English Language and Literature Commons^™

On Emily Dickinson, Katelyn Confer

2024 Symposium

The following paper will explore the relationship between Emily Dickinson’s poetry, the circumstances of her life, and the historical context in which she lived to glean an understanding of how her mental health influenced her work. Selected poems by Dickinson will be reviewed and analyzed, along with a brief overview of nineteenth century attitudes towards female mental health with a particular emphasis on the medical diagnosis of female hysteria.

Moving “Passed” Life For Death, Gwyneth Morrissey

The Criterion

The paper Moving “Passed” Life for Death explores Emily Dickinson's poem #479, "Because I could not stop for Death," focusing on the theme of movement expressed through the word "passed." It analyzes the contradictory qualities of movement and stopping and how they interplay. At the same time, it looks into how the poem's periodic stopping points highlight the natural cycle of life and death, challenging the conventional and fearful understanding of dying. Dickinson's use of "passed" ultimately alludes to the persistence of life after death, altering readers' perceptions of mortality. The essay presents an intriguing interpretation of life, death, and …

The Powerful Union Of Emily Dickinson And Aaron Copland: Creation Of Musical Silence Through Transcendent Negation, Jessica Byers

English Honors Theses

This capstone paper delves into the remarkable success of Aaron Copland's art song settings of Emily Dickinson's poetry. Through detailed poetic and musical analysis, the paper examines the synergy between Dickinson's poetic genius and Copland's compositional mastery. It reveals how Copland's musical interpretations successfully capture and amplify the essence of Dickinson's poetic style and vision.

"Witness For Her": The Vanderbilt Variant Of "Further In Summer Than The Birds" And The Stakes Of Transcribing Emily Dickinson's Manuscripts For Publication, Isabel Evans

Scripps Senior Theses

For more than eighty years, scholars believed that the earliest version of Emily Dickinson’s “Further in Summer than the Birds,” a major mid-career poem often regarded as “one of Dickinson’s finest” (McSweeney 155) and “best-known poems,” had been lost (Franklin, “The Manuscripts” 552). Yet, against all odds, the manuscript survived, resurfacing miraculously at Ella Strong Denison Library, the special collections library at Scripps College in Claremont, California, in 1986, exactly a century after Dickinson’s death. Known as the Vanderbilt Variant of “Further in Summer than the Birds,” this poem continues to be misprinted, overlooked, and under analyzed by Dickinson scholars …

“His Own Was Ampler:” Dickinson And Whitman’S Sunset Poetry, Devyn Forcina

The Criterion

Although they are utterly dissimilar poets, Dickinson and Whitman made sunsets frequent subjects of their work. Dickinsonian sunset poetry attempts to imitate the natural phenomena and evokes tension and competition. A kind of closure is forced upon her unwilling speaker, who struggles against the inevitable ending of the day. In contrast, Whitmanian sunset poetry sings and celebrates the finale of the setting sun and delights in the cyclical nature of time. While Dickinson acknowledges the temporary quality of a single sunset, Whitman rejoices in their immortal occurrence. Both poets preserve the imagery of sunsets as photographers would, while imbuing them …

Emily Dickinson: 19th Century Poet In A 21st Century World, Stephanie Merrigan

Master of Arts in Professional Writing Capstones

This capstone will discuss what channels mediate public access to literary content in the case of Emily Dickinson’s poems and letters. The discussion continues with how this was a problem for Dickinson while she was alive due to her reclusiveness and unorthodox punctuation. The capstone then looks at the other aspects of this in the roles that editors, the merchandise now made with lines from Dickinson’s work, and digital technologies play in that circulation, but also how they have played a role in making Dickinson a pop culture icon in the 21^st century.

Emily Dickinson, The Tyrant, And The Daemon: A Critique Of Societal Oppression, And The Significance Of Artistic Truth, Debra Kue

Masters Theses

This thesis argues that art, for Dickinson, was an alternative system of salvation which her society could not provide her. Unwilling to surrender herself to the mold of her society, the institutional practice of Christianity and gender expectations, Dickinson chose to take ownership of her life through art, which allowed her to develop a personal language to combat the oppressive forces of the world around her. As a conscious “revolutionist of the word” Dickinson embarked on a path of self-discovery that enabled her to conduct a life in self-imposed exile as a means to emancipate herself from the constraints of …

Metaphors Of Mental Illness: How Emily Dickinson And Vincent Van Gogh Understood And Expressed Their Personal Battles With Depression, Samantha Moss

English Senior Capstone

Both the poet Emily Dickinson and the artist Vincent van Gogh wrestled with mental illness in their adult lives. There are indications that both suffered from major depression, bipolar disorder, and seasonal affective disorder. Both lived in a time when there was no real understanding of mental illness and there was no language through which people could interpret and explain their pain. Dickinson used her poetry to create metaphors, metaphors centered around death and winter. Van Gogh created nature metaphors – and some centered around dying like Dickinson’s – in his paintings and in letters to his brother. These metaphors …

Introduction: What Is “Creative Making As Creative Writing”?, Kathi Berens

Journal of Creative Writing Studies

This special issue of the Journal of Creative Writing Studies centers on how creative writing changes when writers actively engage computers as nonhuman collaborators in “creative making.” Using examples from McGurl’s The Program Era, Emily Dickinson, and the crowdsourced “translation” of Melville’s classic into Emoji Dick, Berens suggests that creative writing methods have long been procedural and technologic.

There are many forms of creative making. This special issue features creative writers that

• Write code to output novels
• Redefine how we think of writing’s “container”
• Demonstrate aspects of the digital-first, multimodal writing classroom
• Modify or remix existing artworks

Berens supplies three …

Lesson Plan For Teaching Ralph Waldo Emerson’S “The Poet”, Peter Schmidt

English Literature Faculty Works

A lesson plan, including discussion questions, for teaching Emerson's essay "The Poet" (1844).

Emily Dickinson's Echology: A Listener's Reconceptualization Of Citizenship, Consciousness, And The World, Beth Ann Staley

Graduate Theses, Dissertations, and Problem Reports

What I call Emily Dickinson’s “echology” combines the terms “echo” and “ecology” to understand how Dickinson’s work echoes – and is an echo – of the world and how, consequently, her work resides not just in her handwritten documents and their publication in various editions but in an ecology that’s tied to the earth that hosted her, the air that faced her, and the sea kept her listening. To assess the critical value of Dickinson’s echology, this dissertation begins by apprehending how the story of the echo is a story about sound masking, specifically about how the echo that is …

Uncovering Shakespeare's Sisters In Special Collections And College Archives, Musselman Library, Suzanne J. Flynn, Lauren J. Browning, Madison G. Harvey, Hannah C. Lindert, Emma J. Poff, Cameron N. D'Amica, Teagan Lewis, Merlyn Maldonado Lopez, Audrey J. Nikolich, Mariah L. Beck, Phoebe M. Doscher, Chloe Dougherty, Hana Huskic, Samantha L. Burr, Elizabeth F. D'Arcangelo, Logan Shippee

Student Publications

Foreword by Professor Suzanne J. Flynn

I have taught the first-year seminar, Shakespeare’s Sisters, several times, and over the years I have brought the seminar’s students to the Folger Shakespeare Library in Washington, D.C. There, the wonderful librarians have treated the students to a special exhibit of early women’s manuscripts and first editions, beginning with letters written by Elizabeth I and proceeding through important works by seventeen and eighteenth-century women authors such as Aemelia Lanyer, Anne Finch, Aphra Behn, and Mary Wollstonecraft. This year I worked with Carolyn Sautter, the Director of Special Collections and College Archives, to give my …

The Uncomfortable Self: Emily Dickinson’S Reflections On Consciousness, Charlotte Kupsh

Criterion: A Journal of Literary Criticism

Many of Emily Dickinson’s poems reflect a profound curiosity about the concept of the self, its limits, and its relationship to the body. While much has been written about the influence of religion on Dickinson’s poetry, few scholars have focused on the influence that prominent philosophers, such as Ralph Waldo Emerson, may have had on Dickinson’s work. Emerson’s arguments about the role of consciousness and subjectivity in human experience were widely circulated in Dickinson’s time, and evidence of the poet’s engagement with these issues can be seen in many of her poems. Dickinson repeatedly returns to questions about the physical …

From Amherst To The Other Side: The Integration Of Emily Dickinson Into The Italian Consciousness, Mia Jozwick

Dissertations and Theses

At the beginning of the twentieth century, Emily Dickinson’s poetry appeared in Italy in two key forms: anthologized alongside other American authors and in select translations by prominent Italian intellectuals including poet Eugenio Montale and writer Emilio Cecchi. Dickinson was both touted as one of the great American writers, but also kept as somewhat of an underground poet who spoke to a specific literary identity in Italy. The cross-hairs of history brought together increased knowledge of Dickinson’s poetry just as Mussolini and his fascist agenda threatened the influence of literature whether homegrown or international. What materialized was a dynamic in …

Transferring The Mantle: The Voice Of The Poet Prophet In The Works Of Elizabeth Barrett Browning And Emily Dickinson, Heidi Brown Hyde

MA in English Theses

Elizabeth Barrett Browning and Emily Dickinson are arguably two of the most recognized names in nineteenth-century poetry. One was famous in her lifetime, a pioneer of women’s poetics with a searing vision of what her world was, her place in it and how to live. The other was only recognized for her poetic genius after her death, and but for the love of her family and friends, her poetic voice would have never transformed the landscape of American literature. Although these two women were separated by culture and geography, they both had a shared Congregationalist heritage, a poetic gift and …

“That Dark Parade”: Emily Dickinson And The Victorian "Cult Of Death”, Carol M. Degrasse

English Department Theses

The elegiac poems of Emily Dickinson provide what is perhaps the clearest depiction of the conflicting emotions inherent to the death-conscious nineteenth century. In one such poem, Dickinson’s oxymoronic phrase, “Dark Parade,” encapsulates the spirit of a social movement that was born of a desire to comfort the grief-stricken and to beautify the horrific. Throughout Dickinson’s corpus of elegiac poetry, the speaker echoes these sentiments and crafts an insightful portrait, juxtaposing the stark horror of death with the ethereal beauty of ceremony. As Dickinson’s elegies are traced over time, the poems develop as microcosmic representations of a grieving nation, as …

Death As Meridian: Paul Celan's Translations Of Emily Dickinson's "Because I Could Not Stop For Death" And "Let Down The Bars, Oh Death", Alyssa Devey

Theses and Dissertations

Paul Celan's translations of Emily Dickinson's poems Because I could not stop for Death and Let down the Bars, Oh Death illuminate the global metaphor inherent in both poems' exploration of death. Celan's The Meridian speech, coupled with Dickinson's poems I saw no way and Tell all the truth, suggest that language can move in different directions across a globe at the same time. When these different lines meet, they reach a meridian of the spiritual and the material. As Celan translates Dickinson's two poems, he uses this global metaphor to place more emphasis on death and to further illuminate …

The Invisible Hand Of The Lyric: Emily Dickinson’S Hypermediated Manuscripts And The Debate Over Genre, Dominique Zino

Publications and Research

Between the mid-1990s and the present, a poetics of digitization emerged around Emily Dickinson’s manuscripts, performed primarily by the members of the Emily Dickinson Editorial Collective. Translating Dickinson’s work across archival sources, scanned images, typographic transcripts, and coding languages has offered Dickinson’s editors an escape from the determinism that accompanied the age of print and an opportunity to highlight the continuum along which the poet composed her body of work. Through multimodal, interactive exhibits, electronic editors of the Dickinson corpus often seek to demonstrate that no one medium is sufficient to represent the range of meaning implied in Dickinson’s body …

“I Take--No Less Than Skies”: Emily Dickinson And Nineteenth-Century Meteorology, Kjerstin Evans Ballard

Theses and Dissertations

Emily Dickinson's poetry functions where scientific attention to the physical world and abstract theorizing about the ineffable intersect. Critics who emphasize the poet's dedication to the scientific often take for granted how deeply the uncertainty that underlies all of Dickinson's poetry opposes scientific discussion of the day. Meteorology is an exceptional nineteenth-century science because it takes as its subject complex systems which are inexplicable in Newtonian terms. As such, meteorology can articulate the ways that Dickinson bridges the divide between the unknown and the known, particularly as she relates to the interplay of nature and culture, the role of careful …

Those Who See: Emily Dickinsons And May Swensons Poetic Language Of Spiritual And Scientific Possibility, Samantha Latham

All Graduate Plan B and other Reports, Spring 1920 to Spring 2023

Emily Dickinson and May Swenson are major American poets who use scientific language in order to explore the productive tension developed when core spiritual beliefs are challenged by new scientific observations and theories. Rather than shrink from the uncertainty resulting from the challenge to faith posed by Darwin in nineteenth-century America, Dickinson and Swenson blend scientific and spiritual language to move beyond the binary opposition often seen as separating these discourses. Dickinson responds most immediately to the advent of Darwinian thought, while Swenson builds on the work of Dickinson as she examines twentieth-century scientific discoveries ranging from the microscopic (the …

Disciplined Play: American Children's Poetry To 1920, Angela Sorby

English Faculty Research and Publications

Children's poetry is barely studied and barely taught, except as an instrumental teaching tool in colleges of education. American children's poetry, like American literature more generally, took on distinctive characteristics after about 1820, as more work was written and published by Americans. The practice of addressing adults and children together in volumes of poetry spanned the whole nineteenth century, although it was slightly more common during the antebellum period. Most scholarly work on the child like qualities of women authors stresses that, although the voice seems innocent, it is really an adult voice making an adult point. The few poems …

"Question Of Monuments": Emerson, Dickinson, And American Renaissance Portraiture, Mary Loeffelholz

Mary Loeffelholz

No abstract provided.

The Incidental Dickinson, Mary Loeffelholz

Mary Loeffelholz

No abstract provided.

"To Taste Her Mystic Bread" Or "The Mocking Echo Of His Own": Uses Of Nature In The Poems Of Emily Dickinson And Robert Frost, Ian R. Weaver

All Graduate Theses and Dissertations, Spring 1920 to Summer 2023

The central question to this thesis is: how is knowledge about nature created? A comprehensive study to adequately answer this question would be impossible; therefore, this thesis focuses on two prominent American poets’ approaches to nature: Emily Dickinson and Robert Frost. These poets’ nature poems are comparable for several reasons with a few being that both lived the majority of their lives in New England; both have had a significant impact on American nature writing; and both use nature as central to their work. But most importantly, Dickinson’s and Frost’s poetry are comparable because they have seemingly opposed approaches to …

Delinquent Palaces, Amelia Marini

Senior Projects Spring 2011

Senior Project submitted to The Division of Languages and Literature of Bard College.

Dickinson And Smith: Years Apart But Not So Different, Nicole Day

English

Even though there were sixteen years separating them, Stevie Smith and Emily Dickinson had much in common. They both use death as a theme to explore and mock life. Their small poems have a lot to say about life and death.

Why Floods Be Served To Us In Bowls: Emily Dickinson's Souvenirs, Hannah Lee

Honors Papers

This paper examines the uncanny object in Emily Dickinson's poems and letters through the lens of critic Susan Stewart's writing on souvenirs.

Whitman And Dickinson, William A. Pannapacker, Paul Crumbley

Faculty Publications

No abstract provided.

Whitman And Dickinson, William A. Pannapacker, Paul Crumbley

Faculty Publications

No abstract provided.

Review Of Emily Dickinson's Open Folios: Scenes Of Reading, Surfaces Of Writing, Paul Crumbley, Marta L. Werner

English Faculty Publications

In Emily Dickinson's Open Folios Marta L. Werner presents both an experimental edition of the forty holograph drafts and fragments known as the Lord correspondence and a highly suggestive analysis of this material. Werner's book proceeds from the simple seeming proposition that we must learn to see Dickinson's holographs before reading them. In this claim Werner aligns herself with Susan Howe, Martha Nell Smith, Sharon Cameron and a [End Page 111] growing list of scholars who believe that the visual complexities of Dickinson's holograph manuscripts significantly challenge generic categories such as poetry, prose, letters, and books. Werner's work most particularly …