Emily Dickinson

"Where I have lost I softer tread" - Emily Dickinson und die Prosodie der Trauer

by Kathrin Bethke

In: Emotionale Grenzgänge. Konzeptualisierungen von Liebe, Trauer und Angst in Sprache und Literatur. Hg. v. Lisanne Ebert, Carola Gruber, Benjamin Meisnitzer und Sabine Rettinger. Würzburg: Königshausen und Neumann, 2011. 133-51.

Confronting Death Mother: An interview with Marion Woodman

by Daniela Sieff

Power Play: Emily Dickinson’s Investigatory Poetics of Gender

by Zoey Wyn Nelson

Currently seeking a journal for publication.

Poets, Progenitors and Progeny

by Michelle Kassorla

A discussion of the idea of Dickenson and Whitman as "parents" of American poetry. A discussion of the idea of Dickenson and Whitman as "parents" of American poetry.

Counter-figures. An Essay on Antimetaphoric Resistance: Paul Celan's Poetry and Poetics at the Limits of Figurality

by Pajari Räsänen

Doctoral diss., 2007

From more From http://www.mv.helsinki.fi/home/pprasane/:
The dissertation is divided into two main parts: (1) "Problems With Metaphor? Prolegomena for Reading Otherwise", and (2) "Crossing the Troposphere: Paul Celan's Poetry and Poetics at the Limits of Figurality". The first main part consists of five Prolegomena, each of which can be read separately. The first of these introductory chapters deals with The Second Commandment, or the prohibition of image-making (Bildverbot, as Kant calls it) which is, paradoxically, superceded by another moment, the prohibition of "bowing down and serving them" (i.e. the images that were not to be made in the first place): how can you "bow down and serve" the images, or abstain from doing that, if you obeyed the first moment and did not even make them?

In the centre of the second Prolegomenon is Aristotle's ambivalent relationship with the "natural talent" (euphuia) for using metaphor, and the third Prolegomenon considers Aristotle's heritage among the modern "metaphoricians and metaphysicians", as well as the anti- or countermetaphoricians, such as Paul de Man and Murray Krieger. Prolegomenon IV contains readings of Shakespeare and Emily Dickinson, with a certain critical reference to modern cognitivism. The fifth, concluding Prolegomenon not only serves as a transitory passage to the second main part, namely the essay on Celan, but also contains a central argument with regard to the whole thesis. It is intended not only as a contribution to the understanding of Heidegger's denouncement of the concept of metaphor as a metaphysical concept, but also as an analysis of a certain relation between Heidegger's early lectures on Aristotle and the concept of "being-towards-the end" (Sein zum Ende) in Sein und Zeit, a developent which bears an implicit critical reference to Aristotle's notion of metapherein.

Also many of the chapters in "Part II" can be read as if they were independent articles. For a reader specially interested in Paul Celan's poetry and its "antimetaphoric resistance", I would recommend the chapters entitled "Squalls. A Reading of 'Ein Dröhnen'", and "The Tropic of Circumcision", revolving between the poem "Einem, der vor der Tür stand" and its reading in Jacques Derrida's book Schibboleth - pour Paul Celan.

“He showed me Heights I never saw –”: Exploring the World of Emily Dickinson’s Fascicles & A Brief Examination of Fascicle 16

by Brian McCabe

Presented for Natures 2011 Conference on Textual Politics: Inspiration, Influence, & Interpretation, La Sierra University, Riverside, February 18, 2011.

This paper considers the great legacy left us by poet Emily Dickinson, its sum total comprising over 1,700 poems,... more This paper considers the great legacy left us by poet Emily Dickinson, its sum total comprising over 1,700 poems, hundreds of letters, and many of other manuscript documents that circulated in the area of her poetry writing process; it would be remiss not to address the very books into which she copied over half of her work: the fascicles. According to one critic, the very word describing the packets of poems her process yielded is appropriate to her: “’Fascicle’ derives from the Latin fascis, or bundle. ‘Fascicle’ is also used in botany, where Dickinson in all probability could have encountered it, to describe gatherings like those of pine needles, leaves, or flowers into clumps” (Loeffelholz 23). The Dickinson fascicles represent an open and open-ended style, in essence covering all manner of subjects in Dickinson’s life, from romance to faith, to death. Essentially, they fill a gap, representing Emily Dickinson’s poetry in journal form. While they have no definite order or scheme, and they often decry themselves, in fact, turning back on the very arguments or positions they suggest, they are unique and coherent in a number of ways. Readers must keep in mind that like Dickinson, and her poems, the fascicles present a vast ground for study, in the end permitting no essentialization, no universal conclusions. While critical theories regarding the fascicles abound, a close reading of Emily Dickinson’s fascicles demonstrates the value of the manuscripts as keys to her thematics.

Feed: Texting, Twitter, and the Student 2.0

by Jesse Stommel

published in TECHStyle, an online blog about digital pedagogy at the Georgia Institute of Technology

Our students are no longer just bodies in desks; they are no longer vessels. They have become compilations, amalgams,... more Our students are no longer just bodies in desks; they are no longer vessels. They have become compilations, amalgams, a concatenation of web sites. They are the people in front of us, but also their avatars in Second Life and the World of Warcraft and the profiles they create on FaceBook and MySpace. They speak with mouths, but also with fingers tapping briskly at the keys of their smart phones. When they want to “reach out and touch someone,” they use VOIP, AIM, and Twitter. They have become more than just ears and eyes and brains to feed. Now, they feed us, and themselves, and each other, with an endless parade of texted and tweeted characters. Shouldn’t we, as teachers 2.0, work with not against the flow of these seemingly errant 1s and 0s?