{"title":"Karbiener, Karen, ed. Poetry for Kids: Walt Whitman. Illustrated by Kate Evans [review]","authors":"K. Franklin","doi":"10.13008/0737-0679.2279","DOIUrl":"https://doi.org/10.13008/0737-0679.2279","url":null,"abstract":"","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":"35 1","pages":"206-209"},"PeriodicalIF":0.2,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44576247","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Following You: Second Person in Walt Whitman’s “As I Ebb’d with the Ocean of Life”","authors":"Marion K. Mcinnes","doi":"10.13008/0737-0679.2276","DOIUrl":"https://doi.org/10.13008/0737-0679.2276","url":null,"abstract":"","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":"35 1","pages":"153-173"},"PeriodicalIF":0.2,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46249668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
UNTIL NOW, the first substantial Spanish translation of Whitman was believed to be the 1912 Walt Whitman: Poemas, published in Valencia by the Uruguayan writer Armando Vasseur. But I have now discovered the publication of an earlier, fifteen-page Spanish translation of Whitman's poetry, including a full translation of his long poem "Salut au Monde." In addition to pushing back the date of print entry for Whitman's poems into Spanish, this discovery represents a very early point of print contact between Whitman and the inception of the Spanish- language vanguardias, or avant-gardes. Furthermore, both the text and the context of the translation help explain why the avant-gardes in Spain and Mexico tend to imagine Whitman in Futurist terms. Finally, the Prometeo translations reveal that even Whitman's ostensibly transamerican appropriations may occur through a transatlantic- and in fact a heavily global-network of circulation.These newly-discovered poems appear in a mostly-prose translation at the beginning of 1912 in the Spanish literary and cultural journal Prometeo.1 Since it was the first of eleven issues published in 1912 (Prometeo was basically a monthly periodical), we can assume this translation predates or is at most simultaneous with Walt Whitman: Poemas, since Vasseur dates his preface as February, 1912, suggesting an even later publication date for his book-length translation.2 Either way, we can see this earlier translation as independent from Vasseur's textual influence. But more importantly, the Prometeo publication marks or colors Whitman's reception in a particular way, by locating the American poet within an increasingly avant-garde context.First published in 1908 with a modernista3 bent, the journal Prometeo was not always linked with the avant-garde;4 but in 1909, the journal made a radical endorsement of the new aesthetics of Italian Futurism, one of the originators of the global avant-gardes. When the Italian movement's founder, Filippo Tommaso Marinetti, published his bombastic "The Founding and Manifesto of Futurism," Prometeo's editor, Ramon Gomez de la Serna, published his own translation of the avant-garde text, alongside a piece celebrating Marinetti-making Prometeo the first Spanish periodical to bring Italian Futurism to Spain. Marinetti's performative text, a hybrid of prose narrative and manifesto, proclaimed the inauguration of a new era, as it celebrated rebellion, violence, the power and aesthetics of machines, and the vitality of industry.5 Then, in 1910, at Gomez de la Serna's personal request, Marinetti even wrote a Futurist address directly to Spain, "Proclama Futurista a los Espanoles," again translated by Gomez de la Serna, and for exclusive publication in Prometeo. In it, Marinetti railed against what he perceived as the lassitude of Spanish culture, and called for a revitalization of Spain through radical social change and the development of industry. We see Futurism taking hold in Spain: Gomez de la Serna
直到现在，第一部完整的西班牙语译本被认为是1912年的《沃尔特·惠特曼:诗歌》，由乌拉圭作家阿曼多·瓦瑟尔在瓦伦西亚出版。但我现在发现了一本早前出版的15页的惠特曼诗歌西班牙语译本，其中包括他的长诗《向世界致敬》的完整译本。除了将惠特曼诗歌的印刷版进入西班牙语的日期往后推，这个发现代表了惠特曼与西班牙语先锋派或先锋派的早期印刷版接触。此外，文本和翻译的上下文都有助于解释为什么西班牙和墨西哥的先锋派倾向于用未来主义的术语来想象惠特曼。最后，Prometeo的翻译表明，即使惠特曼表面上是跨美洲的挪用，也可能是通过跨大西洋的流通网络发生的——实际上是一个严重的全球流通网络。这些新发现的诗歌出现在1912年初西班牙文学和文化杂志《普罗米特奥》(Prometeo)上的一篇散文译本中，因为这是1912年出版的11期中的第一期(普罗米特奥基本上是一份月刊)，我们可以假设这个译本早于沃尔特·惠特曼，或者最多是与他同时出版的:《诗》，因为瓦瑟尔把他的序言写在1912年2月，这表明他的整本书译本的出版日期甚至更晚不管怎样，我们都可以看到这个早期的翻译是独立于瓦瑟尔的文本影响的。但更重要的是，《普罗米特奥》的出版以一种特殊的方式标志或影响了人们对惠特曼的接受，将这位美国诗人置于一个日益前卫的语境中。《Prometeo》杂志于1908年首次出版，带有现代主义倾向，并不总是与前卫联系在一起;但在1909年，该杂志对意大利未来主义的新美学进行了激进的支持，意大利未来主义是全球前卫艺术的鼻祖之一。当意大利未来主义运动的创始人菲利普·托马索·马里内蒂(Filippo Tommaso Marinetti)发表了他那夸夸其谈的《未来主义的创立与宣言》(the Founding and Manifesto of Futurism)时，《普罗米特奥》的编辑拉蒙·戈麦斯·德拉·塞尔纳(Ramon Gomez de la Serna)也发表了他自己对先锋文本的翻译，并发表了一篇庆祝马里内蒂的文章——这使得《普罗米特奥》成为第一本将意大利未来主义引入西班牙的西班牙期刊。马里内蒂的表演文本是散文叙事和宣言的混合体，宣告了一个新时代的开始，因为它颂扬了反叛、暴力、机器的力量和美学，以及工业的活力然后，在1910年，应戈麦斯·德拉塞尔纳的个人要求，马里内蒂甚至直接向西班牙写了一篇未来主义者的演讲，“Proclama Futurista a los Espanoles”，再次由戈麦斯·德拉塞尔纳翻译，并在普罗米特奥独家发表。在书中，马里内蒂痛斥了他所认为的西班牙文化的萎靡不振，并呼吁通过激进的社会变革和工业发展来振兴西班牙。我们看到未来主义在西班牙扎根:戈麦斯·德·拉·塞尔纳在他自己的“宣言”的热情序言中引导马里内蒂的语言:……交叉，火花，呼气，文本像无线电报或更微妙的东西飞过海洋和山脉!朝北飞，朝南飞，朝东飞，朝西飞!对高度、扩张和速度的强烈渴望!健康的机场景观和超大的跑道!它是西班牙先锋派的早期语言——全球化、技术工业化，专注于速度和力量的美学。未来主义在西班牙的传播产生了深远的影响，影响了拉斐尔·卡西诺斯·阿森斯(他自己后来在普罗梅特奥的页面上发表诗歌)，创立了西班牙第一个前卫运动，超主义。卡西诺斯·阿森斯将继续推广重要的智利前卫艺术家维森特·韦多布罗的作品，而他自己的运动队伍中也包括了年轻的阿根廷人豪尔赫·路易斯·博尔赫斯。…
{"title":"A Translation of Whitman Discovered in the 1912 Spanish Periodical Prometeo","authors":"K. Franklin","doi":"10.13008/0737-0679.2267","DOIUrl":"https://doi.org/10.13008/0737-0679.2267","url":null,"abstract":"UNTIL NOW, the first substantial Spanish translation of Whitman was believed to be the 1912 Walt Whitman: Poemas, published in Valencia by the Uruguayan writer Armando Vasseur. But I have now discovered the publication of an earlier, fifteen-page Spanish translation of Whitman's poetry, including a full translation of his long poem \"Salut au Monde.\" In addition to pushing back the date of print entry for Whitman's poems into Spanish, this discovery represents a very early point of print contact between Whitman and the inception of the Spanish- language vanguardias, or avant-gardes. Furthermore, both the text and the context of the translation help explain why the avant-gardes in Spain and Mexico tend to imagine Whitman in Futurist terms. Finally, the Prometeo translations reveal that even Whitman's ostensibly transamerican appropriations may occur through a transatlantic- and in fact a heavily global-network of circulation.These newly-discovered poems appear in a mostly-prose translation at the beginning of 1912 in the Spanish literary and cultural journal Prometeo.1 Since it was the first of eleven issues published in 1912 (Prometeo was basically a monthly periodical), we can assume this translation predates or is at most simultaneous with Walt Whitman: Poemas, since Vasseur dates his preface as February, 1912, suggesting an even later publication date for his book-length translation.2 Either way, we can see this earlier translation as independent from Vasseur's textual influence. But more importantly, the Prometeo publication marks or colors Whitman's reception in a particular way, by locating the American poet within an increasingly avant-garde context.First published in 1908 with a modernista3 bent, the journal Prometeo was not always linked with the avant-garde;4 but in 1909, the journal made a radical endorsement of the new aesthetics of Italian Futurism, one of the originators of the global avant-gardes. When the Italian movement's founder, Filippo Tommaso Marinetti, published his bombastic \"The Founding and Manifesto of Futurism,\" Prometeo's editor, Ramon Gomez de la Serna, published his own translation of the avant-garde text, alongside a piece celebrating Marinetti-making Prometeo the first Spanish periodical to bring Italian Futurism to Spain. Marinetti's performative text, a hybrid of prose narrative and manifesto, proclaimed the inauguration of a new era, as it celebrated rebellion, violence, the power and aesthetics of machines, and the vitality of industry.5 Then, in 1910, at Gomez de la Serna's personal request, Marinetti even wrote a Futurist address directly to Spain, \"Proclama Futurista a los Espanoles,\" again translated by Gomez de la Serna, and for exclusive publication in Prometeo. In it, Marinetti railed against what he perceived as the lassitude of Spanish culture, and called for a revitalization of Spain through radical social change and the development of industry. We see Futurism taking hold in Spain: Gomez de la Serna ","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":"35 1","pages":"115-126"},"PeriodicalIF":0.2,"publicationDate":"2017-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48067910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A. Omidsalar, A. Palmer, Stephanie M. Blalock, Matt Cohen
{"title":"Walt Whitman’s Poetry Reprints and the Study of Nineteenth-Century Literary Circulation","authors":"A. Omidsalar, A. Palmer, Stephanie M. Blalock, Matt Cohen","doi":"10.13008/0737-0679.2266","DOIUrl":"https://doi.org/10.13008/0737-0679.2266","url":null,"abstract":"","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":"35 1","pages":"1-44"},"PeriodicalIF":0.2,"publicationDate":"2017-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43575757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We present here a translation into English of Egyptian poet AbdelMuneim Ramadan's (b. 1951) "Walt Whitman's Funeral" Janâzat Walt Witman], a remarkable 2012 poem that underscores the complex role that Whitman has played in the Arab world. As an aid to understanding the poem, we first offer a brief history of the Whitman-Arab relationship.The Mahjar, or "emigrant" poets, were a small group of Lebanese and Syrian writers in the United States, affiliated with the New Yorkbased Arabic-language newspaper Al-Hudâ. The group flourished in the 1920s. They did not have a project in common except to break with the patterns of traditional Arabic poetry. Mahjar in Arabic does not name a particular common project: it simply means the diaspora of Arabs around the world. The poets were scattered: Khalil ("Kahlil") Gibran (1883-1931) lived in Boston, Ameen Rihani (18761940) primarily in New York, and Mikhail Naimy (1889 -1988) in Walla Walla, Washington, but also New York, as well as, during the first World War, France (where he served in the American army). They had one thing in common: they absorbed American poetry, and their distance from a strict critical establishment (back home in Syria and Lebanon) gave them freedom to experiment. Whitman's name comes up often in their critical writings, and they seem to have agreed that it was Whitman's influence that allowed them to redefine Arabic poetry.Rihani, writing in the preface to his 1923 collection Hutâf al-Awdiya [Hymns of the Valleys], makes Whitman's innovations a pivotal point in literary history:Milton and Shakespeare liberated English Poetry from the bonds of rhyme; and the American Walt Whitman freed it from prosodic bonds such as the conventional rhythms and customary meter. But this freed verse has a new and particular rhythm, and a poem composed in it may follow numerous and varied metres.1He emphasizes the force of the break:This type of new poetry is called vers libres in French and free verse in English, that is, free, or more properly, freed verse (in Arabic al-shi'r al- Ķurr wa almutlaq)2"Free" versus "freed" verse: Mounah Khouri's translation of Rihani's essay (al-h/urr as "free" and al-mutlaq as "freed") captures something latent in the Arabic. Al-hfurr is "free" in the political sense. Al- mutlaq is perhaps "freer": Hans Wehr's dictionary offers "unlimited, unrestricted, absolute."3 Similarly, in English "free," a simple adjective, is a static state; "freed," a passive participle, is a state that results from an act of will. The translation takes that break with tradition a step further in intensity.Later in the same essay Rihani translates Whitman's "To Him That Was Crucified" (Ilâ al-masfub). Rihani was a Christian, but the effect of the poem is not sectarian. The vision of a utopian devotional community ("We walk silent among disputes and assertions, but reject not the disputers nor any thing that is asserted") may matter more than the Christ-figure of the title.Naimy, in a 1949 article, "
{"title":"A Translation of Abdel-Muneim Ramadan’s “Walt Whitman’s Funeral,” and Some Notes on Whitman in the Arab World","authors":"Adnan Haydar, M. Beard","doi":"10.13008/0737-0679.2268","DOIUrl":"https://doi.org/10.13008/0737-0679.2268","url":null,"abstract":"We present here a translation into English of Egyptian poet AbdelMuneim Ramadan's (b. 1951) \"Walt Whitman's Funeral\" Janâzat Walt Witman], a remarkable 2012 poem that underscores the complex role that Whitman has played in the Arab world. As an aid to understanding the poem, we first offer a brief history of the Whitman-Arab relationship.The Mahjar, or \"emigrant\" poets, were a small group of Lebanese and Syrian writers in the United States, affiliated with the New Yorkbased Arabic-language newspaper Al-Hudâ. The group flourished in the 1920s. They did not have a project in common except to break with the patterns of traditional Arabic poetry. Mahjar in Arabic does not name a particular common project: it simply means the diaspora of Arabs around the world. The poets were scattered: Khalil (\"Kahlil\") Gibran (1883-1931) lived in Boston, Ameen Rihani (18761940) primarily in New York, and Mikhail Naimy (1889 -1988) in Walla Walla, Washington, but also New York, as well as, during the first World War, France (where he served in the American army). They had one thing in common: they absorbed American poetry, and their distance from a strict critical establishment (back home in Syria and Lebanon) gave them freedom to experiment. Whitman's name comes up often in their critical writings, and they seem to have agreed that it was Whitman's influence that allowed them to redefine Arabic poetry.Rihani, writing in the preface to his 1923 collection Hutâf al-Awdiya [Hymns of the Valleys], makes Whitman's innovations a pivotal point in literary history:Milton and Shakespeare liberated English Poetry from the bonds of rhyme; and the American Walt Whitman freed it from prosodic bonds such as the conventional rhythms and customary meter. But this freed verse has a new and particular rhythm, and a poem composed in it may follow numerous and varied metres.1He emphasizes the force of the break:This type of new poetry is called vers libres in French and free verse in English, that is, free, or more properly, freed verse (in Arabic al-shi'r al- Ķurr wa almutlaq)2\"Free\" versus \"freed\" verse: Mounah Khouri's translation of Rihani's essay (al-h/urr as \"free\" and al-mutlaq as \"freed\") captures something latent in the Arabic. Al-hfurr is \"free\" in the political sense. Al- mutlaq is perhaps \"freer\": Hans Wehr's dictionary offers \"unlimited, unrestricted, absolute.\"3 Similarly, in English \"free,\" a simple adjective, is a static state; \"freed,\" a passive participle, is a state that results from an act of will. The translation takes that break with tradition a step further in intensity.Later in the same essay Rihani translates Whitman's \"To Him That Was Crucified\" (Ilâ al-masfub). Rihani was a Christian, but the effect of the poem is not sectarian. The vision of a utopian devotional community (\"We walk silent among disputes and assertions, but reject not the disputers nor any thing that is asserted\") may matter more than the Christ-figure of the title.Naimy, in a 1949 article, \"","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":"35 1","pages":"127-136"},"PeriodicalIF":0.2,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42588845","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I was asking for something specific and perfect for my city,Whereupon, lo! Up sprang the aboriginal name!I see that the word of my city is that word from of old,Because I see that word nested in nests of water-bays, superb,with tall and wonderful spires....-"Mannahatta"11In his 1860 poem "Mannahatta," Walt Whitman hints at just how microscopic our academic practice of close reading could eventually become. Whitman's poem reads its own title word's letterscape as a skyline, with its vowels compared to saliva-storing "water-bays" and its consonants compared to ascending "spires." The poet finds meaning burrowed inside a borough's name, but also scrolled out along the surface of its spelling. This paper is a series of aphoristic riffs following his own example off the rooftops of its most extreme implications, treating this fleeting and oblique reference as a kind of high-rise Rosetta Stone or a runic cipher into Whitman's philological concerns.Whitman, unlike thinkers from Plato to Saussure, believed in a sensual correspondence not only between objects and their names, but also between words and their component letters. The Native American word "Mannahatta" treated like a skyline is a case of signifier-become-signified, characters-become-content, and a horizon-made-hieroglyphic, proof indeed that "These States shall stand rooted in the ground in names."2 David Carr refers to the Manhattan skyline and its hourglass undulation as a "sexy colossus in Reubenesque recline,"3 but Whitman sees the pre-colossal 1860 skyline as a spelling primer and a conjurer's spell at once. While my reference is anachronistic, "Alphabet City" here is not a specific Lower East Side enclave but, for Whitman, the elongated entirety of Manhattan itself.Clearly, Whitman's background as a printer's apprentice and a journeyman carpenter gives him a mechanical and architectural feeling for the humanly made shapes of characters and words. Whitman (who blurred between subject and object by writing his own nameless reviews for Leaves of Grass) is a word-carpenter and a self-made fetish constructed out of words at once. In "Song of the Broad-Axe," one of his odes-to-tools, he uses the word "preparatory" to describe the "jointing, squaring, sawing, mortising"4 of a building, just as his assembling-together of letters on a compositor's stick was preparatory to the laying-down of words on a page, a process blueprinted by Whitman's handwritten manuscripts. By implication, the crossbars, ascenders, and serifs of letters are the beam, studs, tenons, and mortises of our words, and considering his abundant references to house-making tools (and the ways that exclamation points often cluster around those tool-references), Whitman's mere pen seems often to envy the majestic blows of hammers and chisels and mallets.2"Mannahatta" imagines a word made out of iron, rivets, and cement, but the letters making up the words "Leaves of Grass" on that book's first cover were entwined in vines, buds, and
我在为我的城市要求一些具体而完美的东西，于是，瞧！原住民的名字冒了出来！我看到我的城市的词是来自古老的词，因为我看到这个词嵌套在水湾的巢穴中，非常棒，有着高大而美妙的尖顶-“Mannahatta”11沃尔特·惠特曼在其1860年的诗歌《Mannahata》中暗示了我们的细读学术实践最终会变得多么微观。惠特曼的诗将其标题词的字母景观解读为天际线，元音被比作储存唾液的“水湾”，辅音被比作上升的“尖顶”。诗人在一个自治市的名字中发现了含义，但也沿着拼写的表面滚动。这篇论文是一系列格言式的重复，以他自己的例子为例，讲述了其最极端的含义，将这种转瞬即逝的、倾斜的引用视为一种高耸的罗塞塔石碑，或是惠特曼语言学关注的符文密码。与从柏拉图到索绪尔的思想家不同，惠特曼不仅相信物体和它们的名字之间，而且相信单词和它们的组成字母之间的感官对应。美洲原住民的单词“Mannahatta”被视为天际线，这是一个能指变为所指，文字变为内容，地平线变为象形文字的例子，确实证明了“这些国家将在名称中扎根于土地”。2大卫·卡尔将曼哈顿的天际线及其沙漏形的起伏称为“鲁本式斜倚的性感巨人，“但惠特曼认为1860年前巨大的天际线既是拼写入门，又是魔术师的咒语。虽然我提到的是不合时宜的，”字母城“对惠特曼来说，这里不是下东区的一块特定飞地，而是整个曼哈顿的狭长地带。很明显，惠特曼作为一名印刷学徒和一名熟练木匠的背景，给了他一种机械和建筑的感觉，让他对人物和文字的人性化形状有了感觉。惠特曼（他为《草叶》写了自己的无名评论，模糊了主题和对象之间的界限）是一个文字木匠，同时也是一个由文字构成的自制恋物癖。在《宽斧之歌》（Song of the Broad Axe）中，他用“预备”一词来描述一座建筑的“接合、方正、锯切、榫眼”4，就像他把字母组装在排字棒上是为把单词放在一页纸上做准备一样，这一过程是由惠特曼的手写手稿印制的。言下之意，字母的横杆、上升器和衬线是我们单词的横梁、螺柱、凸榫和榫眼，考虑到他对房屋制造工具的大量引用（以及感叹号经常聚集在这些工具引用周围的方式），惠特曼的笔似乎经常羡慕锤子、凿子和木槌的雄伟打击。2《曼纳哈塔》想象的是一个由铁、铆钉和水泥制成的单词，但该书第一个封面上组成“草叶”的字母被藤蔓、花蕾和常春藤卷须缠绕在一起，形成了一个生物形态的整体，宣布了其主要的蔬菜主题，一种植根于浪漫主义语言双关语复合体的拓扑。法语中“书”（livre）一词确实（从语言学和有机角度）来源于树的生命部分（其自由体）。在一个人类学模型中，泥板上的最初字母是小麦、大麦和相关商业产品等草的象征——“草”是我们最早的象形文字之一。惠特曼在这里挖掘了一种有机主义传统，但也（通过关注字母表的建筑学）成为了未来更具元话语传统的先驱，因此成为了代际的支点和托梁。在梭罗在《瓦尔登湖》中的“沙洲”场景中，字母和单词以铁路路堤融化的粘土形成的形状出现，是有机的telos项目，但惠特曼认为字母和单词是人类形成的结构，既具有任意的标志性，又具有元素的本质…
{"title":"Whitman’s Metro-Poetic Lettrism: The Mannahatta Skyline as Sentence, Syntax, and Spell","authors":"Kimo Reder","doi":"10.13008/0737-0679.2264","DOIUrl":"https://doi.org/10.13008/0737-0679.2264","url":null,"abstract":"I was asking for something specific and perfect for my city,Whereupon, lo! Up sprang the aboriginal name!I see that the word of my city is that word from of old,Because I see that word nested in nests of water-bays, superb,with tall and wonderful spires....-\"Mannahatta\"11In his 1860 poem \"Mannahatta,\" Walt Whitman hints at just how microscopic our academic practice of close reading could eventually become. Whitman's poem reads its own title word's letterscape as a skyline, with its vowels compared to saliva-storing \"water-bays\" and its consonants compared to ascending \"spires.\" The poet finds meaning burrowed inside a borough's name, but also scrolled out along the surface of its spelling. This paper is a series of aphoristic riffs following his own example off the rooftops of its most extreme implications, treating this fleeting and oblique reference as a kind of high-rise Rosetta Stone or a runic cipher into Whitman's philological concerns.Whitman, unlike thinkers from Plato to Saussure, believed in a sensual correspondence not only between objects and their names, but also between words and their component letters. The Native American word \"Mannahatta\" treated like a skyline is a case of signifier-become-signified, characters-become-content, and a horizon-made-hieroglyphic, proof indeed that \"These States shall stand rooted in the ground in names.\"2 David Carr refers to the Manhattan skyline and its hourglass undulation as a \"sexy colossus in Reubenesque recline,\"3 but Whitman sees the pre-colossal 1860 skyline as a spelling primer and a conjurer's spell at once. While my reference is anachronistic, \"Alphabet City\" here is not a specific Lower East Side enclave but, for Whitman, the elongated entirety of Manhattan itself.Clearly, Whitman's background as a printer's apprentice and a journeyman carpenter gives him a mechanical and architectural feeling for the humanly made shapes of characters and words. Whitman (who blurred between subject and object by writing his own nameless reviews for Leaves of Grass) is a word-carpenter and a self-made fetish constructed out of words at once. In \"Song of the Broad-Axe,\" one of his odes-to-tools, he uses the word \"preparatory\" to describe the \"jointing, squaring, sawing, mortising\"4 of a building, just as his assembling-together of letters on a compositor's stick was preparatory to the laying-down of words on a page, a process blueprinted by Whitman's handwritten manuscripts. By implication, the crossbars, ascenders, and serifs of letters are the beam, studs, tenons, and mortises of our words, and considering his abundant references to house-making tools (and the ways that exclamation points often cluster around those tool-references), Whitman's mere pen seems often to envy the majestic blows of hammers and chisels and mallets.2\"Mannahatta\" imagines a word made out of iron, rivets, and cement, but the letters making up the words \"Leaves of Grass\" on that book's first cover were entwined in vines, buds, and","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":"35 1","pages":"88-114"},"PeriodicalIF":0.2,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48357200","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
IN 2013, I DETAILED my discovery of 266 reprints of Walt Whitman's short stories in nineteenth and twentieth-century newspapers and magazines published in the United States and abroad.1 Here, I offer an addendum to that bibliography, and document 116 additional previously unknown periodical reprints of Whitman's fiction that have come to light since the publication of that piece, as well as two recent online reprints of his first short story "Death in the School-Room." This brings the total number of previously unknown reprints of the poet's short fiction in periodicals to 382 to date.2 When these new reprints-along with the two recent online publications-are added to those included in previous bibliographies of Whitman's writings, the number of known reprints of the poet's fiction in periodicals totals more than four hundred.3The most often reprinted piece of Whitman's fiction is, and will likely continue to be, "Death in the School-Room. A Fact," which has been reprinted at least 139 times in print newspapers and magazines in the United States and included in online publications or journalism projects at least twice since its initial publication in the August 1841 issue of one of the most prestigious monthly magazines of the time, The United States Magazine and Democratic Review (often referred to as the "Democratic Review").4 Whitman's "A Legend of Life and Love" remains the second most often reprinted story, having been copied 99 times in the United States and twice in Canada, for a total of 101 reprints, since it was first published in the Democratic Review in July 1842. The third and fourth most often-reprinted tales, respectively, are "The Tomb-Blossoms," with at least 42 reprints since it was first published in the January 1842 issue of the Democratic Review and "The Death of Wind-Foot," with at least 32 reprints since the story was first published as part of Whitman's temperance novel Franklin Evans; or the Inebriate: A Tale of the Times in an extra edition of the New World newspaper in November 1842.5 These reprint totals, especially those for stories originally published in the Democratic Review, help explain the exaggerated claims a writer for the Philadelphia Dollar Newspaper made about Whitman's most popular tales in a brief September 13, 1843, article entitled, "Pay of American Writers": "Recently were published, the sketch of "Death in the School Room," and a "Legend of Life and Love," [sic] both of which, as they respectively appeared, were copied by three fourths of the newspapers in America, and universally admired."6 The writer goes on to assert that the author of those two stories-Whitman is never mentioned by name-"received only five dollars in payment for them" because, at that time, he was not yet a well-known writer with an established literary reputation.Even though, in the opinion of the Dollar Newspaper, the Democratic Review had given Whitman "a sum [that] would not pay for the pen work merely, to say nothing of the l
{"title":"More Than One Hundred Additional Reprints of Walt Whitman’s Short Fiction in Periodicals","authors":"Stephanie M. Blalock","doi":"10.13008/0737-0679.2265","DOIUrl":"https://doi.org/10.13008/0737-0679.2265","url":null,"abstract":"IN 2013, I DETAILED my discovery of 266 reprints of Walt Whitman's short stories in nineteenth and twentieth-century newspapers and magazines published in the United States and abroad.1 Here, I offer an addendum to that bibliography, and document 116 additional previously unknown periodical reprints of Whitman's fiction that have come to light since the publication of that piece, as well as two recent online reprints of his first short story \"Death in the School-Room.\" This brings the total number of previously unknown reprints of the poet's short fiction in periodicals to 382 to date.2 When these new reprints-along with the two recent online publications-are added to those included in previous bibliographies of Whitman's writings, the number of known reprints of the poet's fiction in periodicals totals more than four hundred.3The most often reprinted piece of Whitman's fiction is, and will likely continue to be, \"Death in the School-Room. A Fact,\" which has been reprinted at least 139 times in print newspapers and magazines in the United States and included in online publications or journalism projects at least twice since its initial publication in the August 1841 issue of one of the most prestigious monthly magazines of the time, The United States Magazine and Democratic Review (often referred to as the \"Democratic Review\").4 Whitman's \"A Legend of Life and Love\" remains the second most often reprinted story, having been copied 99 times in the United States and twice in Canada, for a total of 101 reprints, since it was first published in the Democratic Review in July 1842. The third and fourth most often-reprinted tales, respectively, are \"The Tomb-Blossoms,\" with at least 42 reprints since it was first published in the January 1842 issue of the Democratic Review and \"The Death of Wind-Foot,\" with at least 32 reprints since the story was first published as part of Whitman's temperance novel Franklin Evans; or the Inebriate: A Tale of the Times in an extra edition of the New World newspaper in November 1842.5 These reprint totals, especially those for stories originally published in the Democratic Review, help explain the exaggerated claims a writer for the Philadelphia Dollar Newspaper made about Whitman's most popular tales in a brief September 13, 1843, article entitled, \"Pay of American Writers\": \"Recently were published, the sketch of \"Death in the School Room,\" and a \"Legend of Life and Love,\" [sic] both of which, as they respectively appeared, were copied by three fourths of the newspapers in America, and universally admired.\"6 The writer goes on to assert that the author of those two stories-Whitman is never mentioned by name-\"received only five dollars in payment for them\" because, at that time, he was not yet a well-known writer with an established literary reputation.Even though, in the opinion of the Dollar Newspaper, the Democratic Review had given Whitman \"a sum [that] would not pay for the pen work merely, to say nothing of the l","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":"35 1","pages":"45-87"},"PeriodicalIF":0.2,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46727027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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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