Emily Dickinson wrote a "letter to the world" and left it lying in her drawer more than a century ago. This widely admired epistle was her poems, which were never conventionally published in book form during her lifetime. Since the posthumous discovery of her work, general readers and literary scholars alike have puzzled over this paradox of wanting to communicate widely and yet apparently refusing to publish. In this pathbreaking study, Martha Nell Smith unravels the paradox by boldly recasting two of the oldest and still most frequently asked questions about Emily Dickinson: Why didn't she publish more poems while she was alive? and Who was her most important contemporary audience? Regarding the question of publication, Smith urges a reconception of the act of publication itself. She argues that Dickinson did publish her work in letters and in forty manuscript books that circulated among a cultured network of correspondents, most important of whom was her sister-in-law, Susan Huntington Gilbert Dickinson. Rather than considering this material unpublished because unprinted, Smith views its alternative publication as a conscious strategy on the poet's part, a daring poetic experiment that also included Dickinson's unusual punctuation, line breaks, stanza divisions, calligraphic orthography, and bookmaking - all the characteristics that later editors tried to standardize or eliminate in preparing the poems for printing. Dickinson's relationship with her most important reader, Sue Dickinson, has also been lost or distorted by multiple levels of censorship, Smith finds. Emphasizing the poet-sustaining aspects of the passionate bonds between the two women, Smith shows that theirrelationship was both textual and sexual. Based on study of the actual holograph poems, Smith reveals the extent of Sue Dickinson's collaboration in the production of poems, most notably "Safe in Their Alabaster Chambers." This finding will surely challenge the popular conception of the iso
0 有用 基达尔上尉 2024-04-28 11:10:11 上海
【24第56本】对狄金森的女权主义分析,前两章讲了出版对文本的删节和印刷对手稿布局、符号使用的破坏,并提出注重手稿外在形式的阅读方法。后四章注重于重构Emily-Sue关系:由狄金森诗歌中性别的扮演性和模糊性推测Master的真实身份可能是Sue;解读了她们的终身通信,强调Sue长久被忽视的重要地位;由alabaster chamber为例讨论Sue作为参与性读者在诗歌成型、整理和发表中的发挥的作... 【24第56本】对狄金森的女权主义分析,前两章讲了出版对文本的删节和印刷对手稿布局、符号使用的破坏,并提出注重手稿外在形式的阅读方法。后四章注重于重构Emily-Sue关系:由狄金森诗歌中性别的扮演性和模糊性推测Master的真实身份可能是Sue;解读了她们的终身通信,强调Sue长久被忽视的重要地位;由alabaster chamber为例讨论Sue作为参与性读者在诗歌成型、整理和发表中的发挥的作用。 在Lesbian Visibility Week读这本书就很应景,原来一直都有学者在力图证明Emily和Sue的关系。读后除了再次感动于她们感情之外,更有对被销毁的信件和删节的词句感到惋惜,对想要抹去Sue的Todd和Austin感到愤怒。本书观点不一定最正确,但我们需要更多这样的视角。 (展开)
0 有用 基达尔上尉 2024-04-28 11:10:11 上海
【24第56本】对狄金森的女权主义分析,前两章讲了出版对文本的删节和印刷对手稿布局、符号使用的破坏,并提出注重手稿外在形式的阅读方法。后四章注重于重构Emily-Sue关系:由狄金森诗歌中性别的扮演性和模糊性推测Master的真实身份可能是Sue;解读了她们的终身通信,强调Sue长久被忽视的重要地位;由alabaster chamber为例讨论Sue作为参与性读者在诗歌成型、整理和发表中的发挥的作... 【24第56本】对狄金森的女权主义分析,前两章讲了出版对文本的删节和印刷对手稿布局、符号使用的破坏,并提出注重手稿外在形式的阅读方法。后四章注重于重构Emily-Sue关系:由狄金森诗歌中性别的扮演性和模糊性推测Master的真实身份可能是Sue;解读了她们的终身通信,强调Sue长久被忽视的重要地位;由alabaster chamber为例讨论Sue作为参与性读者在诗歌成型、整理和发表中的发挥的作用。 在Lesbian Visibility Week读这本书就很应景,原来一直都有学者在力图证明Emily和Sue的关系。读后除了再次感动于她们感情之外,更有对被销毁的信件和删节的词句感到惋惜,对想要抹去Sue的Todd和Austin感到愤怒。本书观点不一定最正确,但我们需要更多这样的视角。 (展开)