Download Writing life : suffering as a poetic strategy of Emily by Jadwiga Smith, Anna Kapusta PDF

By Jadwiga Smith, Anna Kapusta

The research of a variety of Emily Dickinson's texts confirms the proposal that ache occupies the important place within the poet's paintings. Her poetry constitutes an instance of a painful literary quest for subjectivity in addition to an act of self-transcendence, which means via her writing the poet acquired wide awake keep watch over over her own pain. by utilizing ache as a poetic method she reworked her deepest biography right into a literary textual content. during this means she turned a version for dealing with soreness and utilizing it for self-examination and self-development. In Emily Dickinson's poems agony creates a brand new language and a brand new outlook at the self and the realm. in the course of the research of her poetic texts 3 dimensions of affliction as a poetic process were amazing: ache as a subject matter, pain as a subversive strength affecting the language, and pain as a kind of poetic expression. The serious device used for this research was once the idea of Julia Kristeva, who emphasises those parts as the most important within the interpretation of literary texts.

The therapeutic strength of Emily Dickinson's poetry lies in her providing that soreness additionally has the confident, empowering part. through showing an fabulous autonomy and exhibiting another approach of lifestyles the poet confirmed that fulfilment might be understood in a truly wide experience. Her poetry constitutes proof that the artistic techniques can be utilized as psychotherapy for either the writer and the recipient.

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Additional info for Writing life : suffering as a poetic strategy of Emily Dickinson

Example text

After denial, anger, bargaining, and depression the poet seemed to have achieved acceptance. As her health stabilized, and there were no more deaths around her, her emotions became soothed and so was the torrent of her artistic outpouring. “No longer a wounded deer, or a smitten rock that gushes, she averaged only 15 new poems a year from 1866 to 1870” (151). Paraphrasing the poet “We outgrow love, like other things” (Dickinson 420) one could say that we outgrow pain like other things, “put it in the Drawer” (420) and never come back to it again.

Me from Myself – to banish – Had I Art – Impregnable my Fortress Unto All Heart (Dickinson 318) The lyrical “I” is divided and multiple. Its own other is attacking the mind. It is nagging forcefully and not allowing any rest. The subject would like to be as strong as a fortress and protect oneself but the body is weak and vulnerable. But since Myself – assault Me – How have I peace Except by subjugating Consciousness? (Dickinson 318) The pressure the mind exerts on the self is unbearable and the only way to silence it is to suppress it.

There were other nineteenth century women writers complaining about domestic restraints, however not many managed to evade them as successfully as Emily Dickinson. Despite some evidence of her passionate love for the “Master” and a relationship with Judge Otis P. Lord, which resulted in his marriage proposal, matrimony and motherhood did not attract the poet. Judging by standards of ordinary people, for whom fulfilment means family, children and a successful career, Emily Dickinson’s life, may seem very dull and unrewarded.

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