Emily Dickinson

Este artigo trata da análise do ensaio “Questões de dicção e criação poética na tradução de Emily Dickinson” do tradutor, poeta e escritor José Lira, à luz dos estudos de Crítica Textual. É uma tentativa de pensar o quanto o conhecimento dos conceitos da moderna Crítica Textual pode ajudar o tradutor literário em seu processo tradutório. Esta reflexão remete ao cerne da discussão tanto nos estudos da Crítica Textual quanto nos Estudos da Tradução de literatura: a questão da interpretação da obra literária. José Lira, no seu ensaio sobre a tradução de poemas de Emily Dickinson, aponta o quanto ele procura a artista para fazer suas escolhas tradutórias “definitivas”. E é na busca desse processo criador da poeta que ele mesmo encontra o seu. O tradutor se utiliza dos estudos da Crítica Textual para achar a voz da escritora e a sua própria.

Este trabalho apresenta apontamentos sobre duas pesquisas desenvolvidas no âmbito do mestrado acadêmico em Educação, que se inspiraram no ateliê biográfico de projeto para elaborar percursos formativos baseados na construção de narrativas (auto) biográficas.  Em ambas as pesquisas, realizadas com graduandas do curso de Pedagogia de uma Universidade Federal, inferimos que a utilização do dispositivo favoreceu a mobilização das trajetórias de vida, ampliando a formação oferecida na graduação.  Organizado em cinco partes, o texto apresenta o ateliê; expõe breves resumos das investigações; discute as travessias dessas professoras enquanto memórias subterrâneas em construção e; destaca o potencial do dispositivo formativo enquanto metodologia para produção de narrativas femininas em Educação.

Szőcs Géza költői életművében külön csoportba tartoznak azok a versek, amelyekben az idő sajátos felfogása jelenik meg. Számos darabban az idő térszerűvé válik, vagyis az idő fölveszi a tér sajátos jegyeit. Egyik korai példája ennek az időkezelésnek Az az idegesítő, állandó kopácsolás című vers, amely Szőcs egyik legjellemzőbb tér-idő verse, ahol az idő térként való leképezésének lehetünk tanúi: térként viselkedik az idő, amennyiben vissza lehet ereszkedni vagy át lehet menni egy másik évbe, mintha az egy barlangban, pincében vagy a szomszédban volna. Az Ady Bustyánál az idő térben való jelenlétét ellentétes irányban mutatja be: nem a jelenből szállnak le a múltba, hanem a múltból emelkedhetnek a jelenbe. Egy jóval későbbi, 2012-ben keletkezett versben, az Ál-dalok búval, vigalommal címűben nemcsak a múltba, de a jövőbe is ellátogat a megszólaló, az idő tereiben keresve múltbéli és jövőbeli énjét. A Harmadik levélrészlet és a Negyedik levélrészlet című versekben még inkább explicitnek mondható az éntöbbszöröző gesztus, a lírai én többes elhelyezkedése. Végül A szelf című versben nem egyszerűen a többes ének találkozásáról vagy beszélgetéséről van szó (amiről első megközelítésben a vers „szól”), és nem is csak az emberben egész élete során jelen lévő én, ösztön-én és felettes én együttességéről (ami a korábbi vers jelentéstartományának bevonásával történik), hanem az egyes én többessége nyelvi eredetének és nyelvi megvalósulásának poétikai kiterjesztéséről.

Resumo: O objetivo desse trabalho é analisar como o vestido branco de Emily Dickinson pode ser interpretado como simbolismo de sua escrita e estilo de vida. Emily Dickinson (1830-1886) é uma das mais renomadas poetas americanas do século XIX, conhecida por sua escrita introspectiva e sua vida reclusa. No entanto, poucos sabem que o vestido branco foi uma peça de vestuário que desempenhou um papel simbólico na vida e na obra da autora, tornando-se uma parte central de sua identidade. Apesar de ser um traje simples, longe de parecer trivial, o vestido de Dickinson tinha conotações relacionadas à pureza, simplicidade e autenticidade que também podem ser interpretadas como uma metáfora de sua poesia. Não era um vestido particularmente incomum nem caro para a época, era confortável e fácil de limpar. Em termos de materiais e estilo (incluindo o bolso único do lado direito), o vestido era uma peça de roupa convencional e prática do início da década de 1880 (Wald, 2010). Além disso, o branco também era funcional e fácil de cuidar numa época em que o branqueamento era considerado a solução mais confiável para limpar roupas sujas. O vestido branco agora quase reverentemente associado à Emily Dickinson era uma peça de uso doméstico comum, utilizado pelas mulheres da época para a realização de tarefas rotineiras e outras atividades informais dentro de casa. Ao optar por bolsos no vestido para acomodar seus caderninhos e lápis, Emily tinha mais liberdade para ir e vir e fazer anotações nas mais variadas situações. Ao se diferenciar quanto ao vestuário, Dickinson se distanciou da moda e da ostentação, refletindo sua preferência pela simplicidade e sua expressão poética autêntica. Além disso, o vestido pode ser visto como um símbolo de sua rebelião silenciosa contra as normas de sua época, especialmente as expectativas de casamento e maternidade que eram impostas às mulheres daquele período.

Tracing the development of non-lyric traditions in American poetry, the author investigates ways the poet disappears from the poem while poetic form is seriously destabilized. Two fundamental "alternatives to the egoposition," as Charles Olson writes in Mayan Letters (83), are identified: the poetics of attention on the one hand, and concrete poetry and language writing on the other. In nineteenth-and twentieth-century poetries of attention, the ego becomes an organ responding to experience, turning the creative self into an attentive mind that opens itself unto the world. Twentieth-century concrete poetry eliminates the self-expressive firstperson subject while allowing the language material to take the place of the subject. The radicalization of American poetry culminates in language writing, which places the creative process under the control of language, thereby doing away with the self that formerly gave cohesion to the text, and allowing language, as opposed to meter and prosody, to perform a central structuring function. Conducting close prosodic and grammetrical readings, the author demonstrates that in all these poetries-whether attention is directed to the world or to the word-the elimination of the lyrical self goes hand in hand with the disruption of regular poetic form. (EB)

A személyesség és a személytelenség különös dinamikája Szőcs Géza költészetének egyik jellemzője. És bár a személyességet ellenpontozó személytelenítés egyre hangsúlyosabb megjelenése általánosságban tetten érhető a későmodern magyar lírában, kezdve Szabó Lőrinccel, majd kiteljesedve Pilinszky János és Nemes Nagy Ágnes életművében, Szőcs a személytelenítés eszközeit tekintve számos újítással tér el elődeitől és kortársaitól, így ezen a téren egyedisége megkérdőjelezhetetlen. Három olyan költői eszközt tárgyal a szerző, melyek – miközben a későmodern elszemélytelenítési hagyományhoz való illeszkedés jelei – egyértelműen Szőcs újító leleményeinek tekinthetők. Ezek az alapvetően nyelvi eszközök rendre a leginkább személyesnek érzett alkalmakkor, a nagy érzelmi terhet hordozó lírai szöveghelyeken lépnek működésbe, távolítva az ént a szöveg aktusától, egyúttal a szöveg által teremtett tiszta nyelvi konstrukcióvá alakítva a lírai szubjektumot. A három eszköz a hangzásdúsítás, a nyelvváltás és a fantasztikumba való átlépés, amelyek különösen a személyes tematikájú versekben – így szerelmi és politikai lírájában – érhetők tetten.

Szőcs Géza 1983-ban írta Esti ima című versét, a legsötétebb Ceaușescu-korszakban, amikor – 1982-es lefogása után – nemcsak szabadságáért, de életéért is aggódnia kellett. Ebben az embert próbáló időszakban írta az Esti imát, amelynek három tétele az ártatlanság–tapasztalat–magasabb szintű ártatlanság (vagy tézis–antitézis–szintézis, perceptio–experientia–prudentia) romantikus lírai szerkezetében tárgyalja az emberi léthelyzet több nagy kérdését, így a van és a vágyott, az isteni végtelenség és az istenit immanens módon bennfoglaló emberi végesség, valamint az immanens és a transzcendens isteni létmód közötti kapcsolatot. Az első tétel imádságában artikulált vágyakozását követően olyan attitűdök vagy életelvek kibontása következik, amilyenekről Németh G. Béla Kosztolányi Számadás című kötetével kapcsolatban ír: a „létezéssel való minél teljesebb szembenézés” (a második tételben) és a „létezés minél mélyebb birtoklása” (a harmadik tételben).

A személyes találkozások felidézésének és az amerikai költő munkássága áttekintésének az ad aktualitást, hogy 2022-ben jelent meg a Michael Schumacher szerkesztette The Essential Allen Ginsberg (2015) magyar fordítása Nélkülözhetetlen Allen Ginsberg címen az Európa Kiadónál, Gyukics Gábor gondozásában, gazdagítva a szegényesnek már korábban sem mondható magyar Ginsberg-fordításokat. A Schumacher-féle mű reprezentatív módon válogatja össze a legfontosabb verseket, az esszéket, a naplórészleteket és a leveleket, két interjúval és egy fényképgyűjteménnyel téve teljessé a pályatükörnek szánt vastag kötetet.

2020 novemberében korunk egyik legnagyobb költője távozott: Szőcs Géza. Harminc-egynéhány kötete tanúsága szerint Szőcs nemcsak verset, prózát, drámát, operalibrettót, esszét, politikai elemzést és naplójegyzetet írt, és verseket fordított, de az egyes műfajokon és írásmódokon belül is folyvást több hangon szólalt meg. Művészetében megfért egymás mellett a klasszikus lírikus, az epikus történetmesélő és a felforgató drámaszerző éppúgy, mint a konzervatív gondolkodás és az avantgárd írói gyakorlat. A tanulmány a költő gazdag munkásságát tekinti át.

A tanulmánykötet Szőcs Géza költészetének több irányból történő értelmezését nyújtja, kapcsolódva a címbeli katakrézis, az Emontekiő több eleméhez: a korpuszt átható, itt-ott visszatérő toposzhoz, a katakrézisalkotás innovatív költői módszeréhez és a végtelen programok szőcsi elképzeléséhez. A tanulmányok új megközelítésben értelmezik a 2020-ban elhunyt költő munkásságát, cáfolva a Szőcs-kritika uralkodó toposzait a szőcsi mítoszteremtéssel, valamint a metaforikus és szimbolikus írásmóddal kapcsolatban. Az új tézisek között megemlítendők a következők: Szőcs munkássága a konzervativizmus, a kozmopolitizmus, a próteuszi átváltozás és a permanens újítás együttese (Cristian Réka); magyar és világlírai áthallások gazdagsága is biztosítja Szőcs helyét a világlíra kánonjában (Horváth Kornélia); a metaforikus írásmód visszaszorulása és az immanencia – konkrétan az isteni létmód emberi megjelenéseinek – komplex bemutatása a gondolati újítás hagyományaiba sorolja Szőcsöt (Bollobás Enikő); a nyelvi immanencia poétikai formái, a zene és a nyelvi játékosság a formai kísérletezők kánonjába emeli a költőt (Hegyi Pál); az állati szubjektum nem-metaforikus kezelése a magyar irodalomban nem ismert, vadonatúj szemléletről tanúskodik (Vöő Gabriella); Szőcs angol fordításai egy szinte organikusan összeálló angol-amerikai költői hagyománnyal való poétikai rokonságát jelzik (Kurdi Mária); a Kolozsvárhoz, a város helyszíneihez, jelenségeihez és embereihez való mély kötődés a Szőcs-vers egyik leghangsúlyosabb attribútuma (Farkas Wellmann Endre).

Jelen kötet az irodalomtudomány egyik izgalmas területét tárja fel, betekintést nyújtva – amerikai versanyagon – a nem alanyi költészet néhány módozatába. A tárgyalt költői művek a lírai alany tekintetében különböznek a jóval gyakoribb alanyi költészettől: az alany befelé forduló figyelmétől vezérelt versekkel ellentétben az én távolítása, gyengítése vagy teljes megvonása jellemzi őket. „Nehéz” versekről van szó, mert az alanyi költészeten nevelkedett olvasót új, sosem tanult értelmezési kérdésekkel állítják szembe, elvárva, hogy ne világértelmezésként vagy a lírai én számvetéseként olvassa a szövegeket, hanem az éntől távolított megfigyelésekként, a nyelvben őrzött tudásnak az én következetes megvonásával láthatóvá tett lenyomataiként, illetve akár nyelvi játékokként.

Figurative language is a language that uses words or expressions with a meaning that is different from the literal interpretation. It is used to create a more vivid and imaginative description of something, often by comparing it to something else. Figurative language is a language that uses words or expressions with a meaning that is different from the literal interpretation. It is used to create a more vivid and imaginative description of something, often by comparing it to something else. Figurative language includes metaphors, similes, personification, hyperbole, and idioms. Therefore, the researcher of the present study only focuses on the analysis of the personifications and similes in Imtiaz Dharker's poem "Postcards from God". There are two research problems: to identify and analyze the personifications and similes and to find out the meaning of the personifications and similes in Imtiaz Dharker's poem "Postcards from God". The findings of the research revealed that the poet employs similes and personifications in the poem, and the meanings of the personifications and similes are based on infancy, exile, travel, home, displacement, religious conflict and fear, and ultimately, grief.

Assidue, come gemme pure, lagrime dileguano. Aduna il chiarore sul terreno di sterpi stretto, folto come una boscaglia, la volpe che uno screzio d'oro estenua e abbaglia al filo tagliente della luna, ed occhi ti hanno guardato in faccia perché l'opera risplende. (…) * Perché mestizia levata in alto ora albeggi com'è intirizzita la materia, non serve più una sera. Inerte bruma diafana leggera è quest'ombra opaca che ti calpesta.

Poésies villageoises de l'Inde datant de plus de deux mille ans traduites du prakrit en russe par V. V. Vertogradova et du russe en français par J.Durin KHALA Sattasai Rédaction de Gangadkhara 3 Six cents gatkhas ornementées Furent extraites du fonds insondable des vers en prakrit Et ici mises en un ensemble Par Khala, l'ami des poètes. 8 Vois, ma commère, ces tiges de lotus, Ornement et fierté de notre village, Elles sont maintenant, abattues par le gel, Comme un champ de sésame qu'on a moissonné.

The present issue of 'Balcania et Slavia' consists of a selection of papers based on the presentations given at the first international meeting of 'Fundamentals and Advances in Balkan Linguistics' (FABL), held at the University of Belgrade on November 16-18, 2023. By organising FABL, we wanted to create a forum for the current high-quality work in Balkan linguistics, especially the one that deals with less widely researched varieties, topics or innovative methodologies, as well as to foster networking between researchers from various academic centres around the world where this work is currently being done. To the best of our knowledge, there was no other similar international event, devoted specifically to Balkan linguistics, and we felt the need for such venue. The turnout of the conference proved that our intuitions were sound.

Death is the definitive -in-itself‖ which cannot be experienced and it is beyond communication. Emily Dickinson was surely acquainted with sacredness of life in the presence of death. Death, the ultimate experience, is for Dickinson the supreme touchstone. Death is personified in many guises in her poems, Dickinson's imagery and effective use of the basic elements of poetry has produced a poem with several different meanings. Her conception of death and how she portrays it in -Because‖ exposes the reader's mind to a variety of ideas about death. Surely, after reading the poem, the reader could never view death in a singular way again. Poetry at its best leaves the reader with new ideas about the topic at hand. As a result of the writing of the poets of the nineteenth century, readers are given many different ways of regarding various aspects of life in this paper We have discussed about her Perspectives on Death.

This article explores Emily Dickinson's poetics of labor and the relationship between work and leisure in both nineteenth-century and contemporary US culture. Historically, labor has been perceived as the axis of social and economic values. Individuals, however, are frequently encouraged to deviate from their work routines, making it difficult to appreciate them. Using a comparative and interdisciplinary approach, this study examines Dickinson's oeuvre in dialogue with the philosophical and sociological framework on the distinction between work and leisure and its implications for people's lives, as well as how the value of work has changed over time. Through a close reading of selected poems and letter fragments, this article demonstrates how Dickinson's work blurs traditional boundaries between labor and leisure, suggesting that creative work can hold intrinsic, self-validating worth irrespective of economic or societal pressures. Finally, Dickinson's perspective on work and time may inform contemporary debates around meaningful labor and life balance in a capitalist society.

This study is a 3-week experiment using Michael Okpara University of Agriculture Umudike (MOUAU) Digital Library and clients as study area and population respectively. Having observed the problem of students and researchers underutilization of electronic databases subscribed by academic institutions in Nigeria, the research was aimed at testing students and researchers approach to a new method that may enhance usage of subscribed electronic databases and recommend it if positive. Dummy links, representing some of the Universal Resource Locators (URLs) of the databases subscribed by MOUAU were created as the desktop page of ten computers in the digital library. Designed purposively, a click on the dummy links referred clients to the librarian. The record of clients who reported to the Digital Librarian as a result of the dummy upload request was collated. Apart from finding that, gender, level of study and purpose of visit are electronic database utilization variables, the study reve...

According to Gaston Bachelard in The Poetic of Space, house represents the happy space par excellence, it is the first place in which human life is welcomed to the world, a “big cradle” hosting men and women since their very first breaths. The analysis of the concept of dwelling and of home encounters the literary corpus of Paul Celan, a German-speaking Jewish poet who was born in the ex-Habsburg town of Czernowitz in 1920, and who was the only one in his family having survived the Holocaust. After the Soviet Union invasion of Bukowina, he will be obliged to leave his birthplace, his Heimat , forever and to cross Europe from Romania to France. The search for a happy place to settle his life must face common problems linked to migration, to antisemitism, and the trauma of his mother’s and father’s deaths together with the definitive loss of his native home.
This article aims to concentrate on the occurrence of terms such House, dwell and their synonyms in the Speech of Bremen’s Prize and in various poetic compositions: Das einzige Licht ‘The Only Light’, Der Stein aus dem Meer ‘The Stone from the Sea’ and Hüttenfenster ‘Hut window’. In conclusion, the focus will be, at first, on the definition and etymological hypothesis of House/Home, fundamental for the topic connections that will be instituted through the analysis.
After that, the inhabitable spaces and refugees appearing in Paul Celan’s poems will be described with a particular attention to the poet’s biography.

The aim of this study is to analyze the Turkish translations of American poet Emily Elizabeth Dickinson's English poem "Hope is the Thing with Feathers", based on Eugene Albert Nida's principles of correspondence. This study will analyze Selahattin Özpalabıyıklar's translation published in 2006, and within the scope of this study, two new translations that have never been published before, made by the author of this article as a data collection tool for this study, will be analyzed according to the Eugene Albert Nida's "formal equivalence" and "dynamic equivalence" principles. Eugene Albert Nida is known as an important linguist who focused on the principles of equivalence in translation. This study aims to analyze the translations made using Nida's principles. The formal and semantic features of poetry cause difficulties in translation; because poetry creates meaning by using the sound aesthetics and rhythmic features of the language. In this context, it aims to determine how the ballad form and content of Dickinson's poem are transferred to the target language and culture by translators. Taking into account the difficulty of translation and the originality of the poem, the study will evaluate how compatible the translations are with Nida's principles of equivalence and tried to reveal the differences between the translations. The findings of the research show that the translations of the source work are in compliance with Eugene Albert Nida's principle of dynamic equivalence.

The free-floating objects in Celan's 1960s poems are more than astronomical and mystical phenomena; read ontologically, they reveal the imprint of Nietzschean nihilism. The loss of gravity in Celan's middle and later poetry ciphers his dizzy sense of living in a postwar Europe where he has to work through fallen values by opening his poetry up to unknown configurations and dimensions of nihil. Although Celan is reluctant to resort to Will to Power to fight nihilism, he seeks to give space for the nothing, to make sense (if not a meaning) out of it in light of Nietzschean Eternal Return. His free-floating astral bodies, simultaneously embodying the heaviness and lightness of being, maintain nihil in an open, poetic, non-nihilistic atmosphere where nihil is set in motion but de-absolutized in the poetic horizon.

Inédita em vida (ou praticamente), Emily Dickinson escreveu uma obra tão volumosa quanto problemática, na medida em que criava "variantes" de seus poemas, ou "alternativas", o que multiplica potencialmente os quase 1800 poemas. A partir de 1870, Dickinson também começa a escrever textos que já nem mesmo são poemas, mas rascunhos e rabiscos, que não são menos interessantes que os poemas ou as cartas. Este ensaio tenta entender o percurso que vai da obra aos rabiscos, a partir do de uma leitura do poema "Publication – is the the Auction"  e de sua tradução.

Such were the first impulses which begot the myth. Such were the first fertile illusions. The changes they suffered and the further in- sights they elicited, as they were challenged, transcended, and drama- tized over the years, are precisely the burden of this study. But it is worth remarking that while the Adamic image was invoked often and explicitly in the later stages of our history, during earlier stages it re- mained somewhat submerged, making itself felt as an atmospheric presence, a motivating idea. It was the concealed cause of an ethical polemic, and it lurked behind the formal structure of works of fiction. The image was slow to work its way to the surface of American ex- pression; and the reader will notice that it tends to appear toward the end of sections or discussions in this book. The significant fact is that the literal use of the story of Adam and the Fall of Man as a model for narrative occurred in the final works of American novelists, the works in which they sought to summarize the whole of their experi- ence of America. The Marble Faun and Billy Buddy where the Adamic imagery is altogether central and controlling, were the last finished writings of Hawthorne and Melville. And it was in The Golden Bowl of Henry James that the protagonist's name was Adam. Those novels were perhaps as close as American culture ever came to the full and conscious realization of the myth it had so long secreted. It is also worth remarking that the ideal of newborn innocence was both rejoiced in and deplored. The opposed reactions set the dialogue in motion that later constituted the energizing conflict in narrative fiction. Emerson, recoiling from the sense of antique pressures in Europe, might voice the epochal remark: "Here's for the plain old Adam, the simple genuine self against the whole world/' But Henry James the elder, that formidable and explosive man, came back (in 1857) with the contention that "nothing could be more remote . . . from distinctively human attributes . . . than this sleek and comely Adamic condition." This was not, in fact, an effort simply to repudiate the current mythology. James wanted rather to enrich it, by educat- ing his listeners in the fact and the value of tragedy, for, as he said, "Life flowers and fructifies out of the profoundest tragic depths." And just as the more optimistic moral principles were challenged and converted in the course of the dialogue, so the narrative figure of Adam introduced as the hero of a new semidivine comedy was converted into the hero of a new kind of tragedy, and grew thereby to a larger stature. It was the tragedy inherent in his innocence and newness, and it established the pattern for American fiction. Prologue recently has the old conviction of the new historical beginning seemed to vanish altogether, and with it the enlivening sense of possibility, of intellectual and artistic elbow-room, of new creations and fresh initia- tives. Our culture will at the very least be a great deal drearier without it. The dangers, both to life and to letters, of the Adamic ideal were acknowledged at once and have been repeated endlessly. The helpless- ness of mere innocence has been a primary theme of novelists in almost every decade, and a source of bewilderment to our political and diplomatic historians. The dismissal of the past has been only too ef- fective: America, since the age of Emerson, has been persistently a one-generation culture. Successive generations have given rise to a series of staccato intellectual and literary movements with ever slighter trajectories. The temper which despised memory not unnatu- rally fostered a habit of forgetfulness, and writers who even forgot that there was anything to remember have found themselves remote alike from their predecessors and their contemporaries. The unluckiest consequence, however, has not been incoherence, but the sheer dulness of unconscious repetition. We regularly return, decade after decade and with the same pain and amazement, to all the old conflicts, pro- grams, and discoveries. We consume our powers in hoisting ourselves back to the plane of understanding reached a century ago and at intervals since. The vision of innocence and the claim of newness were almost peril- ously misleading. But they managed nonetheless to provide occasions for reflection and invention, for a testing of moral and artistic possi- bilities. The illusion of freedom from the past led to a more real relation to the continuing tradition. The vision of innocence stimulated a positive and original sense of tragedy. Without the illusion, we are conscious, no longer of tradition, but simply and coldly of the burden of history. And without the vision, we are left, not with a mature tragic spirit, but merely with a sterile awareness of evil uninvigorated by a sense of loss. For the notion of original sin draws its compelling The American Adam aristocratic families fed the flames, to the crowd's mounting enthusi- asm; after that came the robes and scepters of royalty; the scaffold and other symbols of repressive institutions; and finally the total body of European literature and philosophy. "Now," declared the chief celebrant, "we shall get rid of the weight of dead men's thoughts." The story is a fantasy, to be sure a fantasy composed by Nathaniel Hawthorne in 1844 and called "Earth's Holocaust." But it was close enough to history, and, like every good story, it was truer than history. Its theme may have been suggested by the historic activities of a religious group known as the "Millerites," though the Millerites were only among the more extreme and disappointed of the age's mil- lennialists. But Hawthorne, as usual, enlarged upon his historical materials; and, in doing so, he managed very accurately to catch in a fable the prevailing impulse to escape from every existing mode of organizing and explaining experience, in order to confront life in entirely original terms. And at the same time, in the divided attitude that gives his story its vital tension, Hawthorne managed to convey the deep reservations that certain Americans felt about the contem- porary passion to destroy. A genuine sympathy informs the irony and The Case against the Past in William Bartram's eighteenth-century travel-book: "When a town celebrates the busk . . . they have previously provided themselves with new clothes, new pots, pans, and other household utensils and furniture, they collect all their worn out clothes and other despicable things, sweep and cleanse their houses, squares and the whole town, of their filth, which with all the remaining grain and other old provi- sions they cast together into one common heap and consume it with fire." The whole viWalden^according to one reading, is a metaphoric expansion of Bartram's busk the busk of the human spirit, when clothes and pots and pans are discarded as symbols of ambitions and interests. 1. See the study by Daniel J. Boorstin, The Lost World of Thomas Jefferson (New York, 1948), especially the chapter entitled "The Sovereignty of the Present Generation." C'5l

Jim Jarmusch’s Paterson (2016) focuses on the life of a bus driver and poet living in Paterson, New Jersey, which shares the same name with the city. The film is a rich text for fruitful philosophical examination when viewed through Baudelaire’s concept of the flâneur, the central characteristics of American Beat literature, and the dichotomy between art as a gift and commodity exchange. This article aims to illuminate the philosophical foundations of Jarmusch's work by placing the film within this theoretical framework. Through a detailed cinephilosophical examination, it is aimed to gain insight into how Paterson reflects the philosophical, aesthetic, and cultural continuities extending from Continental Europe to America. This essay attempts to offer meditation on the nature of art, individual existence, and daily life, and it is demonstrated that the film's protagonist, Paterson, eventually manages to establish a balance between gift and commodity exchange.

Emily Dickinson’s ‘Because I could not Stop for Death’ is one of the most celebrated and researched poems in American literature. This research paper not only aims at analyzing the poem stylistically by exploring the figurative language and poetic devices used by the poet to portray the themes of death and immortality; but it is also an attempt to find out the
contextual meaning of each figure of speech used in the poem. Descriptive qualitative research method is used in the current study to analyze the poem. The findings revealed that while writing her poems Emily broke the norm of conventional style of composing poetry by
adopting a unique form. One such example is the use of half rhyme instead of full rhyme. Moreover, figures of speech such as Personification, metaphor, metonymy, antithesis, symbolism etc. are used which will help the reader understand the poem.

A partir de la experiencia de compilación y traducción de la poesía de Emily Dickinson, que dio como resultado la antología Pequeños Pies (2021), este trabajo revisa el marco teórico de traducción propuesto por Delfina Muschietti en su texto “Poesía y traducción: constelaciones teóricas y traducciones comparadas” (2013), haciendo especial foco en los conceptos de mapa rítmico, literalidad productiva y cantidad formal, para examinar su caracterización del traductor como “invisible” y plantear otra manera, la del traductor “intérprete”, asociándolo a la idea de versión en la interpretación musical.

The ideology behind much Hudson River School painting was reflected in the 1855 inaugural volume of the art journal The Crayon. There Asher B. Durand's ''Letters on Landscape Painting'' were serialized alongside a short story by William James Stillman, a painter as well as The Crayon's editor. His ''Wilderness and Its Waters,'' a tale of travel into the Hudson River's headwaters, attempted to redefine the landscape painter's activity. Reinforcing Durand's imperative to study nature in its undefiled state, Stillman portrayed landscape painters both as deeply philosophical and as men of action. Emphasizing the primitive conditions encountered on the river, Stillman introduced hardship, privation, and physical risk to the requirement of relentlessly observing nature, while offering spiritual epiphany as reward. He created a novel artistic profile that melded two stereotypical professional identities, those of intrepid explorer and minister of God, which conveniently mirrored the values by which many Americans defined themselves. The designation Hudson River School refers to landscape painters who worked and exhibited in New York City from about 1825 to 1875. They constituted the first major artistic movement in the United States, through whose efforts landscape painting in America attained the status of a distinct art form and New York became established as America's art center. The Hudson River School painters achieved success because their work resonated with Americans' collective image of their land. The landscapes produced by these New York artists not only paralleled developing scientific interests regarding America, but also provided Americans with an attractive self-image, a shared political identity, and a reflection of their desire for universal moral and religious truths. 1 1.

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L'uomo non può essere solo. Per tutta la vita, sentirà più o meno forte il richiamo della sua condizione primeva, la vita dunque, non potrà mai essere pienamente felice, così come insegna la natura attraverso tutte le sue manifestazioni: L'inverno"uccide" ogni cosa e porta il gelo, mentre la primavera riporta la vita ed il tepore del sole; accade ogni anno. Questo ci insegna che nulla termina e tutto continua a vivere rinnovandosi.

censura académica sobre la sexualidad. Expone con claridad y evidencia que el sexo no era un tabú para los antiguos, que formaba parte de su vida cotidiana y que era visible en todos los espacios, desde los más sagrados a los profanos. Por ello, la información que podemos extraer es rica y detallada, dibujando un panorama de naturalidad en torno a las relaciones sexuales.

Autrice di una poesia dal dettato lineare e semplice, che sottrae al critico-lettore il gusto del disvelamento enigmistico, Margherita Guidacci resta tutt’oggi principalmente ancorata al ruolo di traduttrice e al giudizio cui fu destinata sin dai primi esordi, allorquando nel 1948 ricevette ex-equo con Sandro Penna il premio «Le Grazie» per cinque poesie inedite (si veda, a tal proposito, il giudizio al vetriolo di Eugenio Montale inviato mediante una lettera privata a Piero Bigongiari: «Non trovo concorrenti veramente meritevoli […]. Potreste secondo me citare una terna: F. Arcangeli, Spagnoletti, Guidacci, e premiare quest’ultima con una breve relazione che dica come e qualmente s’è voluto soprattutto incoraggiarla. Mi secca che stia a Firenze, e anche mi infastidisce quella continua aria di traduzione che circola nelle sue poesie […]. Il mio voto, mestissimo, è dunque per la Guidacci»). Alla voce di Montale si oppone il giudizio di Carlo Betocchi, il maggior esponente novecentesco di un understatement e di una cultura letteraria non esibita ma lasciata agire nei contenuti, che per la Guidacci sarà sempre prodigo di entusiasmi. Ripercorrere questa «non-fortuna critica» (come ebbe a definirla Mario Luzi) sarà funzionale a nuovi affondi sulla raccolta poetica forse più rappresentativa della Guidacci, Neurosuite, in cui si rintracciano le suggestioni della psicanalisi novecentesca (di Roland Laing, di Franco Fornari, il quale ad es. ad Alda Merini aveva insegnato che il manicomio «è come la rena del mare: se entra nelle valve dell’ostrica, genera perle», motivo anche di Ostrica perlifera, la poesia conclusiva di Neurosuite) e del suo lavoro di traduttrice (ad es. dell’Autobiografia di Edith Sitwell, in cui si rintracciano le stesse associazioni che ritroviamo anche in altre liriche fra le più suggestive come Gridi).

This study sheds light on the attitudes of two American Romantic Poets during the nineteenth
century: Edgar Allan Poe and Emily Elizabeth Dickinson, towards the notion of death.
Although they share the same interest of discussing death, but each one of them has his/her
own style in expressing his/her views and thoughts concerning this concept. As far as the
problematic of this study is concerned, Dickinson gives a great number of her poems only to
discuss about the topic of death. She writes about death notion to the extent that someone
would consider her as a Dark Romantic poet just like Poe. However, she represents this
phenomenon with optimistic view in contrast of Poe. To make the study more concise, one
poem for each poet is selected to be analyzed. The choice is based on the relevance of the
poems for the topic: Poe‘s Annabel Lee and Dickinson‘s Because I Could Not Stop for Death.
Furthermore, the intended methods to follow in this study are descriptive and interpretive.
Sources and citation follow the MLA seventh edition. Following Freudian psychoanalysis
and New Criticism approaches, the poets‘ attitudes are revealed thematically and stylistically.
Different views of death during the various Western intellectual stages and domains are
concluded. Finally, this work answers the main question concerning how did the two poets
Poe and Dickinson express their views on this phenomenon between their poems‘ lines.
Key Words: Annabel Lee; Because I Could Not Stop for Death; Death; Edgar Allan Poe;
Emily Dickinson; Freudian Psychoanalysis (conscious and unconscious); New Criticism.

This essay explores desire as one mode of poetic attention. Through readings of poems by Shakespeare, Emily Dickinson, Robert Hass, and Wallace Stevens, I show how desire is given form through the formal orchestration of attention. In these poems, desire emerges as a mode of attention brought into tension by inflections of interest and lack. This reading gives us a new way of thinking about the poetics of desire and a new language for exploring how desire is not only described but also produced and embodied in poetic form. W hat are love and desire, and how do we identify their particular workings, dynamic shape, and stance as forms of poetic attention? What distinguishes the love poem from the ode or from the poem of descriptive observation? In the love poem, we find an essential tug between interested and disinterested attention that can be said to form the intersection between aesthetic experience and relationships in the nonaesthetic realm, the field of semantic “aboutness” that...

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