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Poetry written by the gifted recluse Emily Dickinson has remained fresh and enigmatic for longer than works by her male Transcendentalist counterparts. Here Mary Loeffelholz reads Dickinson's poetry and career in the double context of nineteenth-century literary tradition and twentieth-century feminist literary theory. "Mary Loeffelholz has written a book that actually performs what it promises. . . . It illuminates our understanding of Emily Dickinson with readings both elegant and useful, and as importantly suggests modified direction for feminist-psychoanalytic theory." -- Diana Hume George, author of Oedipus Anne: The Poetry of Anne Sexton
A collection of essays illustrating the current preoccupations and practices of 13 British feminists. Each focusses on a literary text, either presenting a feminist interpretation or explaining the author's feminism. No index. Annotation copyrighted by Book News, Inc., Portland, OR
This is the first compact introduction to Emily Dickinson to focus principally on her poems and their significance to readers. It addresses the question of literary value, considering current controversies over whether Dickinson's writings are best appreciated as visual works or as rhymed and metered poems intended for the ear.
What if the American literary canon were expanded to consistently represent women writers, who do not always fit easily into genres and periods established on the basis of men's writings? How would the study of American literature benefit from this long-needed revision? This timely collection of essays by fourteen women writers breaks new ground in American literary study. Not content to rediscover and awkwardly "fit" female writers into the "white male" scheme of anthologies and college courses, editors Margaret Dickie and Joyce W. Warren question the current boundaries of literary periods, advocating a revised literary canon. The essays consider a wide range of American women writers, including Mary Rowlandson, Margaret Fuller, Harriet Beecher Stowe, Emily Dickinson, Frances Harper, Edith Wharton, Gertrude Stein, Amy Lowell and Adrienne Rich, discussing how the present classification of these writers by periods affects our reading of their work. Beyond the focus of feminist challenges to American literary periodization, this volume also studies issues of a need for literary reforms considering differences in race, ethnicity, class, and sexuality. The essays are valuable and informative as individual critical studies of specific writers and their works. Challenging Boundaries presents intelligent, original, well-written, and practical arguments in support of long-awaited changes in American literary scholarship and is a milestone of feminist literary study.
While feminist criticism has come only recently to the study of Emily Dickinson, it seems inevitable that Dickinson -- the greatest woman poet in the English language -- should be viewed in the cultural, psychological, historical, and literary context of her womanhood. The essays in this collection are dedicated to the continued exploration and definition of Dickinson's artistry. "Feminist Critics Read Emily Dickinson" heralds an exciting new vision of the work of a great poet. -- From publisher's description.
From ancient Egypt through the nineteenth century, Sexual Personae explores the provocative connections between art and pagan ritual; between Emily Dickinson and the Marquis de Sade; between Lord Byron and Elvis Presley. It ultimately challenges the cultural assumptions of both conservatives and traditional liberals. 47 photographs.
This collection provides readers with a concise, high-level introduction to the field of feminist and gender biblical criticism. It consists of 36 chapters which tackle a wide range of new theoretical and methodological movements.
"The Language of Emily Dickinson" provides valuable insight into the cryptic, complex, and unique language of America’s premier poet. The essays make each subject of exploration accessible to general readers, providing sufficient background and contextual information to situate anyone interested in a better understanding of Dickinson’s language. The collection also makes a substantial contribution to Dickinson studies with new scholarship in philology, musicality, and manuscript study. Cynthia L. Hallen, creator of the invaluable Emily Dickinson Lexicon, offers a detailed examination of Dickinson’s words and phrases that are lexically alive and semantically vital. Nicole Panizza, an accomplished pianist, explores Dickinson’s poetic relationship with music as bilingual practice. Holly L. Norton outlines the surprising connections between Dickinson’s poetry and rap music, and Trisha Kannan contributes to recent discussions regarding Dickinson’s fascicles, the manuscript “books” that contain just over 800 of Dickinson’s 1,789 poems, by reading Fascicle 30 in relation to the work and life of John Keats. This book will be of interest to scholars of Emily Dickinson and advanced readers of poetry—such as those in upper-level undergraduate English courses and graduate students in departments of English—as well as to general readers with an interest in Emily Dickinson.
With the transformation and expansion of the nineteenth-century American literary canon in the past two decades, the work of the era's American women poets has come to be widely anthologized. But scant scholarship has arisen to make full sense of it. From School to Salon responds to this glaring gap. Mary Loeffelholz presents the work of nineteenth-century women poets in the context of the history, culture, and politics of the times. She uses a series of case studies to discuss why the recovery of nineteenth-century women's poetry has been a process of anthologization without succeeding analysis. At the same time, she provides a much-needed account of the changing social contexts through which nineteenth-century American women became poets: initially by reading, reciting, writing, and publishing poetry in school, and later, by doing those same things in literary salons, institutions created by the high-culture movement of the day. Along the way, Loeffelholz provides detailed analyses of the poetry, much of which has received little or no recent critical attention. She focuses on the works of a remarkably diverse array of poets, including Lucretia Maria Davidson, Lydia Sigourney, Maria Lowell, Frances Ellen Watkins Harper, Emily Dickinson, Helen Hunt Jackson, and Annie Fields. Impeccably researched and gracefully written, From School to Salon moves the study of nineteenth-century women's poetry to a new and momentous level.
"The book gives detailed attention to the principal trends in Dickinson scholarship during the past half-century: rhetorical and stylistic analysis of the poems and letters; biographical studies informed by theories of gender, sexuality, and by medical history; feminist studies of the poet's life and work; textual studies of the bound and unbound fascicles and the so-called worksheet drafts (or "scraps"); new assessments of the poet's social and cultural milieu, including influences on her spiritual sensibility; and of her theories of poetry, including lyricism."--BOOK JACKET.