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Journal articles on the topic 'Emily Dickinson'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Колівошко, В. В. "Semantic and stylistic aspects of using geographical vocabulary in Emily Dickinson’s verse." Studia Philologica, no. 10 (2018): 95–99. http://dx.doi.org/10.28925/2311-2425.2018.10.13.

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This article reports a study according to the tenets of empirical methodology in addressing research questions. The project tests the principles of using geographical vocabulary in Emily Dickinson’s verse. It focuses on the study of stylistic and semantic aspects of the usage of geographical vocabulary. The results demonstrate the quantitative and qualitative characteristics of the usage of geographical vocabulary. Emily Dickinson’s poems are full of geographical names, which she uses with both positive and negative connotations. As we can see, the negative connotations prevail. The results po

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2

Salska, Agnieszka. "Emily Dickinson po polsku." Poznańskie Studia Polonistyczne. Seria Literacka, no. 33 (October 26, 2018): 271–90. http://dx.doi.org/10.14746/pspsl.2018.33.16.

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The article traces Polish translations of Dickinson’s poetry preceding and following the publication in the nineteen nineties of 200 poems by Emily Dickinson translated by Stanisław Barańczak. It comments on some Polish poets’ response to Dickinson in their own works and points to the growing body of publications online of private selections from Dickinson’s poems previously translated by established Polish poets (mostly Barańczak or Marjańska) as well as translations and original poems inspired by Dickinson’s work authored by less known poets, amateur translators and lovers of poetry. The art

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3

Sulaiman, Masagus. "IMAGERY ANALYSIS ON EMILY DICKINSONS POETRY." English Community Journal 1, no. 1 (2017): 33. http://dx.doi.org/10.32502/ecj.v1i1.649.

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This research was conducted to figure out the imagery and its meanings in the five poetry of Emily Dickinson. This research was regarded on a descriptive-qualitative study. The researcher applied documentation technique in collecting the data. In data analysis, psychoanalytic approach by Kristeva was used. The results of the research showed that there were sixty-two types of imagery foundin the five poetry of Emily Dickinson, for instance; fifty-one visual, one auditory, one olfactory, three tactile, one organic and five kinesthetics. In addition, the five poetry of Emily Dickinson had somethi

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Boggs, Colleen Glenney. "Emily Dickinson's Animal Pedagogies." PMLA/Publications of the Modern Language Association of America 124, no. 2 (2009): 533–41. http://dx.doi.org/10.1632/pmla.2009.124.2.533.

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E. DickinsonWould you instruct me now?—Emily Dickinson, The Letters of Emily Dickinson (Johnson 449)In 1866 Emily Dickinson Ended a lapse of eighteen months in her correspondence with Thomas Wentworth Higginson by sending him three lines that connect the major concerns of her work: death, subjectivity, and the conditions of knowledge. When Higginson later published these lines in “Emily Dickinson's Letters,” he explained that the poet would on occasion include “an announcement of some event, vast to her small sphere as this,” the death of her dog who had been her companion for sixteen years (4

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5

Khanom, Afruza. "Emily Dickinson:." Crossings: A Journal of English Studies 12 (September 1, 2021): 68–80. http://dx.doi.org/10.59817/cjes.v12i.26.

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No matter how loving parents may be, the demands their expectations lay on their children result in an emotional pressure that goes unnoticed until, in most cases, it is too late and the damage to emotional maturity and the negative effect on personality has already occurred. Such emotional neglect is mostly unintentional. The life of nineteenth century American poet, Emily Dickinson, is an example of how the internalization of parental expectations and childhood emotional neglect can affect emotional maturity and adult behaviour. “Introvert” and “reclusive” are the two words commonly used to

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6

Cooney, William. "The Death Poetry of Emily Dickinson." OMEGA - Journal of Death and Dying 37, no. 3 (1998): 241–49. http://dx.doi.org/10.2190/8tkd-4v2f-j9fq-axd0.

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The topic of death is an important theme in the work of Emily Dickinson, one of America's greatest poets. Dickinson scholars debate whether her focus on death (one quarter of all her poems) is an unhealthy and morbid obsession, or, rather, a courageous recognition that life itself cannot be understood fully except from the vantage point of the grave (just as light cannot be fully appreciated without the recognition of its opposite, i.e., darkness). Following the latter view, Dickinson's penetrating insights into death are examined. Some of her best known death poems are presented and briefly d

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7

PURNOMO, SISWO, and AGNES WIDYANINGRUM. "EMILY DICKINSONS' DISAPPOINTMENT TOWARD PURITANISM TEACHINGS REFLECTED IN I PRAYED AT FIRST A LITTLE GIRL." Philosophica: Jurnal Bahasa, Sastra, dan Budaya 6, no. 1 (2023): 12–25. https://doi.org/10.35473/po.v6i1.1755.

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Poetry is a unique way to express someone's feelings. Sometimes the poetry is the author's experience. Emily Dickinson was an American poet woman who wrote a lot of religious poetry. In this study, the researchers try to analyze her expression in I Prayed at First a Little Girl. The aims of this study are to know the psychological side of Emily Dickinson toward Puritanism in her poetry I Prayed at First a Little Girl, to know the influence of the social condition of the society toward Emily Dickinson's poetry, and to know the meaning of Emily Dickinson's poetry mentioned above. The method of c

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PURNOMO, SISWO, and AGNES WIDYANINGRUM. "EMILY DICKINSONS' DISAPPOINTMENT TOWARD PURITANISM TEACHINGS REFLECTED IN I PRAYED AT FIRST A LITTLE GIRL." Philosophica: Jurnal Bahasa, Sastra, dan Budaya 6, no. 1 (2023): 12–25. https://doi.org/10.35473/pho.v6i1.1755.

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Poetry is a unique way to express someone's feelings. Sometimes the poetry is the author's experience. Emily Dickinson was an American poet woman who wrote a lot of religious poetry. In this study, the researchers try to analyze her expression in I Prayed at First a Little Girl. The aims of this study are to know the psychological side of Emily Dickinson toward Puritanism in her poetry I Prayed at First a Little Girl, to know the influence of the social condition of the society toward Emily Dickinson's poetry, and to know the meaning of Emily Dickinson's poetry mentioned above. The method of c

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9

Loving, Jerome, and Helen McNeil. "Emily Dickinson." American Literature 59, no. 3 (1987): 458. http://dx.doi.org/10.2307/2927139.

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10

Thomières, Daniel. "Emily Dickinson." Journal of Philosophy: A Cross-Disciplinary Inquiry 8, no. 20 (2015): 17–33. http://dx.doi.org/10.5840/jphilnepal20158202.

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11

Baym, Nina, and Cynthia Griffin Wolff. "Emily Dickinson." New England Quarterly 60, no. 2 (1987): 320. http://dx.doi.org/10.2307/365624.

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12

WOHLFELD, VALERIE. "EMILY DICKINSON." Yale Review 102, no. 4 (2014): 150–51. http://dx.doi.org/10.1353/tyr.2014.0068.

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13

Welter, Barbara, and Cynthia Griffin Wolff. "Emily Dickinson." American Historical Review 93, no. 3 (1988): 780. http://dx.doi.org/10.2307/1868265.

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14

Goffette, Guy, and Marilyn Hacker. "Emily Dickinson." Emily Dickinson Journal 15, no. 2 (2006): 14. http://dx.doi.org/10.1353/edj.2006.0033.

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15

WOHLFELD, VALERIE. "EMILY DICKINSON." Yale Review 102, no. 4 (2014): 150–51. http://dx.doi.org/10.1111/yrev.12200.

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16

Rivera Garretas, María-Milagros. "Emily Dickinson." DUODA, no. 66 (April 1, 2024): 86–93. http://dx.doi.org/10.1344/duoda2024.66.04.

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Traducción al español de las cartas 56 [DickinsonElectronic Archives, Emily Dickinson Correspondence’s,Correspondence with Susan Dickinson, Ms.HL 5, 9octubre 1851] y 93 [Ibidem, Ms. HL 20, principios de juniode 1852] según la numeración de la edición de ThomasJohnson – Theodora Ward, numeración que cambiará con lanueva edición de las Cartas de Emily Dickinson de próximapublicación en The Belknap Press, Harvard UniversityPress.

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17

Luigina Dosithea Ravinetto, Chiara. "Dickinson (2019-2021): Adaptation as a Vehicle for the Audio-Visual Exploration of the Life and Poetry of Emily Dickinson." Amsterdam Museum Journal 2, no. 2 (2024): 84–99. https://doi.org/10.61299/me458hy.

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In recent years there has been a rise in tv-shows, movies and books which present an innovative approach to fictionalizing history, approaching period-drama through a more self-aware and contemporary lens. One of such works Dickinson (2019), created by Alena Smith, adapts both Emily Dickinson’s life and poetry in a genre-bending literary biopic for the silver screen. The show follows Emily, portrayed by Hailee Steinfeld, as she navigates life and her love for writing in an extremely constraining society. In addition, every episode engages with a different poem, which is included in the title a

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18

Vinde, Ann-Marie. "Which Emily Dickinson in Translation?" Moderna Språk 107, no. 2 (2013): 115–32. http://dx.doi.org/10.58221/mosp.v107i2.8083.

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 “Which Emily Dickinson in Translation” discusses the choice of source text/s for translations of poems by Emily Dickinson into Swedish, mainly from the point of view of line division. Should translators use source texts with conventional layouts or opt for trying to reproduce also the less conventional ones found in Dickinson’s manuscripts as today shown on the Internet or in R.W. Franklin’s facsimile edition (1981), as poet Ann Jäderlund does in her 2012 translations? What are the consequences of choosing one or the other? Five poems from about 1860 to about 1884 in a number of differe

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19

Wolosky, Shira. "With Love, Emily." American Literary History 37, no. 2 (2025): 480–89. https://doi.org/10.1093/alh/ajaf031.

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Abstract The Letters of Emily Dickinson, edited by Cristanne Miller and Domhnall Mitchell, is a major event in Dickinson studies and a monumental achievement of scholarship. The editors have retranscribed, redated, renumbered, resorted among all known correspondence, posted and drafted, and have meticulously annotated what comes to 1,304 letters. These annotations report on the many social and public events that make up the world Dickinson inhabited, widening our sense of Dickinson from what has long been a focus on inward, private experience. Dickinson emerges as a vital, major voice addressi

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20

Matejka, A. "Like Emily Dickinson." Minnesota review 2014, no. 82 (2014): 46. http://dx.doi.org/10.1215/00265667-2409955.

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21

Park, Seoyoung. "Emily Dickinson's Heliotropic Imagination: Noon as an Epistemological Symbol." CEA Critic 87, no. 2 (2025): 171–86. https://doi.org/10.1353/cea.2025.a964723.

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Abstract: This essay examines noon in Emily Dickinson's poetry as an epistemological symbol through which Dickinson's striving for knowledge is expressed. Many critics have associated the sun in Dickinson's writings with oppressive forces such as divine omnipotence or patriarchal authority. However, Dickinson frequently employs noon as a transformative, liminal moment that enables visionary imagination and radical self-awareness. Dickinson's exploration of noon is characterized by a nuanced balance between bold intellectual departure and a sense of caution and anxiety. While Dickinson continuo

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22

Wry, Joan. "Deep Mapping in Edward Hitchcock’s Geology and Emily Dickinson’s Poetry." Textual Cultures 12, no. 1 (2019): 95–119. http://dx.doi.org/10.14434/textual.v12i1.27154.

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The vernacular of deep mapping provides a valuable resource for comparing Edward Hitchcock’s geology textbooks — particularly Elementary Geology — with select geology-based poems by Emily Dickinson. Although Dickinson’s poems that reveal a clear understanding of nineteenth-century science (especially geological findings) have already been critically analyzed by scholars such as Richard Sewall, Hiroko Uno, and Robin Peel, Dickinson’s verse has not yet been assessed from the vantage point of the complex layerings of literary deep mapping. Moreover, Dickinson’s poetic explorations of distinct tim

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23

Rivera Garretas, María-Milagros. "Somos las únicas poetas – todos los demás son prosa." DUODA, no. 66 (April 1, 2024): 94–120. http://dx.doi.org/10.1344/duoda2024.66.05.

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Este texto es una interpretación de la relación amorosaentre Emily Dickinson y Susan Huntington Gilbert (desde1856 Susan Huntington Dickinson) a la luz de la místicabeguina medieval europea, en particular de su gran hallazgo:le Loingprés, la Lejoscerca, hallazgo desarrollado en textos deHadewijch de Amberes y en el Miroir des simples Ames deMargarita Porete. Las beguinas fueron un tópico literario dela época victoriana que Emily Dickinson conocía, admirabay menciona en su obra poética. Trato también del deseo ydel plan de Emily Dickinson, claramente expresados en sucorrespondencia con Susan, d

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24

Krzysztofik, Małgorzata, and Anna Wzorek. "Emily Dickinson in the Work of Polish Translators. Continuation of Research." Respectus Philologicus 42, no. 47 (2022): 110–24. http://dx.doi.org/10.15388/respectus.2022.42.47.112.

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This article deals with the Polish translation of Emily Dickinson’s poetry and correspondence. It is a continuation of the reflection in The Emily Dickinson Journal’s pages, which started in 2022. This time we present translations of Kazimiera Iłłakowiczówna, Andrzej Szuba, Krystyna Lenkowska, Ryszard Mierzejewski, Tadeusz Sławek, Teresa Pelka, Artur Międzyrzecki, Lilla Latus, Agnieszka Osiecka, Agnieszka Kreczmar and Ewa Kuryluk. We discuss a selection of Dickinson’s letters translated by Danuta Piestrzyńska. We emphasize the characteristic features of each of the discussed translations. Alth

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25

Batrisya Amalia Putri and Tuti Handayani. "The Analysis of Figurative Language in “The Sky is Low, The Clouds Are Mean”, “We Outgrow Love Like Other Things”, And “Hope Is The Thing With Feathers” By Emily Dickinson." Sintaksis : Publikasi Para ahli Bahasa dan Sastra Inggris 2, no. 5 (2024): 110–20. http://dx.doi.org/10.61132/sintaksis.v2i5.989.

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This study explores the use of figurative language in selected poems by Emily Dickinson, with a focus on how metaphor, simile, personification, symbol and hyperbole enhance the literary experience. The research aims to identify, categorise, and analyse the various types of figurative language used in Dickinson's poetry. Using a descriptive-qualitative method, the study reveals that Dickinson's poems employ a wide range of figurative language techniques to express complex emotions and themes, reflecting the intricate relationship between human experience and literary expression. There are 16 fi

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26

BOZIWICK, GEORGE. "“My Business is to Sing”: Emily Dickinson's Musical Borrowings." Journal of the Society for American Music 8, no. 2 (2014): 130–66. http://dx.doi.org/10.1017/s1752196314000054.

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AbstractThe daily musical activities of poet Emily Dickinson (1830–86)—home performances at the piano, collecting sheet music, and attending concerts—provided a vital and necessary backdrop for her emerging artistic persona. Dickinson's active musical life reveals a great deal about the cultural offerings available to a woman of her time, place, and class. Moreover, her encounters with the music-making of the Dickinson family servants and the New England hymn tradition encouraged artistic borrowings and boundary crossings that had a deep and continuing influence on her writing. Through her eng

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27

Ghosh, Atrija. "Dickinson’s Transcendentalist Vision in Verse, Non-Heteronormativity, & the Saga of a Timeless Literary ‘Couple’." International Journal of English Literature and Social Sciences 9, no. 5 (2024): 111–29. http://dx.doi.org/10.22161/ijels.95.16.

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Emily Dickinson (1830-1886) was born to Edward Dickinson and Emily Norcross Dickinson in Amherst, Massachusetts. The following study intends to critically locate Dickinson’s non-heteronormative stance, adopted in selected love-poems, while also focusing on her personal letters addressed to her sister-in-law, Susan Gilbert. Dickinson, while detesting the submissive docility of a wife, often accepted the burden of acquiescence as a woman of a conservative household and a constrictive era. Nevertheless, prompted by her resentment against that anaemic passivity, she ceaselessly attempted to amend

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28

Magnone, Lena. "Czy Emily Dickinson pisała wiersze?" Przegląd Humanistyczny 61, no. 4 (459) (2018): 103–24. http://dx.doi.org/10.5604/01.3001.0012.0654.

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The author proposes a reflection on discovering the poet with regard to his creation or construction. This issue is discussed on the example of Emily Dickinson’s works which were published only after her death and were not prepared for print by the author herself. In the light of the latest research on the material dimension of her legacy (starting from Virginia Jackson’s study Dickinson’s Misery: A Theory of Lyric Reading from 2005 to the recently published collection The Gorgeous Nothings. Emily Dickinson’s Envelope Poems), it appears that many of Dickinson’s works were not written in a form

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29

VanZanten, Susan. "“Bridges Often Go”: Emily Dickinson's Bridge Poems." New England Quarterly 85, no. 3 (2012): 526–40. http://dx.doi.org/10.1162/tneq_a_00211.

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Emily Dickinson's references to the nineteenth-century science of bridge building culminate in two major bridge poems that apply technical knowledge to transcendent concepts to produce powerful statements of faith. Transforming the technological sublime into the religious sublime, Dickinson captures the mystery of the transition from life to death.

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30

Arsyad, Nisrina Muthi'ah, and Tiara Auliya Salsabillah. "Feminist view in Emily Dickinson's selected poems." Journal of Language and Pragmatics Studies 3, no. 2 (2024): 77–85. http://dx.doi.org/10.58881/jlps.v3i2.57.

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The study focuses on Emily Dickinson’s poems that express feminist views and societal expectations toward women. The selected poems, “They Shut Me Up in Prose –” and "She Rose to His Requirement – drop", explore how Dickinson’s poems connect to feminism and literature. In order to gain a deeper understanding of how literature can serve as a medium for social criticism and individual expression, the researchers used the qualitative archival and documents technique in this study. The result of this study shows feminist literary criticism and ecofeminism that Emily Dickinson used in her poetry. T

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Hemad, Atyaf Abdel-Rezzaq, and Hamdi Hameed Al-Douri. "Mystical Experience in Emily Dickinson's Later Poems." JOURNAL OF LANGUAGE STUDIES 5, no. 2 (2023): 367–81. http://dx.doi.org/10.25130/jls.5.2.21.

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This paper is mainly concerned with mystical experience in Emily Dickinson's later poems (composed between 1864 and 1886) to show the poet's spiritual growth and her attitude to the love of the Divine. It aims at analyzing and interpreting the poetry of Emily Dickinson from a mystical point of view. Most of Dickinson's poems trace themes like death, love and spiritual ecstasy. It proposes that Mysticism is some kind of spiritual practice of the soul that got weary of the material world; it is a religion of love of the Divine

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32

Ring, Camila. "Precisely Knowing Not: Emily Dickinson and Generative Negation." ELH 91, no. 1 (2024): 93–122. http://dx.doi.org/10.1353/elh.2024.a922010.

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Abstract: Even recent Emily Dickinson scholarship has tended to receive Dickinson's poems according to a mid-twentieth-century intellectual milieu, whereby affirmations of absurdity and meaninglessness are judged to be the most authentic posture. This essay argues that such readings present an anachronistic projection onto Dickinson's work. Aided by an alternative philosophical and theological archive grounded in her time, we should read the poetic features of Dickinsonian unknowing—distance, darkness, and inscrutability—not in terms of divine absence but as counterintuitive modes of divine pr

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33

BAZIN, VICTORIA. "Marianne Moore, Kenneth Burke and the Poetics of Literary Labour." Journal of American Studies 35, no. 3 (2001): 433–52. http://dx.doi.org/10.1017/s0021875801006715.

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Writing to Morton Zabel in 1932, Marianne Moore praised Zabel’s review of Emily Dickinson for Poetry magazine but also took the opportunity to remind her addressee that ‘‘Emily Dickinson cared about events that mattered to the nation.’’ In his review, Zabel had repeatedly insisted upon Dickinson’s ‘‘fast seclusion’’ from her community, locked as she was within an ‘‘asylum of the spirit.’’ This emphasis upon ‘‘isolation’’ and ‘‘introspection’’ represented the woman poet as being oddly detached from the ‘‘real’’ and implicitly masculine world of political and social change, a critical strategy M

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34

Zino, Dominique. "The Invisible Hand of the Lyric: Emily Dickinson’s Hypermediated Manuscripts and the Debate over Genre." Textual Cultures 10, no. 1 (2016): 1–36. http://dx.doi.org/10.14434/tc.v10i1.19292.

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The guiding force at work is no longer that of the intentional patriarchic editor behind the scenes that Howe condemned three decades ago. Rather, in a moment in which print and electronic versions coexist, an "invisible hand" guiding Dickinson textual scholarship is that of the enduring influence of the lyric genre itself. As the next generation of readers encounter Dickinson primarily in virtual environments, viewing scanned typed texts from various editions alongside manuscript versions, efforts to read Dickinson in traditional generic terms will be unsettled. Thirty years after Howe's imp

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35

HAJAR, SITI. "QUEERING EMILY DICKINSON IN DICKINSON TV SERIES." LITERA KULTURA : Journal of Literary and Cultural Studies 11, no. 3 (2024): 79–88. http://dx.doi.org/10.26740/lk.v11i3.59695.

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Gender Performativity talks about Gender performativity explains that gender is formed by behavior that is carried out repeatedly and forms a gender which different with individual’s biological sex. Society creates gender divides between men and women. They think that humans are born in only two genders: male and female. Heteronormativity refers to those who have only two gender or sexual orientation possibilities. This study aims to examine how Gender Performativity proves that gender identity is shaped by society and performed from repetitive acts on homosexual gestures. This study portrays

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36

Samsel, Karol. "Persona liryczna w wierszach Cypriana Norwida i Emily Dickinson." Przegląd Humanistyczny 61, no. 4 (459) (2018): 93–101. http://dx.doi.org/10.5604/01.3001.0012.0653.

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The study is devoted to personological analysis of the one-hundred-poem collection entitled Vade-mecum by Cyprian Norwid in the light of advanced and, above all, multidimensional research on the personology of the subject of creative activities of Emily Dickinson’s poems. Based to a large extent on Robert Weisbuch’s complex terminology from the canonical volume Emily Dickinson’s Poetry, using his typology of lyrical personas, the researcher on Norwid gains important, additional comparative literature tool allowing, e.g. the juxtaposition alongside each other of the types of poetry written by N

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37

Petrino, Elizabeth A., Paula Bennett, and Mary Loeffelholz. "Emily Dickinson: Woman Poet." Tulsa Studies in Women's Literature 12, no. 2 (1993): 361. http://dx.doi.org/10.2307/463941.

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Kelly, Lionel, Paula Bennett, and Benjamin Lease. "Emily Dickinson: Woman Poet." Modern Language Review 87, no. 3 (1992): 719. http://dx.doi.org/10.2307/3732970.

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39

Warren, Joyce W., and Paula Bennett. "Emily Dickinson: Woman Poet." American Literature 64, no. 2 (1992): 377. http://dx.doi.org/10.2307/2927849.

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40

윤석임. "Modernity of Emily Dickinson." Studies in English Language & Literature 33, no. 3 (2007): 89–106. http://dx.doi.org/10.21559/aellk.2007.33.3.006.

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41

Suzanne Juhasz. "Emily Dickinson: The Novel." Emily Dickinson Journal 17, no. 1 (2008): 86–95. http://dx.doi.org/10.1353/edj.0.0000.

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42

Ricca, Brad. "Emily Dickinson: Learn'd Astronomer." Emily Dickinson Journal 9, no. 2 (2000): 96–108. http://dx.doi.org/10.1353/edj.2000.0020.

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43

Frank, Adam. "Emily Dickinson and Photography." Emily Dickinson Journal 10, no. 2 (2001): 1–21. http://dx.doi.org/10.1353/edj.2001.0011.

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44

Leavell, Linda. "Marianne Moore's Emily Dickinson." Emily Dickinson Journal 12, no. 2 (2003): 1–20. http://dx.doi.org/10.1353/edj.2003.0009.

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45

Winhusen, Steven. "Emily Dickinson and Schizotypy." Emily Dickinson Journal 13, no. 1 (2004): 77–96. http://dx.doi.org/10.1353/edj.2004.0007.

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46

DICKINSON, PETER. "EMILY DICKINSON AND MUSIC." Music and Letters 75, no. 2 (1994): 241–45. http://dx.doi.org/10.1093/ml/75.2.241.

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47

Fretwell, Erica. "Emily Dickinson in Domingo." J19: The Journal of Nineteenth-Century Americanists 1, no. 1 (2013): 71–96. http://dx.doi.org/10.1353/jnc.2013.0017.

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48

Erkkila, Betsy. "Emily Dickinson and Class." American Literary History 4, no. 1 (1992): 1–27. http://dx.doi.org/10.1093/alh/4.1.1.

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49

Kaplan, Cora. "Looking for Emily Dickinson." Journal of American Studies 21, no. 1 (1987): 99–101. http://dx.doi.org/10.1017/s0021875800005533.

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50

Murray, Aífe. "Miss Margaret's Emily Dickinson." Signs: Journal of Women in Culture and Society 24, no. 3 (1999): 697–732. http://dx.doi.org/10.1086/495370.

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