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The Music of Emily Dickinson's Poems and Letters
Music is a vital element in the poems and prose of Emily Dickinson but, despite its importance, the function of music as a literary technique in her work has not yet been fully explored; what information exists is scarce and scattered. The significance of the musical terminology and imagery in Dickinson's poetry and prose are thoroughly explored in this book. It considers the music of Dickinson's life and times and how it influenced her writing, how she combined music and poetry to create her own style, several important nineteenth century reviews for what they reveal about the musical quality of her work, and her use of Protestant hymns as a model for her poetry. It also provides insights into musical interpretations of her poetry as related to the author by some fifty modern-day composers and arrangers, and discusses musical reflections of her poems and letters.
Emily Dickinson
The public is familiar with the Emily Dickinson stereotype--an eccentric spinster in a white dress flitting about her father's house, hiding from visitors. But these associations are misguided and should be dismantled. This work aims to remove some of the distorted myths about Dickinson in order to clear a path to her poetry. The entries and short essays should open avenues of debate and individual critical analysis. This companion gives both instructors and readers multiple avenues for study. The entries and charts are intended to prompt ideas for classroom discussion and syllabus planning. Whether the reader is first encountering Dickinson's poems or returning to them, this book aims to inspire interpretative opportunities. The entries and charts make connections between Dickinson poems, ponder the significance of literary, artistic, historical, political or social contexts, and question the interpretations offered by others as they enter the never-ending debates between Dickinson scholars.
The Traffic in Poems
The transatlantic crossing of people and goods shaped nineteenth-century poetry in surprising ways. This book focuses on poetic depictions of exile, slavery, immigration, and citizenship and explores the often asymmetrical traffic between British and American poetic cultures.
Italian Music in Dakota
The intersection between literature and music is a major feature in Anglo-American cultural history. The present volume analyzes the transatlantic migration of European opera and its appropriation by some of the most important literary figures of the United States. The presence of opera in literary texts is always "operative" and results in artistic outputs possessing more articulated and tense vectors of meaning. The comparative method applied confirms the musical sensitivity of masters such as Poe, Whitman, Melville, Dickinson, Wharton, Cather, reveals the intriguing contradictions in the poetics of Emerson, Thoreau and James and vindicates the role of some minor figures who, through their involvement in the world of musical theater, contributed to the intercultural context.
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Intermediality, Life Writing, and American Studies
This collection of essays gathers innovative and compelling research on intermedial forms of life writing by an international and interdisciplinary group of scholars. Among their subjects of scrutiny are biographies, memoirs, graphic novels, performances, paratheatricals, musicals, silent films, movies, documentary films, and social media. The volume covers a time frame ranging from the nineteenth century to the immediate present. In addition to a shared focus on theories of intermediality and life writing, the authors apply to their subjects both firmly established and cutting-edge theoretical approaches from Cultural Narratology, Cultural History, Biographical Studies, Social Media Studies, Performance Studies, and Visual Culture Studies. The collection also features interviews with practitioners in biography who have produced monographs, films, and novels.
FemPoetiks of American Poetry and Americana Music
From the poems of Anne Bradstreet, Phillis Wheatley, and Emily Dickinson emerges what the author calls FemPoetiks, a discourse of female empowerment. Situating the work of these poets in their historical eras, Linda Nicole Blair considers a sampling of their poems side-by-side with a number of song lyrics by singer-songwriters Brandi Carlile, Rhiannon Giddens, and Lucinda Williams, having found commonalities of theme, motif, and language between them. Blair argues that while FemPoetiks has continued to develop in various ways in American poetry by women, the fact that this discourse finds expression in songs by Americana female artists indicates a matrilineal line of influence from the 1630s to today. In order to show the omnipresence of this powerful feminist discourse, she closes this book with eleven interviews she conducted with female singer-songwriters from around the United States. The phenomenon of FemPoetiks is not limited to the arts but extends into all areas of American life, from the domestic to the political. FemPoetiks is a woman’s truth.
Emily Dickinson and Philosophy
Emily Dickinson's poetry is deeply philosophical. Recognizing that conventional language limited her thought and writing, Dickinson created new poetic forms to pursue the moral and intellectual issues that mattered most to her. This collection situates Dickinson within the rapidly evolving intellectual culture of her time and explores the degree to which her groundbreaking poetry anticipated trends in twentieth-century thought. Essays aim to clarify the ideas at stake in Dickinson's poems by reading them in the context of one or more relevant philosophers, including near-contemporaries such as Nietzsche, Kierkegaard and Hegel, and later philosophers whose methods are implied in her poetry, including Levinas, Sartre and Heidegger. The Dickinson who emerges is a curious, open-minded interpreter of how human beings make sense of the world - one for whom poetry is a component of a lifelong philosophical project.
Emily Dickinson and the Religious Imagination
Dickinson knew the Bible well. She was profoundly aware of Christian theology and she was writing at a time when comparative religion was extremely popular. This book is the first to consider Dickinson's religious imagery outside the dynamic of her personal faith and doubt. It argues that religious myths and symbols, from the sun-god to the open tomb, are essential to understanding the similetic movement of Dickinson's poetry - the reach for a comparable, though not identical, experience in the struggles and wrongs of Abraham, Jacob and Moses, and the life, death and resurrection of Christ. Linda Freedman situates the poet within the context of American typology, interprets her alongside contemporary and modern theology and makes important connections to Shakespeare and the British Romantics. Dickinson emerges as a deeply troubled thinker who needs to be understood within both religious and Romantic traditions.
Eight Generations of the Family of Henry Fox (1768-1852) and His Wife, Sarah Harrell Fox (1772-1848) of South Carolina, Tennessee, Alabama, and Mississippi
Henry Fox was born in Richland Co., South Carolina 12 June 1768 and died in Choctaw Co. (now Webster Co.), Mississippi 18 January 1852. He " ... [was] buried in the Fox Cemetery, Webster County, Mississippi, married Sarah Harrell, and had thirteen children."--Page 3. "Sarah Harrell Fox ... was born on July 30 1772 and died in 1848."--Pref. Henry is a descendant of John Fox Jr. who was born about 1626, emigrated from Bristol, England to Virginia in 1664 and died in 1682 or 1683. Descendants lived in Texas, Louisiana, Mississippi, Oklahoma, California, Iowa, Alabama, Arkansas, Colorado, Arizona, Michigan, Florida, Georgia, Iowa, Tennessee, South Carolina, Illinois, Washington and elsewhere.
