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FOUR FORMS OF METAPHOR IN THE POETRY OF EMILY DICKINSON
Title
FOUR FORMS OF METAPHOR IN THE POETRY OF EMILY DICKINSON.
Creator
COHEN, NANCY SITARIK., Florida Atlantic University, Pearce, Howard D.
Abstract/Description
Any Dickinson poem may be identified as containing one of four forms of metaphor. The forms are distinguished from each other by the implicit and/or explicit naming of the essential components of every metaphor, the vehicle and tenor. Form A metaphors are those in which both components are explicitly stated, such as in the poem "The Soul's distinct connection." In Form B metaphors only the tenor is stated, while the vehicle is implied. "The Bustle in a House" is an example of this Form. Form...
Show moreAny Dickinson poem may be identified as containing one of four forms of metaphor. The forms are distinguished from each other by the implicit and/or explicit naming of the essential components of every metaphor, the vehicle and tenor. Form A metaphors are those in which both components are explicitly stated, such as in the poem "The Soul's distinct connection." In Form B metaphors only the tenor is stated, while the vehicle is implied. "The Bustle in a House" is an example of this Form. Form C metaphors are those in which the vehicle is stated and the tenor is implied as in "The Snow that never drifts--." And in Form D, neither component is explicitly stated. Illustrative of this form is "I like to see it lap the Miles--." Recognition of the four Forms facilitates understanding of metaphorical poems and allows for more exact criticism of metaphor.
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Date Issued
1982
PURL
http://purl.flvc.org/fcla/dt/14099
Subject Headings
Dickinson, Emily,--1830-1886--Criticism and interpretation
Format
Document (PDF)
Emily Dickinson
Title
Emily Dickinson: the language of a spiritually periipheral perspective.
Creator
Gallagher, Linda Pergolizzi., Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description
Emily Dickinson was a poet who existed at the center of her nineteenth-century United States culture and yet wrote from a periphery located at the edge of her being. Integral to understanding her poetry is a contextual awareness of her spiritual struggle. The experience of cultural marginalization and the way it informs art through a peripheral perspective has been the focus of examination in much of modern and post-modern literary studies where attention is given as much to an author's...
Show moreEmily Dickinson was a poet who existed at the center of her nineteenth-century United States culture and yet wrote from a periphery located at the edge of her being. Integral to understanding her poetry is a contextual awareness of her spiritual struggle. The experience of cultural marginalization and the way it informs art through a peripheral perspective has been the focus of examination in much of modern and post-modern literary studies where attention is given as much to an author's cultural station as to his or her artistic creation. A close study of Emily Dickinson's poetry reveals a spiritually marginalized perspective which closely resembles the structural framework of cultural marginalization. While there are areas of Dickinson's poetic perspective where these two experiences merge, my examination of Dickinson concentrates on her personal spiritual liminality in her relationship with God as expressed in the context of her poetry and letters.
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Date Issued
2007
PURL
http://purl.flvc.org/FAU/47851
Subject Headings
Criticism and interpretation, Spirituality, Spiritual life in literature, Belief and doubt in literature
Format
Document (PDF)
gendered approach to synaesthesia using the poetry of John Keats and Emily Dickinson
Title
A gendered approach to synaesthesia using the poetry of John Keats and Emily Dickinson.
Creator
Lucky-Medford, Lindsay., Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description
The Greek term synaesthesia, which literally translates into 'perceiving together,' is known among most literary critics as the mixing of sensations. The term is applied in literature to the description of one kind of sensation in terms of another. For instance: 'hearing' a color or 'seeing' a 'smell.' That is, the description of sounds in terms of colors such as a "blue note;" of colors in terms of sound such as "loud shirt;" of sound in terms of taste such as "how sweet the sound;" and of...
Show moreThe Greek term synaesthesia, which literally translates into 'perceiving together,' is known among most literary critics as the mixing of sensations. The term is applied in literature to the description of one kind of sensation in terms of another. For instance: 'hearing' a color or 'seeing' a 'smell.' That is, the description of sounds in terms of colors such as a "blue note;" of colors in terms of sound such as "loud shirt;" of sound in terms of taste such as "how sweet the sound;" and of colors in terms of temperature such as a "cool green." Although synaesthesia has been used by a variety of poets throughout the centuries, my focus will be on its use in the poetry of John Keats and Emily Dickinson. While critics and scholars have considered this subject before, normally it is approached in terms of its specific meaning within a particular poem. In contrast, I argue that Keats and Dickinson employ synaesthesia to crystallize a poetic perspective, a literary world view, and that this perspective significantly pertains to a variety of gender issues in the nineteenth century. Consequently, I contend that both poets were dealing with the large theme of an imaginative poetic world in which synaesthesia transmutes and synthesizes gender so that a "blue note," male and female, are radically the same and yet "other." After reviewing the scholarship of synaesthesia in Keats's and Dickinson's poetry, I will analyze a series of poems that illustrate my thesis, fleshing out the implications of a gender synthesis that makes us see both poets challenging and subverting the gendered commonplaces of the 19th century.
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Date Issued
2010
PURL
http://purl.flvc.org/FAU/2683136
Subject Headings
Criticism and interpretation, Versification, Criticism and interpretation, Versification, Synesthesia, Senses and sensation, Emotions and cognition
Format
Document (PDF)