{"title":"“Whatever it is—she has tried it”:","authors":"","doi":"10.2307/j.ctv16f6jdv.9","DOIUrl":"https://doi.org/10.2307/j.ctv16f6jdv.9","url":null,"abstract":"","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87123893","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 paper explores decomposing matter in Emily Dickinson’s poetry, embracing the ofttimes indistinguishable relations between anthropogenesis and what I refer to as necrogenesis (or a process of becoming whose preconditions are death, disassembly or deterioration). Reading images of vital decay -- specifically mold, oil and coal -- as they appear both within the poems and upon the material conditions of her craft, I situate Dickinson within a nation-wide energy transition from biopolitical harvestings of life (lumber) to the extraction and re-genesis of accumulated, stratigraphically composted death (fossil fuels). Ultimately, I hope to draw out a Dickinson with whom, in the words of Jed Deppman, we can “try to think” in our own geological epoch, when human activity has rendered irreversible impacts on global climate and conditions for planetary life, and we are forced to consider, however uncomfortably, the myriad life that might thrive as result of our own ontological exhaustion.
{"title":"“The Mold-life”: Dickinson’s Poetics of Decay","authors":"Ryan Heryford","doi":"10.1353/edj.2020.0005","DOIUrl":"https://doi.org/10.1353/edj.2020.0005","url":null,"abstract":"Abstract:This paper explores decomposing matter in Emily Dickinson’s poetry, embracing the ofttimes indistinguishable relations between anthropogenesis and what I refer to as necrogenesis (or a process of becoming whose preconditions are death, disassembly or deterioration). Reading images of vital decay -- specifically mold, oil and coal -- as they appear both within the poems and upon the material conditions of her craft, I situate Dickinson within a nation-wide energy transition from biopolitical harvestings of life (lumber) to the extraction and re-genesis of accumulated, stratigraphically composted death (fossil fuels). Ultimately, I hope to draw out a Dickinson with whom, in the words of Jed Deppman, we can “try to think” in our own geological epoch, when human activity has rendered irreversible impacts on global climate and conditions for planetary life, and we are forced to consider, however uncomfortably, the myriad life that might thrive as result of our own ontological exhaustion.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/edj.2020.0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47497653","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":"“Theatricals of Day”: Emily Dickinson and Nineteenth-Century Popular Culture by Sandra Runzo (review)","authors":"George Boziwick","doi":"10.1353/edj.2020.0000","DOIUrl":"https://doi.org/10.1353/edj.2020.0000","url":null,"abstract":"","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/edj.2020.0000","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43994284","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:Nerves are what Emily Dickinson wrote about, on, with: reading Dickinson starts with Nerve, and her poems and their acute distillation speak to this element of exposure, energy raw but controlled. But what does Nerve mean in Dickinson’s poetry? Some of Dickinson’s most canonical poems present her treatment of the word: “The Nerves sit ceremonious, like Tombs –” (Fr372, “After great pain, a formal feeling comes ”) and “Or would they go on aching still / Through Centuries of Nerve –” (Fr550, “I measure every Grief I meet”). With just these two poems we are given Dickinson’s complicated abstract entity that influences action. But what do we do with this incredible (and perhaps incredulous) command: “If your Nerve, deny you — / Go above your Nerve —” (Fr329)? Within the poem, Nerve becomes a parallel term for Soul, and the speaker commands the “you” figure to rend him or herself from a channel of living, become something not really of body or of spirit. I trace the term through Dickinson’s work to see how “nerve” is associated with pain, endurance, and this odd positioning (physical and temporal) of the self to action.
{"title":"The Nerve Force of Emily Dickinson","authors":"Cat Mahoney","doi":"10.1353/edj.2020.0004","DOIUrl":"https://doi.org/10.1353/edj.2020.0004","url":null,"abstract":"Abstract:Nerves are what Emily Dickinson wrote about, on, with: reading Dickinson starts with Nerve, and her poems and their acute distillation speak to this element of exposure, energy raw but controlled. But what does Nerve mean in Dickinson’s poetry? Some of Dickinson’s most canonical poems present her treatment of the word: “The Nerves sit ceremonious, like Tombs –” (Fr372, “After great pain, a formal feeling comes ”) and “Or would they go on aching still / Through Centuries of Nerve –” (Fr550, “I measure every Grief I meet”). With just these two poems we are given Dickinson’s complicated abstract entity that influences action. But what do we do with this incredible (and perhaps incredulous) command: “If your Nerve, deny you — / Go above your Nerve —” (Fr329)? Within the poem, Nerve becomes a parallel term for Soul, and the speaker commands the “you” figure to rend him or herself from a channel of living, become something not really of body or of spirit. I trace the term through Dickinson’s work to see how “nerve” is associated with pain, endurance, and this odd positioning (physical and temporal) of the self to action.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/edj.2020.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44170791","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 proposes that a defining feature of Dickinson's poetics is its non-teleological use of language. The primary semantic unit of her writing is the word or phrase rather than the sentence or stanza. Dickinson foregrounds the building blocks of her poems rather than any larger overarching structure they might be thought to be in the service of. She favors a hands-off, non-teleological presentation of language, because to impose a telos on the words of a poem would interfere with the hoped-for emergence of a mysterious, innate meaningfulness in the words. The "circumference" or curvature of Dickinson's language, its refusal to travel in a straight line from subject to statement, gives it a body and presence of its own; a quality at once of perpetual "Motion" and of irreducible "Distance" or strangeness. Dickinson did not invent this non-teleological dimension of literature, but she explored it with unprecedented consistency and self-awareness. The first half of the article finds in the poem beginning "A narrow Fellow in the Grass" (Fr1096) a prime example of Dickinson's non-teleological poetics. It is a poem in which study of the word seems to be an end in itself, whereas discoveries about the poem's meaning that such research yields are apparently a means to that end. In the article's second half I offer readings of three Dickinson lyrics—"Conscious am I in my Chamber" (Fr773), "Bloom opon the Mountain-stated-" (Fr787), and "At Half past Three, a single Bird" (Fr1099)—that locate meaning in meaning's distance, and make of meaning's withdrawal an event. Through these last three readings in particular I try to show that the term "non-teleological" is as applicable to Dickinson's thinking about nature as it is to her language use.
{"title":"\"Distance-be Her only Motion-\": Dickinson's Non-Teleological Poetics","authors":"Daniel Nelson","doi":"10.1353/edj.2019.0007","DOIUrl":"https://doi.org/10.1353/edj.2019.0007","url":null,"abstract":"Abstract:This article proposes that a defining feature of Dickinson's poetics is its non-teleological use of language. The primary semantic unit of her writing is the word or phrase rather than the sentence or stanza. Dickinson foregrounds the building blocks of her poems rather than any larger overarching structure they might be thought to be in the service of. She favors a hands-off, non-teleological presentation of language, because to impose a telos on the words of a poem would interfere with the hoped-for emergence of a mysterious, innate meaningfulness in the words. The \"circumference\" or curvature of Dickinson's language, its refusal to travel in a straight line from subject to statement, gives it a body and presence of its own; a quality at once of perpetual \"Motion\" and of irreducible \"Distance\" or strangeness. Dickinson did not invent this non-teleological dimension of literature, but she explored it with unprecedented consistency and self-awareness. The first half of the article finds in the poem beginning \"A narrow Fellow in the Grass\" (Fr1096) a prime example of Dickinson's non-teleological poetics. It is a poem in which study of the word seems to be an end in itself, whereas discoveries about the poem's meaning that such research yields are apparently a means to that end. In the article's second half I offer readings of three Dickinson lyrics—\"Conscious am I in my Chamber\" (Fr773), \"Bloom opon the Mountain-stated-\" (Fr787), and \"At Half past Three, a single Bird\" (Fr1099)—that locate meaning in meaning's distance, and make of meaning's withdrawal an event. Through these last three readings in particular I try to show that the term \"non-teleological\" is as applicable to Dickinson's thinking about nature as it is to her language use.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/edj.2019.0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46510224","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:Carlton Lowenberg's Musicians Wrestle Everywhere lists "Have You Got a Brook in Your Little Heart?" (1896) as the earliest musical adaptation of Dickinson's poetry. Yet the song's composer, Etta Parker, was performing it two years earlier. Also in 1894, a well-known German-British composer, Jacques Blumenthal, issued two Dickinson settings in a long-forgotten collection titled Two Books of Song. Lowenberg's main focus was on modernist and later musical settings, and little has been written about early adaptations. How Parker and Blumenthal came to set these works to music is unknown, and Parker's obscurity during her lifetime makes even biographical information difficult to verify. The speed with which these two distant and disparate composers took up Dickinson's work offers the opportunity to reconsider her "musicality." Gaps in the material record also prompt consideration of what gets recorded and discarded, and whose voices are heard, when we listen back to the past.
摘要:卡尔顿·洛温伯格的《音乐家摔跤无处不在》列举了“你的小心里有一条小溪吗?”(1896)作为最早的音乐改编的狄金森的诗歌。然而，这首歌的作曲家埃塔·帕克(Etta Parker)在两年前就演唱了这首歌。同样是在1894年，一位著名的德裔英国作曲家雅克·布卢门撒尔(Jacques Blumenthal)在一本被遗忘已久的合集《两曲》(two Books of Song)中发表了狄金森的两首曲子。洛温伯格主要关注现代主义和后来的音乐背景，很少有关于早期改编的文章。帕克和布卢门撒尔是如何将这些作品改编成音乐的不得而知，帕克生前默默无闻，甚至连她的传记信息也难以考证。这两位相距遥远、迥然不同的作曲家对狄金森作品的迅速接纳，让我们有机会重新思考她的“音乐性”。物质记录中的空白也促使我们思考，当我们回顾过去时，哪些东西被记录下来，哪些东西被丢弃，哪些人的声音被听到。
{"title":"\"Invisible, as Music –\": What the Earliest Musical Settings of Emily Dickinson's Poems, Including Two Previously Unknown, Tell Us about Dickinson's Musicality","authors":"Gerard Holmes","doi":"10.1353/edj.2019.0005","DOIUrl":"https://doi.org/10.1353/edj.2019.0005","url":null,"abstract":"Abstract:Carlton Lowenberg's Musicians Wrestle Everywhere lists \"Have You Got a Brook in Your Little Heart?\" (1896) as the earliest musical adaptation of Dickinson's poetry. Yet the song's composer, Etta Parker, was performing it two years earlier. Also in 1894, a well-known German-British composer, Jacques Blumenthal, issued two Dickinson settings in a long-forgotten collection titled Two Books of Song. Lowenberg's main focus was on modernist and later musical settings, and little has been written about early adaptations. How Parker and Blumenthal came to set these works to music is unknown, and Parker's obscurity during her lifetime makes even biographical information difficult to verify. The speed with which these two distant and disparate composers took up Dickinson's work offers the opportunity to reconsider her \"musicality.\" Gaps in the material record also prompt consideration of what gets recorded and discarded, and whose voices are heard, when we listen back to the past.","PeriodicalId":41721,"journal":{"name":"Emily Dickinson Journal","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/edj.2019.0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48549328","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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