Conduct Book and Serf: Emily Dickinson Writes a Word

This article reports a study according to the tenets of empirical methodology in addressing research questions. The project tests the principles of using geographical vocabulary in Emily Dickinson’s verse. It focuses on the study of stylistic and semantic aspects of the usage of geographical vocabulary. The results demonstrate the quantitative and qualitative characteristics of the usage of geographical vocabulary. Emily Dickinson’s poems are full of geographical names, which she uses with both positive and negative connotations. As we can see, the negative connotations prevail. The results point out how Emily Dickinson manipulates geographical names at all levels of the language. In addition, the findings indicate specific color gamma of Emily Dickinson’s poems. The use of colors is different for each geographical object; especially it applies to the names of countries, towns etc. Emily Dickinson associates every continent with its own unique color. These findings demonstrate the individual style of Emily Dickinson, which is distinctive among other poets.

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Traductologie et poésie : Emily Dickinson entre la dérive des règles et les règles de la dérive

Cahiers Charles V ◽

10.3406/cchav.1994.1105 ◽

1994 ◽

Vol 17 (1) ◽

pp. 111-186 ◽

Cited By ~ 1

Author(s):

André Davoust

Keyword(s):

Emily Dickinson

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The Poems of Emily Dickinson

10.2307/j.ctvqsf0fv ◽

2005 ◽

Keyword(s):

Emily Dickinson

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The Poetics of American Civil War Sacrifice

10.1093/oso/9780198806516.003.0005 ◽

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.

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Dibdin and Jane Austen

10.1093/oso/9780198812425.003.0008 ◽

2018 ◽

Author(s):

Nicola Pritchard-Pink

Keyword(s):

Subject Matter ◽

Jane Austen ◽

Musical Performance ◽

Musical Education ◽

Young Girls ◽

Female Performance ◽

The World ◽

Music Collection ◽

Conduct Book

Jane Austen was one of Dibdin’s greatest admirers and his songs feature prominently in her music collection. Yet the Dibdin songs she owned, with their bawdy comedy, political and social satire, and martial, masculine themes, were far removed from the musical diet prescribed for young ladies of Austen’s rank by conduct writers. Indeed, they were quite different from those advocated by Dibdin himself in his tract on the musical education of young girls, the Musical Mentor (1808), which suggested songs on ‘Constancy’, ‘A Portrait of Innocence’, or ‘Vanity Reproved’ as more suitable subject matter. By highlighting the contrasts between contemporary expectations of female performance and the contents of Austen’s collection, this interlude presents domestic musical performance less as an instrument of control and more as a means by which women could express themselves and participate in the world beyond the bounds of home, family, and conduct-book femininity.

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