By Dickinson, Emily; Jackson, Virginia Walker; Dickinson, Emily
How will we comprehend that Emily Dickinson wrote poems? How will we realize a poem once we see one? In Dickinson's Misery, Virginia Jackson poses primary questions on analyzing behavior we have now come to take without any consideration. simply because Dickinson's writing remained principally unpublished while she died in 1886, judgements approximately what it was once that Dickinson wrote were left to the editors, publishers, and critics who've introduced Dickinson's paintings into public view. The general letters, notes on ads fliers, verses on split-open envelopes, and collections of verses on own stationery tied including string became the Dickinson poems celebrated seeing that her dying as exemplary lyrics.
Jackson makes the bigger argument that the century and a part spanning the stream of Dickinson's paintings tells the tale of a shift within the book, intake, and interpretation of lyric poetry. This shift took the shape of what this e-book calls the "lyricization of poetry," a suite of print and pedagogical practices that collapsed the range of poetic genres into lyric as a synonym for poetry.
that includes many new illustrations from Dickinson's manuscripts, this ebook makes an enormous contribution to the examine of Dickinson and of nineteenth-century American poetry. It maps out the longer term for brand spanking new paintings in ancient poetics and lyric theory.
Read Online or Download Dickinson's misery : a theory of lyric reading PDF
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Additional resources for Dickinson's misery : a theory of lyric reading
BEFOREHAND have subjected the excerpts from these manuscripts to the judgment of “several learned and ingenious friends” as well as to the approval of “the author of The Rambler and the late Mr. 14 Yet by 1833, John Stuart Mill, in what has become the most influentially misread essay in the history of Anglo-American poetics, could write that “the peculiarity of poetry appears to us to lie in the poet’s utter unconsciousness of a listener. ”15 As Anne Janowitz has written, “in Mill’s theory . .
NEW YORK sheets and their many editorial versions may seem to have taken us far afield from the interpretation of the lines on the right side of the envelope in figure 5 (lines that are still hanging fire, I hope, over these pages, and to which we will return, returning as well to the lines that 37 CHAPTER ONE have now intervened in figures 7a and 7b), but they also return us to the hermeneutic problem of just how interdiscursive the “text occasion” of Dickinson’s writing can be. While print versions of Dickinson’s writing might lead us to believe—indeed, have led generations of readers to believe—that the difficulty of reading Dickinson is that her brief lyrics hover one after the other on the white page out of context, the difficulty of reading Dickinson’s manuscripts is that even in their fragmentary extant forms, they provide so much context that individual lyrics become practically illegible.
I could have chosen to chronicle those models strictly chronologically—the aesthetic model of the 1890s, the Imagist model of 1914, the modernist model of the 1920s, the culturally representative model of the 1930s, the pedagogical model of the 1940s, the professional model of the 1950s, the subversive model of the 1960s, the conflicted model of the 1970s, the feminist model of the 1980s, the materialist and queer models of the 1990s, and the public sphere and cyberspace models of the beginning of the twenty-first century— but as this list suggests, such a chronology quickly devolves into a thematic catalogue of types of lyrics while leaving the generic character of those lyrics relatively stable.