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Emily Dickinson
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Journal Article
Comparative Literature (2015) 67 (2): 145–165.
Published: 01 June 2015
...Lisa A. Barca This essay explores how the poets Emily Dickinson (American, 1830–1886), Giovanni Pascoli (Italian, 1855–1912), and Rainer Maria Rilke (Bohemian-Austrian, 1875–1926) each use celestial imagery, such as the sun and stars, to represent the modern mystery ushered in by scientific...
Journal Article
Comparative Literature (2014) 66 (3): 301–321.
Published: 01 September 2014
... : Adams Brothers , 1844 . The Emily Dickinson Lexicon. Web. 16 Apr. 2013 . Zapedowska Magdalena . “Citizens of Paradise: Dickinson and Emmanuel Levinas's Phenomenology of the Home.” Emily Dickinson Journal 12 . 2 ( 2003 ): 69 – 92 . Print . Zwarg Christina . Feminist...
Journal Article
Comparative Literature (2019) 71 (2): 194–212.
Published: 01 June 2019
... sotsiolingvisticheskoi kharakteristike stikha rannego Lomonosova) .” Philologica , nos. 5–7 ( 1996 ): 69 – 101 . Small Judy Jo . Positive as Sound: Emily Dickinson’s Rhyme . Athens : University of Georgia Press , 2010 . Somoff Victoria . “ Alexander Veselovsky’s Historical Poetics vs. Cultural...
FIGURES
Journal Article
Comparative Literature (2002) 54 (3): 268–269.
Published: 01 June 2002
... King Lears,” of Wordsworth’s different versions of The Prelude, of
Whitman’s eight different versions of Leaves of Grass, of Emily Dickinson’s production of
widely variant texts for many of her poems, or Henry James’s thoroughgoing revision of
almost his entire oeuvre for the New York Edition of his...
Journal Article
Comparative Literature (2002) 54 (3): 270–272.
Published: 01 June 2002
... versions of Leaves of Grass, of Emily Dickinson’s production of
widely variant texts for many of her poems, or Henry James’s thoroughgoing revision of
almost his entire oeuvre for the New York Edition of his works—these are some of the
most engaging questions in literary history and theory. Two...
Journal Article
Comparative Literature (2002) 54 (3): 273–274.
Published: 01 June 2002
... King Lears,” of Wordsworth’s different versions of The Prelude, of
Whitman’s eight different versions of Leaves of Grass, of Emily Dickinson’s production of
widely variant texts for many of her poems, or Henry James’s thoroughgoing revision of
almost his entire oeuvre for the New York Edition of his...
Journal Article
Comparative Literature (2022) 74 (1): 25–51.
Published: 01 March 2022
..., contrasts, or dramatizes the first. The second verse, similarly, does not cohere between the two lines; the quotation marks signal Shahid’s use of allusion, and the dashes, for a literary reader, might recall Emily Dickinson—but ultimately a Google search is necessary to reveal that these quotations come...
Journal Article
Comparative Literature (2014) 66 (1): 127–147.
Published: 01 March 2014
... obliquely to Poe sin corneja. Pintura solo” (203;
“no crow in sight. Painting, nothing more,” 202) —and, as he looks upon a “desert
of rose-colored sand” and “strange shadows,” he asks himself, “Emily Dickinson?”
The sand and desert, the shadows and light blend together as he falls asleep...
Journal Article
Comparative Literature (2001) 53 (2): 170–172.
Published: 01 March 2001
..., but does not associate her fame with death: “Sappho and Corinna,
in whom genius flamed/In splendour shine and are for ever famed”(Canto XX, stanza
1).1 That this tradition of representation persisted into the nineteenth century is evi-
denced by Emily Dickinson’s poem “A precious - mouldering pleasure...
Journal Article
Comparative Literature (2001) 53 (2): 172–174.
Published: 01 March 2001
..., but does not associate her fame with death: “Sappho and Corinna,
in whom genius flamed/In splendour shine and are for ever famed”(Canto XX, stanza
1).1 That this tradition of representation persisted into the nineteenth century is evi-
denced by Emily Dickinson’s poem “A precious - mouldering pleasure...
Journal Article
Comparative Literature (2001) 53 (2): 175–176.
Published: 01 March 2001
..., but does not associate her fame with death: “Sappho and Corinna,
in whom genius flamed/In splendour shine and are for ever famed”(Canto XX, stanza
1).1 That this tradition of representation persisted into the nineteenth century is evi-
denced by Emily Dickinson’s poem “A precious - mouldering pleasure...
Journal Article
Comparative Literature (2001) 53 (2): 177–178.
Published: 01 March 2001
..., but does not associate her fame with death: “Sappho and Corinna,
in whom genius flamed/In splendour shine and are for ever famed”(Canto XX, stanza
1).1 That this tradition of representation persisted into the nineteenth century is evi-
denced by Emily Dickinson’s poem “A precious - mouldering pleasure...
Journal Article
Comparative Literature (2001) 53 (2): 178–180.
Published: 01 March 2001
..., but does not associate her fame with death: “Sappho and Corinna,
in whom genius flamed/In splendour shine and are for ever famed”(Canto XX, stanza
1).1 That this tradition of representation persisted into the nineteenth century is evi-
denced by Emily Dickinson’s poem “A precious - mouldering pleasure...
Journal Article
Comparative Literature (2001) 53 (2): 181–182.
Published: 01 March 2001
..., but does not associate her fame with death: “Sappho and Corinna,
in whom genius flamed/In splendour shine and are for ever famed”(Canto XX, stanza
1).1 That this tradition of representation persisted into the nineteenth century is evi-
denced by Emily Dickinson’s poem “A precious - mouldering pleasure...
Journal Article
Comparative Literature (2001) 53 (2): 183–185.
Published: 01 March 2001
..., but does not associate her fame with death: “Sappho and Corinna,
in whom genius flamed/In splendour shine and are for ever famed”(Canto XX, stanza
1).1 That this tradition of representation persisted into the nineteenth century is evi-
denced by Emily Dickinson’s poem “A precious - mouldering pleasure...
Journal Article
Comparative Literature (2001) 53 (2): 185–188.
Published: 01 March 2001
..., but does not associate her fame with death: “Sappho and Corinna,
in whom genius flamed/In splendour shine and are for ever famed”(Canto XX, stanza
1).1 That this tradition of representation persisted into the nineteenth century is evi-
denced by Emily Dickinson’s poem “A precious - mouldering pleasure...
Journal Article
Comparative Literature (2001) 53 (2): 189–192.
Published: 01 March 2001
..., but does not associate her fame with death: “Sappho and Corinna,
in whom genius flamed/In splendour shine and are for ever famed”(Canto XX, stanza
1).1 That this tradition of representation persisted into the nineteenth century is evi-
denced by Emily Dickinson’s poem “A precious - mouldering pleasure...
Journal Article
Comparative Literature (2021) 73 (2): 150–165.
Published: 01 June 2021
... of the sublime may be inflected by gender for American women poets such as Moore and Emily Dickinson, in comparison to their male counterparts such as Walt Whitman or Ralph Waldo Emerson, because the vastness, monumentality, and boundlessness of certain phenomena may pose an undoing threat to a certain coherence...
FIGURES
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Journal Article
Comparative Literature (2020) 72 (4): 418–438.
Published: 01 December 2020
... of the first-order variety: the means, media, and methods of inscription, typified by Jackson’s enduring examination of Emily Dickinson’s domestic scraps. The second-order object within the poem, the object as poetic content, has received scanter treatment. 1 Indeed, the stuff of lyric often provokes...
Journal Article
Comparative Literature (2013) 65 (3): 325–344.
Published: 01 September 2013
... as the American freed-
man, for present purposes I wish only to emphasize the degree to which Higgin-
son makes the artist appear as though “he” were languishing for “want of sympathy
in intellectual aims” (33). As Mary Loeffelholz has remarked in her examination
of Emily Dickinson’s attempts to recommence...
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