dickinson’s poem captures and enacts the consuming power of poetry and love as manifestations of divine force.
{"title":"“To pile like Thunder”: The Advantages of Reading Emily Dickinson’s Poetry from a Cognitive Perspective","authors":"Margaret H. Freeman, N. McLoughlin","doi":"10.1353/edj.2021.0001","DOIUrl":"https://doi.org/10.1353/edj.2021.0001","url":null,"abstract":"Abstract:Emily Dickinson’s “To pile like Thunder” is a complex and puzzling poem that has received detailed commentary from both literary critics and linguists. In this article, we briefly examine how the poem’s prosodic elements of structure and sound relate to, and iconically simulate, its theme. In particular, we apply the principles of conceptual integration network theory, informally known as “blending,” to show how the blending model opens up the dynamic cognitive processes that underpin the poem’s metaphors. By revealing these processes, we are able to show how they build to a coherent account of a reader’s construal of what the poem does. Through this focus on the “how” and the “why” of a poem’s cognitive effects, our approach provides a robust and rigorous analysis that illuminates rather than controverts other interpretations. Our conclusion shows that Dickinson’s poem captures and enacts the consuming power of poetry and love as manifestations of divine force.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/edj.2021.0001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45137387","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 previews the forthcoming new edition of Emily Dickinson’s letters. It summarizes the ways that the 1958 Johnson and Ward volume is out of date with regard to extant manuscripts, current Dickinson scholarship, and twenty-first century editorial methods; the major changes in inclusion of documents, conception, redating, and revision of letter and prose presentation; and one new discovery from working with the manuscripts that the editors find particularly exciting.
{"title":"Emily Dickinson’s Letters: A Preview","authors":"Cristanne Miller","doi":"10.1353/edj.2021.0002","DOIUrl":"https://doi.org/10.1353/edj.2021.0002","url":null,"abstract":"Abstract:This essay previews the forthcoming new edition of Emily Dickinson’s letters. It summarizes the ways that the 1958 Johnson and Ward volume is out of date with regard to extant manuscripts, current Dickinson scholarship, and twenty-first century editorial methods; the major changes in inclusion of documents, conception, redating, and revision of letter and prose presentation; and one new discovery from working with the manuscripts that the editors find particularly exciting.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/edj.2021.0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44780416","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:Addressed to readers in and of the Anthropocene and composed in the wake of the archival and nonhuman turns, this essay considers how to make a “book” of Dickinson’s birds that will not turn into an exhibit or “specimen case” but will instead become a miscellany and a murmuration. Part I introduces Dickinson’s Birds (dickinsonsbirds.org), an ongoing experiment in sonic curation that imagines her bird-poems as both embodiments of ecological change and as lyric “strange strangers” while proposing Dickinson’s archive itself as an entropic space: a “flickering, shimmering field of forces without independent existence and in constant flux.” Part II traces the waxing and waning of Dickinson’s bird-poems in three textual and temporal zones—fascicles, bifolium sheets, late fragments—first taking the measure of each zone as a singular and vital soundscape, then gauging the distance between the dawn- and dusk-songs in Dickinson’s work.
{"title":"Sparrow Data: Dickinson’s Birds in the Skies of the Anthropocene","authors":"M. Werner","doi":"10.1353/edj.2021.0003","DOIUrl":"https://doi.org/10.1353/edj.2021.0003","url":null,"abstract":"Abstract:Addressed to readers in and of the Anthropocene and composed in the wake of the archival and nonhuman turns, this essay considers how to make a “book” of Dickinson’s birds that will not turn into an exhibit or “specimen case” but will instead become a miscellany and a murmuration. Part I introduces Dickinson’s Birds (dickinsonsbirds.org), an ongoing experiment in sonic curation that imagines her bird-poems as both embodiments of ecological change and as lyric “strange strangers” while proposing Dickinson’s archive itself as an entropic space: a “flickering, shimmering field of forces without independent existence and in constant flux.” Part II traces the waxing and waning of Dickinson’s bird-poems in three textual and temporal zones—fascicles, bifolium sheets, late fragments—first taking the measure of each zone as a singular and vital soundscape, then gauging the distance between the dawn- and dusk-songs in Dickinson’s work.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46391022","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 New Emily Dickinson Studies ed. by Michelle Kohler (review)","authors":"Renée L. Bergland","doi":"10.1353/edj.2021.0006","DOIUrl":"https://doi.org/10.1353/edj.2021.0006","url":null,"abstract":"","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/edj.2021.0006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47222898","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 article investigates a small yet highly significant group of poems relying on references to the Eucharist within a wider cluster constructed around the use of the lexicon of nutrition. Through a reading that combines the analysis of formal aspects of the poems with a close examination of the cultural context in which they were written, the article shows how Dickinson consistently connects the scrutiny of Christian, and more specifically Calvinistic, doctrine to a meditation on the natural world. A first section, entitled "I do not respect doctrines," explores poems referring to a liturgy of Communion celebrated in the natural world as opposed to that observed in the church, a theme that, despite reflecting a notion of the intrinsic spirituality of nature shared with the transcendentalist movement, hinges in Dickinson on the thorny question of the election and exclusion from salvation. This issue is explored in more markedly doctrinal terms in the second section, titled "Besides the Autumn poets sing," which analyses poems revolving around the spiritual significance of the changing seasons.
{"title":"'\"Sacred Emblems to Partake'\": Nature and Eucharist in Emily Dickinson's Poetry","authors":"Gianna Fusco","doi":"10.1353/EDJ.2020.0014","DOIUrl":"https://doi.org/10.1353/EDJ.2020.0014","url":null,"abstract":"Abstract:This article investigates a small yet highly significant group of poems relying on references to the Eucharist within a wider cluster constructed around the use of the lexicon of nutrition. Through a reading that combines the analysis of formal aspects of the poems with a close examination of the cultural context in which they were written, the article shows how Dickinson consistently connects the scrutiny of Christian, and more specifically Calvinistic, doctrine to a meditation on the natural world. A first section, entitled \"I do not respect doctrines,\" explores poems referring to a liturgy of Communion celebrated in the natural world as opposed to that observed in the church, a theme that, despite reflecting a notion of the intrinsic spirituality of nature shared with the transcendentalist movement, hinges in Dickinson on the thorny question of the election and exclusion from salvation. This issue is explored in more markedly doctrinal terms in the second section, titled \"Besides the Autumn poets sing,\" which analyses poems revolving around the spiritual significance of the changing seasons.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/EDJ.2020.0014","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45726867","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 Early Poetry of Emily Dickinson: Fascicles 9 & 10 by Nicolás Estévez Fuertes, Francisca González Arias and Paul S. Derrick (review)","authors":"N. Fuertes, F. Arias, P. S. Derrick","doi":"10.1353/EDJ.2020.0010","DOIUrl":"https://doi.org/10.1353/EDJ.2020.0010","url":null,"abstract":"","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/EDJ.2020.0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42019639","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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