The Cambridge Introduction to F. Scott Fitzgerald by Kirk Curnutt, and: The Cambridge Introduction to Shakespeare's Tragedies by Janette Dillon, and: The Cambridge Introduction to Herman Melville by Kevin.J. Hayes, and: The Cambridge Introduction to Modernism by Pericles Lewis, and: The Cambridge Introduction to Emily Dickinson by Wendy Martin, and: The Cambridge Introduction to Mark Twain by Peter Messent, and: The Cambridge Intr

2009 ◽  
Vol 39 (1-2) ◽  
pp. 208-211
Author(s):  
Andrew Breeze
Keyword(s):  
Herman Melville ◽  
Mark Twain ◽  
Emily Dickinson

The Poetics of American Civil War Sacrifice

2018 ◽  
Author(s):  
Randall Fuller
Keyword(s):  
Civil War ◽  
Herman Melville ◽  
Walt Whitman ◽  
Body Politic ◽  
Emily Dickinson ◽  
American Civil War ◽  
The Body ◽  
The Sacrifice

The nature and meaning of sacrifice were fiercely contested in the aftermath of the American Civil War. Historians have documented a long struggle by veterans to ensure the continuing remembrance of their sacrifice. At the same time, American politicians tended to demur from acknowledging these sacrifices, as doing so would reopen the rift that had prompted war in the first place. This chapter probes the work of three Civil War poets—Emily Dickinson, Herman Melville, and Walt Whitman—to uncover the meaning of sacrifice during and after the war. Dickinson’s verses about psychic pain and dislocation are increasingly understood as simultaneous expositions of the personal and political: Melville’s knotty, multi-perspectival poems about the war, Battle-Pieces, question the ideological freight of sacrifice, and Whitman sought to honour the sacrifice of soldiers through a poetics he hoped would heal the body politic. Ultimately only Whitman’s consolatory poetry would find a postwar audience.

Emily Dickinson and the Battle of Ball's Bluff

PMLA ◽  
2009 ◽  
Vol 124 (5) ◽  
pp. 1582-1599 ◽  
Author(s):  
Benjamin Friedlander
Keyword(s):  
Civil War ◽  
Herman Melville ◽  
Emily Dickinson ◽  
Literary Marketplace ◽  
Local Newspapers

Emily Dickinson's response to the Civil War—once discounted as nonexistent or negligible, now embraced as part of the canon of Civil War writing—gives evidence of a conscious testing of alternatives. Among these alternatives, the most surprising, perhaps, is her potentially public positioning of herself as a war poet in works that celebrate military heroism. One such celebration, “When I was small, a Woman died—,” written in the aftermath of Ball's Bluff—a disastrous Union loss—revises the scenarios presented in two other Ball's Bluff poems and transforms the horrific death of a local soldier into a glorious ascent into the heavens, an uncharacteristically joyous response to an event that others (including Herman Melville) experienced as entirely mournful. Since the two other poems appeared in her local newspapers and since the soldier was Amherst's first casualty, Dickinson's poem is likely a carefully crafted bid for publication. Read in this way, moreover, “When I was small” reminds us that war presents a poet with unique rhetorical problems but also with opportunities, and that these opportunities can be tempting even for a writer as resistant to the literary marketplace as Dickinson.

Jonathan Edwards: The First Two Hundred Years

1980 ◽  
Vol 14 (2) ◽  
pp. 181-197
Author(s):  
Daniel B. Shea
Keyword(s):  
American Culture ◽  
Mark Twain ◽  
Emily Dickinson ◽  
Jonathan Edwards ◽  
New Yorker ◽  
Walt Disney ◽  
Divine Grace ◽  
Important Stage ◽  
Thomas Wentworth Higginson

Occasionally, even the student of American culture grown accustomed to its odd couples — Thomas Morton and lasses in beaver coats, Emily Dickinson and Thomas Wentworth Higginson, Mark Twain and the Reverend Joseph Twichell — is brought up short. One does not, after all, expect to encounter the language and cadences of Jonathan Edwards' Sinners in the Hands of an Angry God in a Walt Disney production of Pollyanna, a film in which the heroine's gladness has come to fulfill roughly the function of divine grace. And it is only slighdy less improbable to encounter in the New Yorker for 31 July 1978 the disembodied, dialectical voices of Donald Barthelme's The Leap, agreeing to postpone the leap of faitli to another day, setting aside their awareness that “We hang by a slender thread. — The fire boils below us — the pit. Crawling with roaches and other tilings. — Torture unimaginable.”The use and misuse of Jonathan Edwards, or less moralistically, the observable process of advocacy, condemnation, adaptation, and creative redefinition focussed on his life and work, has a long and instructive history. In October of 1903 an important stage in that process had been reached when bicentennial celebrations of Edwards' birth resulted in a flourishing of tributes to die Edwards legacy and assessments of the permanent and the passing in his diought, as one writer put it. We may now, three quarters of a century later, have reached a stage of comparable significance, with a potential both for summing up and for speculating on what lies ahead.

scholarly journals Reading and Not-Printing: Obstruction at the Crater Press

2014 ◽  
Vol 2 (1) ◽  
pp. 31-53
Author(s):  
Richard Parker
Keyword(s):  
Nineteenth Century ◽  
Walt Whitman ◽  
Mark Twain ◽  
Emily Dickinson ◽  
Colonial Period ◽  
Benjamin Franklin ◽  
History Of ◽  
American Poets

I will begin this paper with a brief and partial history of American printing, detecting a shared predilection for a noticeably maverick relation to the printed page in the works (printed and otherwise) of Samuel Keimer and Benjamin Franklin during the colonial period, and the works of Walt Whitman, Emily Dickinson and Mark Twain in the nineteenth-century. I term the interrupted, dialectical printing that connects all of these writer/printers ‘not-printing’, and offer some explanation of his term and a description of some of its manifestations. I will then move on to consider how the idea of ‘not-printing’ might be helpful for the consideration of some contemporary British and American poets and printers before concluding with a description of some of the ways that the productive constraints of such a practice have influenced my own work as editor and printer at the Crater Press. DOI: http://dx.doi.org/10.14195/2182-8830_2-1_2

scholarly journals Estrutura e significado em "Uma rosa para Emily", de William Faulkner

2004 ◽  
Vol 4 (1) ◽  
pp. 37-53
Author(s):  
Carlos Daghlian
Keyword(s):  
Charles Dickens ◽  
William Faulkner ◽  
Herman Melville ◽  
Henry James ◽  
William Blake ◽  
Emily Dickinson ◽  
Robert Browning ◽  
Sherwood Anderson ◽  
John Crowe Ransom

Trata-se de uma análise do consagrado conto "Uma Rosa para Emily", de William Faulkner, voltada para alguns dos principais aspectos de sua estrutura. Após considerarmos o enredo, discutimos a construção das personagens, com destaque para a protagonista, fazendo um levantamento e comentários sobre possíveis fontes de inspiração, destacando, entre outras, aspectos da biografia da poeta Emily Dickinson, a ficção e a poesia de E. A. Poe, romances de Charles Dickens e Henry James, o conto de Sherwood Anderson e a poesia de William Blake, Emily Dickinson, Robert Browning e John Crowe Ransom, acrescentando paralelos com o conto "Bartleby, o escrivão", de Herman Melville. Analisamos, então, o foco narrativo, os símbolos e o significado, ressaltando aqui o desenvolvimento temático da narrativa.

Introduction Bureaucratic Vistas

2018 ◽  
pp. 2-23
Author(s):  
Nathan Wolff
Keyword(s):  
Nineteenth Century ◽  
Herman Melville ◽  
Political Institutions ◽  
Gilded Age ◽  
Walt Whitman ◽  
Mark Twain ◽  
Late Nineteenth Century ◽  
Frances Hodgson Burnett ◽  
The Us ◽  
Late Nineteenth

This chapter sheds new light on the US Gilded Age (roughly the final three decades of the nineteenth century), revealing it—and its literature—to be a period defined as much by cynicism about corruption as by actual political venality. It sets out three of the book’s overarching interventions: first, calling us to expand our vocabulary of “political emotion” beyond sympathy to a wider range of disagreeable and in-between feelings; second, providing frameworks for analyzing the relation, rather than the opposition, between reason and emotion in political contexts (in particular, via the affective tenor of late-nineteenth-century bureaucratic discourse); third, claiming that we must supplement accounts of nineteenth-century US literature’s utopian moods with a view of those quotidian feelings—so often negative—that define encounters with existing political institutions, as foregrounded by Gilded Age fiction. Authors discussed include Frances Hodgson Burnett, Herman Melville, Mark Twain, and Walt Whitman.

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