dc.contributor.author |
Bai, Jinpeng. |
en_US |
dc.contributor.author |
Youngstown State University. Dept. of English. |
en_US |
dc.date.accessioned |
2011-01-31T14:17:37Z |
|
dc.date.accessioned |
2019-09-08T02:29:24Z |
|
dc.date.available |
2011-01-31T14:17:37Z |
|
dc.date.available |
2019-09-08T02:29:24Z |
|
dc.date.created |
2001 |
en_US |
dc.date.issued |
2001 |
en_US |
dc.identifier |
47720950 |
en_US |
dc.identifier.other |
b18809637 |
en_US |
dc.identifier.uri |
http://jupiter.ysu.edu/record=b1880963 |
en_US |
dc.identifier.uri |
http://hdl.handle.net/1989/6161 |
|
dc.description |
iii, 67 leaves ; 29 cm. |
en_US |
dc.description |
Thesis (M.A.)--Youngstown State University, 2001. |
en_US |
dc.description |
Includes bibliographical references (leaves 66-67). |
en_US |
dc.description.abstract |
Emily Dickinson had a comparatively systematic poetics that remained hidden in
her poems and letters.
Dickinson's poetics evolved from her worldview demonstrated in her
independence of the established religion for ready-made perspectives. She valued
individuated interpretation of the world around and emphasized subjectivity in such
interpretation. Her independent thinking led her to view poetry unconventionally.
Dickinson defined poetry in terms of its effect on the audience and built her poetics
around the audience.
Although her poetics is audience-centered, Dickinson anticipated the intentional
fallacy of New Criticism by placing great emphasis on the study of the work itself. Her
preference of ambiguity and tension also anteceded the New Critical notion of the poetic
language.
While Dickinson gives the poet the maximum autonomy and ultimate freedom in
poetic creation, she is aware that the poet has to negotiate between her own normal
psychology and the creative urge that is all too powerful and possessive. The poet is
nothing but a representative of the Verse. On this point, Dickinson anticipates Jung's
archetypal theory by many years. Dickinson also anticipates structuralism in that she
believes that not only does the poetry of the past influence the poetry of the present, the
poetry of the present changes the meaning of the poetry of the past.
Dickinson does not only put her poetics to practice, she discusses it, in her
poems and letters, intelligently. She anticipates many of the modern critical theories, and
she combines them in a systematic way. |
en_US |
dc.description.statementofresponsibility |
by Jinpeng Bai. |
en_US |
dc.language.iso |
en_US |
en_US |
dc.relation.ispartofseries |
Master's Theses no. 0714 |
en_US |
dc.subject.classification |
Master's Theses no. 0714 |
en_US |
dc.subject.lcsh |
Dickinson, Emily, 1830-1886--Poetic works. |
en_US |
dc.title |
Split the lark and find the music : constructing Emily Dickinson's poetics / |
en_US |
dc.type |
Thesis |
en_US |