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Articoli di riviste sul tema "Emily Dickinson"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 18 maggio 2024

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1

Колівошко, В. В. "Semantic and stylistic aspects of using geographical vocabulary in Emily Dickinson’s verse". Studia Philologica, n. 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 point out how Emily Dickinson manipulates geographical names at all levels of the language. In addition, the findings indicate specific color gamma of Emily Dickinson’s poems. The use of colors is different for each geographical object; especially it applies to the names of countries, towns etc. Emily Dickinson associates every continent with its own unique color. These findings demonstrate the individual style of Emily Dickinson, which is distinctive among other poets.

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Salska, Agnieszka. "Emily Dickinson po polsku". Poznańskie Studia Polonistyczne. Seria Literacka, n. 33 (26 ottobre 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 article suggests that the increased Polish interest in Dickinson’s work is not only a kind of domino effect following Barańczak’s impressive translations. It also results from the growth of interest in translation studies and skills and must be related, too, to the fact that her poetry of private sensibility confronted with a dramatically changing world resonates with contemporary experience of the sensitive individual.

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3

Sulaiman, Masagus. "IMAGERY ANALYSIS ON EMILY DICKINSONS POETRY". English Community Journal 1, n. 1 (3 marzo 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 something to do with the themes and meanings of humans livesand their relationship with their God that symbolized and illustrated by things, and personally regarded on the reflections of Emily Dickinsons life.

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Boggs, Colleen Glenney. "Emily Dickinson's Animal Pedagogies". PMLA/Publications of the Modern Language Association of America 124, n. 2 (marzo 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 (450). In measuring Dickinson's loss biographically by the “small sphere” of her life, Higginson sets aside her ability to “wade grief” (Franklin 312) and situates her letter within the sentimental culture of pet keeping, which had transfigured a predominantly agricultural practice (pet initially referred to a lamb) into a staple of genteel domesticity and bourgeois subjectivity (Mason; Grier; Kete; Ritvo; Thomas). Far from participating uncritically in the roles and relations Higginson projects onto her, Dickinson interrogates the formation and gendering of sentimental subjectivity (Dillon; Blackwood) by placing “Carlo died” in relation to the other two lines—the signature and the call for instruction. “E. Dickinson” refers ambiguously to Emily or to her father, Edward Dickinson (Holland 146). The signature pluralizes the subject; it doubles and ultimately obscures “E.”'s gender. This ambiguous subject hinges on the animal's death as a scene of pedagogy: it stands in the liminal space between the announcement of Carlo's death and the request: “Would you instruct me now?”

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5

Khanom, Afruza. "Emily Dickinson:". Crossings: A Journal of English Studies 12 (1 settembre 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 refer to her. However, this paper focuses not on what she was, but why she was so. In this paper, I examine a number of Dickinson’s letters to explore her experience of life within a “loving” home full of parental expectations which exerted unintentional pressure on her emotions and made her the socially withdrawn person she ultimately became. For this purpose, I base my discussion on the psychoanalytic feminism of Nancy J. Chodorow and Jessica Benjamin to show how Dickinson’s subjectivity is negatively influenced by patriarchal dominance represented within the family by her father and reinforced by her emotionally absent mother.

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6

Cooney, William. "The Death Poetry of Emily Dickinson". OMEGA - Journal of Death and Dying 37, n. 3 (1 gennaio 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 discussed (reference is also made to many other Dickinson poems, and insights are also drawn from her many letters). Brief comparisons of Dickinson's views to certain philosophers (for example, Nietzsche) are made, in order to provide a wider context of exploration into these important themes. In the end, Dickinson contends that affirmation of life is impossible without an examination of death—the article therefore ends with her famous poem about that affirmation.

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7

Loving, Jerome, e Helen McNeil. "Emily Dickinson." American Literature 59, n. 3 (ottobre 1987): 458. http://dx.doi.org/10.2307/2927139.

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8

Thomières, Daniel. "Emily Dickinson". Journal of Philosophy: A Cross-Disciplinary Inquiry 8, n. 20 (2015): 17–33. http://dx.doi.org/10.5840/jphilnepal20158202.

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9

Baym, Nina, e Cynthia Griffin Wolff. "Emily Dickinson". New England Quarterly 60, n. 2 (giugno 1987): 320. http://dx.doi.org/10.2307/365624.

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10

WOHLFELD, VALERIE. "EMILY DICKINSON". Yale Review 102, n. 4 (2014): 150–51. http://dx.doi.org/10.1353/tyr.2014.0068.

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11

Welter, Barbara, e Cynthia Griffin Wolff. "Emily Dickinson". American Historical Review 93, n. 3 (giugno 1988): 780. http://dx.doi.org/10.2307/1868265.

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12

Goffette, Guy, e Marilyn Hacker. "Emily Dickinson". Emily Dickinson Journal 15, n. 2 (2006): 14. http://dx.doi.org/10.1353/edj.2006.0033.

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WOHLFELD, VALERIE. "EMILY DICKINSON". Yale Review 102, n. 4 (23 settembre 2014): 150–51. http://dx.doi.org/10.1111/yrev.12200.

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14

Vinde, Ann-Marie. "Which Emily Dickinson in Translation?" Moderna Språk 107, n. 2 (16 dicembre 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 different translations illustrate the discussion, which concludes that the former is to be preferred, for the sake of syntactical and metrical clarity.

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15

Matejka, A. "Like Emily Dickinson". Minnesota review 2014, n. 82 (1 gennaio 2014): 46. http://dx.doi.org/10.1215/00265667-2409955.

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16

Wry, Joan. "Deep Mapping in Edward Hitchcock’s Geology and Emily Dickinson’s Poetry". Textual Cultures 12, n. 1 (19 aprile 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 timelines and phenomena in both human and natural history can be aligned in many instances not only with the language of Hitchcock’s textbooks, but also with the drawings, maps, charts, and cultural contexts embedded in these volumes. The language, imagery, inquiries and conjectures in poems by Dickinson that are explicated in this essay all have clear (as well as more nuanced) ties to Hitchcock’s Geology. My study proposes that even with their different genres and diverse authorial intentions, both Hitchcock and Dickinson engage in similar rich and multivalent approaches to what is clearly an incipient version of modern deep mapping.

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Krzysztofik, Małgorzata, e Anna Wzorek. "Emily Dickinson in the Work of Polish Translators. Continuation of Research". Respectus Philologicus 42, n. 47 (7 ottobre 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. Although Iłłakowiczówna discovered Dickinson for Polish readers, her translations are perceived as archaic. Szuba mainly translates aphoristic texts. Lenkowska makes an effort to be faithful to the original. The newest translators introduce Poles to unknown poems and make new translations of the texts previously rendered into Polish.

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BOZIWICK, GEORGE. "“My Business is to Sing”: Emily Dickinson's Musical Borrowings". Journal of the Society for American Music 8, n. 2 (maggio 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 engagement with music, Dickinson was able to fashion an identity served by musical longings, one that would ultimately serve a vital role in the formation of her unique poetic voice.

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19

Magnone, Lena. "Czy Emily Dickinson pisała wiersze?" Przegląd Humanistyczny 61, n. 4 (459) (21 maggio 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 that could be recognized as poetic at first glance. A large part was preserved only in notebooks, loose sheets covered with handwriting written in continuo or at odd angles, in a manner adapted to the format of a given scrap of paper, usually a free fragment of a recycled envelope or a torn-off corner of a piece of paper used previously for a different purpose. These texts had to be recognized then by discoverers as poems, and then copied and edited in a way consistent with what was considered lyric poetry in the era. Some of them were then rejected as not falling into the category of poetry and included in the opus of the American only by later researchers. Others, in the first editions treated as poems with time were excluded by historians of literature from this collection. Contrary to the provocative title, the aim of the article is not to answer the question about the status of the texts left by Dickinson. Instead, the author reflects on the poetic criteria ascribed to her works by the first and subsequent readers.

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VanZanten, Susan. "“Bridges Often Go”: Emily Dickinson's Bridge Poems". New England Quarterly 85, n. 3 (settembre 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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21

Ring, Camila. "Precisely Knowing Not: Emily Dickinson and Generative Negation". ELH 91, n. 1 (marzo 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 presencing.

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Hemad, Atyaf Abdel-Rezzaq, e Hamdi Hameed Al-Douri. "Mystical Experience in Emily Dickinson's Later Poems". JOURNAL OF LANGUAGE STUDIES 5, n. 2 (8 ottobre 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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BAZIN, VICTORIA. "Marianne Moore, Kenneth Burke and the Poetics of Literary Labour". Journal of American Studies 35, n. 3 (dicembre 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 Moore would have been all too familiar with, her own work having been repeatedly constructed in terms of aesthetic ‘‘purity.’’ Moore’s defence of Dickinson as a poet fully engaged with the political and social issues of her day is also, implicitly, a reminder to Zabel that women’s poetry need not be confined by critical interpretation to the private and feminized sphere of ‘‘introspection’’ but could be related to public affairs of national importance.

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Samsel, Karol. "Persona liryczna w wierszach Cypriana Norwida i Emily Dickinson". Przegląd Humanistyczny 61, n. 4 (459) (21 maggio 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 Norwid, Dickinson and Baudelaire (Norwid’s and Dickinson’s lyrical persona is – it seems – a mixture of a “wounded dialectician” and “engaging sufferer”, Baudelaire’s persona is, in turn, the marriage of features of an “engaging sufferer” and “withdrawn bard”). This is how the premodernist “theatre of personas” is created, the stronger that – which I am trying to emphasize in this text – despite appearances, it is possible to find similarities in the poetic language between the works of Norwid and Dickinson. In the same way, Norwid and Dickinson – in order to build their lyric – use a poetic function in the Jakobsonian sense: on the one hand, they strengthen and intensify its impact, on the other hand, they use it to “cover up” the phenomenon of linguistic disintegration of the world for which Modernist lyric poetry served in a special way as a detector, a kind of litmus paper.

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Zino, Dominique. "The Invisible Hand of the Lyric: Emily Dickinson’s Hypermediated Manuscripts and the Debate over Genre". Textual Cultures 10, n. 1 (20 dicembre 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 important intervention, this essay describes how critics have come to consider media environments as a constitutive element of genre-making rather than an afterthought. After recounting a recent debate over the relationship between genre and medium among Dickinson scholars, I revisit Thomas Wentworth Higginson's preface to the first edition of Dickinson's Poems (1890) to demonstrate that knowledge structures in a digital age—what new media scholars call "folksonomies"—require us to conceptualize media and genre side by side. As readers encounter Dickinson's work exposed, transcribed, and described down to the smallest material detail in electronic environments, a next generation of Dickinson textual scholars will need to keep one eye on contextualizing and historicizing Dickinson's materials and another on understanding how generic classifications are established and how they endure.

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Petrino, Elizabeth A., Paula Bennett e Mary Loeffelholz. "Emily Dickinson: Woman Poet". Tulsa Studies in Women's Literature 12, n. 2 (1993): 361. http://dx.doi.org/10.2307/463941.

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Kelly, Lionel, Paula Bennett e Benjamin Lease. "Emily Dickinson: Woman Poet". Modern Language Review 87, n. 3 (luglio 1992): 719. http://dx.doi.org/10.2307/3732970.

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Warren, Joyce W., e Paula Bennett. "Emily Dickinson: Woman Poet." American Literature 64, n. 2 (giugno 1992): 377. http://dx.doi.org/10.2307/2927849.

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윤석임. "Modernity of Emily Dickinson". Studies in English Language & Literature 33, n. 3 (agosto 2007): 89–106. http://dx.doi.org/10.21559/aellk.2007.33.3.006.

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Suzanne Juhasz. "Emily Dickinson: The Novel". Emily Dickinson Journal 17, n. 1 (2008): 86–95. http://dx.doi.org/10.1353/edj.0.0000.

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Ricca, Brad. "Emily Dickinson: Learn'd Astronomer". Emily Dickinson Journal 9, n. 2 (2000): 96–108. http://dx.doi.org/10.1353/edj.2000.0020.

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Frank, Adam. "Emily Dickinson and Photography". Emily Dickinson Journal 10, n. 2 (2001): 1–21. http://dx.doi.org/10.1353/edj.2001.0011.

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Leavell, Linda. "Marianne Moore's Emily Dickinson". Emily Dickinson Journal 12, n. 2 (2003): 1–20. http://dx.doi.org/10.1353/edj.2003.0009.

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Winhusen, Steven. "Emily Dickinson and Schizotypy". Emily Dickinson Journal 13, n. 1 (2004): 77–96. http://dx.doi.org/10.1353/edj.2004.0007.

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DICKINSON, PETER. "EMILY DICKINSON AND MUSIC". Music and Letters 75, n. 2 (1994): 241–45. http://dx.doi.org/10.1093/ml/75.2.241.

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Fretwell, Erica. "Emily Dickinson in Domingo". J19: The Journal of Nineteenth-Century Americanists 1, n. 1 (2013): 71–96. http://dx.doi.org/10.1353/jnc.2013.0017.

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Erkkila, Betsy. "Emily Dickinson and Class". American Literary History 4, n. 1 (1992): 1–27. http://dx.doi.org/10.1093/alh/4.1.1.

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Kaplan, Cora. "Looking for Emily Dickinson". Journal of American Studies 21, n. 1 (aprile 1987): 99–101. http://dx.doi.org/10.1017/s0021875800005533.

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Murray, Aífe. "Miss Margaret's Emily Dickinson". Signs: Journal of Women in Culture and Society 24, n. 3 (aprile 1999): 697–732. http://dx.doi.org/10.1086/495370.

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Albano, David. "Parenting an Emily Dickinson". Italian Americana XXXVI, n. 1 (1 febbraio 2018): 71. http://dx.doi.org/10.5406/2327753x.36.1.20.

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Montaut, Mary. "Emily Dickinson, Woman Poet". Women's Studies International Forum 15, n. 5-6 (settembre 1992): 623. http://dx.doi.org/10.1016/0277-5395(92)90070-c.

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Pragatwutisarn, Chutima. "Reimagining Eden: Homoerotic Relationships in Emily Dickinson’s Poetry". MANUSYA 11, n. 2 (2008): 89–103. http://dx.doi.org/10.1163/26659077-01102005.

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The homoerotic relationship is one of the major themes in Emily Dickinson’s poetry. Critics have constantly looked for evidence of homoeroticism in the poet’s life and work. In this essay, I argue that feminist psychoanalysis, particularly theories of the mother-daughter relationship, is useful to an understanding of the homoerotic in Dickinson’s poems. In her rereading of psychoanalytical theories, Nancy Chodorow emphasizes the symbiotic relationship between the mother and daughter and the daughter’s marginal position within the symbolic order. Chodorow’s theoretical framework has been applied to the analysis of female writers, including Dickinson, who write from the position of the daughter. In “The Parable of the Cave,” Sandra Gilbert and Susan Gubar narrate the myth told by Mary Shelley about her search for a literary foremother, the Sibyl, from whom Shelley derived her creative power. Dickinson’s poetry, similar to the parable told by Shelley, depicts a speaker who is alienated from the patriarchal world of law and order and is looking for the lost mother world usually personified by nature. For Dickinson, the recovery of Eden or the female utopia is significant not only for her female self-affirmation but also in her assertion as a female author.

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Zhou, Jianxin. "Big Data Analysis on Features of Wang Jinhua's Chinese Translation of Emily Dickinson's Poetry". International Journal of Language and Literary Studies 5, n. 1 (31 gennaio 2023): 68–92. http://dx.doi.org/10.36892/ijlls.v5i1.1069.

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The American poetess, Emily Dickinson, whose poems have entered textbooks of Chinese university, primary and middle schools for many years, has become a well-known foreign poet for Chinese public. It is through Chinese translation that most Chinese readers come into contact with Dickinson's poems, yet study on Chinese translation of Dickinson's poetry which will help reveal characteristics of Chinese translation and thus contribute to the development of Dickinson studies and facilitate popularity of Emily Dickinson in China, is obviously insufficient at present. Based on text data of 243 translated poems in Wang Jinhua's collection of Chinese translation,Selected Dickinson’s Poems, and their original poems, programming approach is adopted to make statistics of vocabulary, part of speech, stanza and line, and punctuation of the original and the translated texts, and translation features of Wang's translation is revealed by contrastive analysis. It is found that vocabulary in Wang’s translation is less abundant than the original. Weights of nouns plus verbs in translation and the original text are close, accounting for about 45% respectively, but nouns performance in original text is more prominent, while verbs performance in translation is more significant. There are many additions of verbs in translation, while there are not much changes to original nouns, and sometimes new nouns are added as subjects of clauses, all of which making the translation smooth and easy to understand without lacking of gracefulness. There is little difference in the number of stanzas and verse lines between the original and Wang’s translation. Original dashes and commas have been changed a lot, either by omission or conversion, yet periods undergo little changes. Translation of exclamation marks and question marks is with high faithfulness to the original.

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Buckingham, Willis. ": Choosing Not Choosing: Dickinson's Fascicles. . Sharon Cameron. ; New Poems of Emily Dickinson. . Emily Dickinson, William H. Shurr, Anna Dunlap, Emily Grey Shurr. ; Emily Dickinson, Woman of Letters: Poems and Centos from Lines in Emily Dickinson's Letters, Together with Essays on the Subject by Various Hands. . Emily Dickinson, Lewis Turco." Nineteenth-Century Literature 49, n. 4 (marzo 1995): 538–43. http://dx.doi.org/10.1525/ncl.1995.49.4.99p0119x.

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Pinilla Monroy, Magda Consuelo. "Emily Dickinson: instantáneas del abismo". LA PALABRA, n. 26 (15 gennaio 2015): 141. http://dx.doi.org/10.19053/01218530.3254.

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Abstract (sommario):

Capturar a la poeta en instantáneas hechas de palabras es el objetivo de este texto. El presente artículo corresponde al primer capítulo del proyecto en investigación-creación “Emily o la invención del abismo”. Esta colección intenta asir a Emily Dickinson a partir de la lectura de su obra, y en diálogo con las versiones que de ella han observado algunos de sus biógrafos o lectores. Recolectar las migajas de pan, reconstruir, moldear cada fotograma de Emily, y dotar de vida a pequeños fragmentos de su existencia nos ayuda comprender el misterio palpitante, el abismo sin fondo en el que nunca terminamos de caer.Palabras clave: Emily Dickinson; instantáneas; escritura femenina; ermitaña; insurrecta; actriz; sociedad patriarcal.

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Baskett, Sam S. "The Making of an Image: Emily Dickinson's Blue Fly". New England Quarterly 81, n. 2 (giugno 2008): 340–44. http://dx.doi.org/10.1162/tneq.2008.81.2.340.

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Abstract (sommario):

Emily Dickinson's startling image, “I heard a Fly buzz – when I died,” incorporates aspects of Hawthorne's “common house-fly” in Seven Gables, which echoes elements of Tennyson's image in “Mariana.” Aware of her predecessors' images, Dickinson, through her characteristic synaesthetic interfusion of sensory experiences, “translates” her “blue fly” into something new and strange.

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Sameer, Ali, e Hasan Hadi Ali. "Creativity and its Psychological Traits in Emily Dickinson’s and Anne Sexton’s Selected Poems". International Journal of Arts and Humanities Studies 2, n. 1 (19 settembre 2022): 109–15. http://dx.doi.org/10.32996/ijahs.2022.2.1.15.

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This paper aims to analyze and explain two significant poems written by two female poets: Emily Dickinson and Ann Sexton, to disclose the relationship between creativity and unstable psychological state of mind. This study will examine Dickinson’s poem “I felt a funeral in My Brain’’ and Sexton’s poem “Wanting to Die” to reveal their themes of death, madness, and suicide to detect the mental depression and bipolar disorder they suffered from. Moreover, it is proven that there is a direct connection between creativity and mental disorder, according to some modern studies by psychologists like Kay Redfield Jamison and psychiatrist Nancy Andreason. The study will answer the following two questions: do the female poets: Emily Dickinson and Anne Sexton suffer from a mental disorder in their lives? And what is the impact of their poetic creativity on their fate?

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Zhou, Kejun. "Emily Dickinsons Nature Poems: Expression of Anti-anthropocentrism". Communications in Humanities Research 18, n. 1 (7 dicembre 2023): 222–26. http://dx.doi.org/10.54254/2753-7064/18/20231183.

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Recently, people gradually tend to treat nature with an arrogant attitude due to their increasing self-centeredness. But in the nineteenth century, Emily Dickinson has a passionate, abject love for nature and is committed to encapsulating it in her poetry. This article explores her way of treating nature from the perspective of anti-anthropocentrism and tries to find inspiration for humans on how to deal with their relationship with nature. On the one hand, it is essential for humans to appreciate the beauty of nature by observing and feeling it. If one looks closely at some creatures in nature like caterpillars and immerses oneself in nature as Dickinson did, one too can achieve pure joy. On the other hand, too much interference can destroy beauty when science turns everything into precise data. And given the Transcendental thoughts and natural facts, inherent rules of nature determine that inherent rules can not and should not be changed. Dickinsons love and respect for nature are worthy of human reflection.

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Bukhari, Romana Jabeen, e Tahira Asgher. "An Investigation into Stylistic Devices in Emily Dickinson’s and Sylvia Plath’s Poetry". International Journal of English Linguistics 7, n. 4 (16 luglio 2017): 207. http://dx.doi.org/10.5539/ijel.v7n4p207.

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Abstract (sommario):

This paper focuses on the use of stylistic devices in Emily Dickinson’s and Sylvia Plath’s poetry. It differentiates between the phonological stylistic devices as alliteration, consonance and semantic stylistic devices as simile and personification. The study is carried out on five randomly selected poems from each poetess using the mixed modal research with the tool of tabulation to quantify the findings. Qualitative approach is used for analysis. The analysis provides a clear picture of the use of stylistic devices in Emily Dickinson and Sylvia Plath’s poetry.

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Longsworth, Polly. "“And Do Not Forget Emily”: Con{f}idante Abby Wood on Dickinson's Lonely Religious Rebellion". New England Quarterly 82, n. 2 (giugno 2009): 335–46. http://dx.doi.org/10.1162/tneq.2009.82.2.335.

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Abstract (sommario):

Confidante Abby Wood describes Emily Dickinson's tortured mind during the Great Revival of 1850. “She treated me as if she were insane,” Abby writes after a call. “The spirit of God is striving in her bosom and she is perfectly wretched.” While Wood is converted, Dickinson “grieves away” her opportunity.

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