This discussion purports to be an original study of the poetry of Emily Dickinson, a study based chiefly on the poems themselves and not on a digest of critical views and opinions.

Emily Mann's play Still Life is a story of a Vietnam War veteran who returns home to a less than enthusiastic welcome. Like most veterans from this war, he struggles to come to terms with the atrocities he witnessed and even carried out himself. The play consists of three characters: Mark, a Vietnam veteran, Cheryl, his wife, and Nadine, his lover. Both women believe they intrinsically understand Mark, but neither truly can. Mark has returned from the war violent, irrevocably broken, and feeling that he has been abandoned by society. Emily Mann interviewed real people and transcribed their words into theatre of fact to provide a fresh outlook into a tumultuous period of American history. This thesis will explore the historical and artistic significance of Emily Mann's Still Life and its depiction of the political and cultural atmosphere of post-war America. Specifically, I will discuss the reception of the Vietnam soldiers and how they were affected by the war socially, psychologically and economically. I will explore interviews detailing what these young men experienced while at war, how it affected them then and now, and discuss how these issues are reflected in Emily Mann's Still Life. In addition to interviews, my methodology will consist of scriptural analysis and quantitative research.

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The subjunctive mood in the poems of Emily Dickinson was from the outset a source of confusion to editors and readers. The first editors thought that these forms, in particular the third person singular verbs which omit the s inflection, were incorrect usages. These editors often ''corrected" them by adding the missing inflection. Later, more scholarly critics recognized and labelled them as forms of the subjunctive mood. Since 1955 Thomas Johnson and some other contemporary critics have suggested that they are not true subjunctives but forms of a "universal present indicative." It is now known that the chief influences on Emily Dickinson's poetic style were from Elizabethan literature, written in a language rich in subjunctives and the other archaisms which characterize her poetry. There is little or no correspondence in the appearance of subjunctive forms in the letters and in the poems. The subjunctives were almost entirely poetic devices. The subjunctive forms in poems appear in many different syntactic and semantic contexts. Therefore, one explanation of these forms is not satisfactory, although the Johnson interpretation may apply to a few poems. In 1863 Emily Dickinson used them in an average of one in every three poems, a frequency twice as high as the average. Furthermore, that frequency built up to the year 1863 and gradually declined thereafter. She apparently chose the subjunctives deliberately and they became a characteristic of her finest work. / Master of Arts

京都大学 / 新制・課程博士 / 博士(人間・環境学) / 甲第25509号 / 人博第1136号 / 新制||人||263(附属図書館) / 京都大学大学院人間・環境学研究科共生人間学専攻 / (主査)教授 小島 基洋, 特定教授 廣野 由美子, 准教授 合田 典世, 教授 奥村 真紀 / 学位規則第4条第1項該当 / Doctor of Human and Environmental Studies / Kyoto University / DGAM

Emily Dickinson's seclusion is explored in light of her family's strange entanglement with the Todds. Austin Dickinson's affair with Mabel Loomis Todd, and the effect on the lives of Susan Dickinson, Lavinia Dickinson, Martha Dickinson Bianchi, David Todd, and Millicent Todd Bingham, provide a steamy context for the posthumous publication of Emily Dickinson's poetry. The screenplay includes original music (inspired by the dashes and an old hymn) for two poems: "Wild Nightsl Wild Nights!" and "Better - than Music!" Also included are visualizations of many of Dickinson's images, including "circumference," "Eden," "the bee," and "immortality."

La poésie d’Emily Dickinson dévoile un lyrisme théâtralisé : chaque poème devient une scène où évolue une voix qui se travestit, s’altère, se diffracte en divers échos. Très influencée par l’œuvre de Shakespeare, mais également par la théâtralité ambiante de l’Amérique victorienne, Dickinson met en scène le sujet lyrique dans ce qu’il a de plus théâtral. La théâtralité de référence étant celle du dramaturge et poète élisabéthain, cette "contamination" du théâtre nous incite à élargir notre conception du lyrisme. Si l’on observe des résurgences ironiques d’une conception traditionnelle du lyrisme comme un épanchement intime, ce dernier est surtout à envisager en termes de dynamique, d’énergie. Le théâtre est pour Emily Dickinson le lieu autre où le lyrisme s’altère plus avant, la structure nodale de l’écriture lyrique et son cœur battant, le lieu de sa revitalisation. / Emily Dickinson’s poetry showcases a dramatic kind of lyricism: each poem becomes a scene where the lyric voice changes shape, tone, and even gender. Strongly influenced by Shakespeare’s work and by the extremely theatrical culture of Victorian America, Dickinson stages the lyrical self at its most theatrical. The fact that the Elizabethan playwright and poet’s idiosyncratic theater was the main reference for Dickinson’s conception of drama and theatricality invites us to broaden our conception of lyricism. Although some recurrences of a more traditional approach to lyricism as an outpouring of intimate feelings appear at times – mostly tainted with a great deal of irony – lyricism will mainly be considered as the energy fueling life into the poem. The theater is for Emily Dickinson the spring of this lyrical energy, the transformative force and the crucial structure at the heart of her poetic writing.

Ce mémoire se consacre à une étude de l'infantile et de la pulsion de mort comme constituants d'une écriture du Mal dans Wuthering Heights (1847), l'unique roman de l'écrivaine anglaise Emily Brontë (1818-1848). Cette analyse s'inspire en premier lieu des travaux de Sigmund Freud sur les pulsions, le rêve et l'infantile. Le récit de Wuthering Heights s'articule autour des familles Earnshaw et Linton. L'arrivée de Heathcliff, un jeune orphelin, bouleversera la vie des membres de la famille Earnshaw. Catherine Earnshaw et de Heathcliff, élevés comme frère et soeur, mais liés dans leur jeunesse par une passion absolue et sans concession jusque dans la mort, subiront l'épreuve du temps à la sortie de l'enfance. Le roman présente des motifs récurrents qui contribuent à l'élaboration d'une expérience du Mal singulière. Les descriptions poétiques, la souffrance des personnages, la violence de l'écriture, les figures de la mort et l'hostilité des lieux du récit se donnent à lire comme les figures d'une répétition ou la reprise des éléments d'une histoire passée, moteur de la conception narrative du désastre et du tragique. L'étude du roman suppose l'exploration de cet univers inspiré par la violence, la cruauté, mais aussi la passion que suscite le désir d'absolu attaché à ce passé. Wuthering Heights est un récit dans lequel se mêlent, se démêlent, se confondent et se confrontent des mécanismes régis par des pulsions à la fois autodestructrices et libératrices. Ce mémoire analysera le roman dans sa structure narrative et son énonciation afin de rendre compte du caractère absolument tragique de la passion des protagonistes, de comprendre les mécanismes cruels de la narration et de démontrer la vision du Mal essentielle et universelle du récit. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Emily Brontë, Wuthering heights, Pulsion de mort, Infantile, Rêve, Mal, Tragique, Absolu.

[pt] A proposta desta pesquisa foi identificar e analisar os principais agentes de reescrita e de patronagem que concorreram para a inserção e difusão da obra de Emily Dickinson no sistema literário brasileiro, a partir da primeira tradução de Manuel Bandeira, em 1928, até os dias de hoje. Como aporte teórico, utilizamos a Teoria dos Polissistemas, de Itamar Even-Zohar (1997 [1990], 2005); os conceitos de reescrita e patronagem, de André Lefevere (1990, 1992); as noções de capital social, econômico, cultural e simbólico, de Pierre Bourdieu (1986), para informar a análise do perfil dos tradutores de Dickinson; e a Teoria dos Paratextos, de Gérard Genette (2009), na apresentação da poeta e de sua obra ao público leitor brasileiro. Constatamos que os poemas de Dickinson, embora tenham sido traduzidos a partir do início dos anos 1900, ganharam maior repercussão a partir de meados do século. A tradução de Cecília Meireles do poema “I died for Beauty”, em 1954, foi incluída em uma antologia de poesia estrangeira amplamente difundida no país; e a publicação da obra The Complete Poems of Dickinson, por Thomas H. Johnson, numa criteriosa edição de Harvard (1955), resgatando os poemas na íntegra, sem as correções de seus antigos editores, resultou na ressignificação de sua obra no polissistema literário dos EUA e também do Brasil. Vale mencionar as traduções de Dickinson feitas por Haroldo e Augusto de Campos e Décio Pignatari, do movimento concretista, que buscava chamar a atenção para os aspectos formais da poesia e não apenas para o seu conteúdo semântico. Verificamos também que a expansão dos Estudos da Tradução, que propiciou o surgimento de novas teorias, abordagens, métodos e conceitos, ampliando as perspectivas para o estudo da tradução de poesia, aliada à atuação dos agentes de reescrita e de patronagem e aos bem produzidos paratextos, muito contribuíram para a inserção e difusão da poesia de Dickinson no Brasil. / [en] The purpose of this thesis is to identify and analyze the main rewriting and patronage agents which contributed to the introduction and dissemination of Emily Dickinson s work in the Brazilian literary system, starting in 1928 with Manuel Bandeira s first translation up to this day. The research was informed by Itamar Even-Zohar s Polysystems Theory (1997 [1990], 2005); André Lefevere s concept of rewriting and patronage (1990, 1992); Pierre Bourdieu s notions of economic, cultural, and symbolic capital, instrumental to analyze the profile of Dickinson s translators; and Gérard Genette s Paratext Theory (2009), to discuss the presentation of the poet and her work to Brazilian readers. We found that Dickinson s poems, though they had been translated into Portuguese in the early 1900 s, gained greater repercussion since the middle of the century when Cecília Meireles s translation of I died for Beauty, in 1954, was included in an anthology of foreign poetry and widely disseminated in the country; and when the publication of The Complete Poems of Emily Dickinson, edited by Thomas H. Johnson, in a careful Harvard edition, in 1955, recovered Dickinson s poems in full, without the corrections of her former editors, and resulted in the resignification of her work both in the U.S. literary polysystem and the Brazilian one. It is worth mentioning the translations of Dickinson s poems by Haroldo de Campos, Augusto de Campos, and Décio Pignatari, founders of the Concrete Movement, which intended to draw attention to the formal aspects of poetry, and not just to its semantic content. The expansion of Translation Studies, which led to the emergence of new theories, approaches, methods, and concepts, thus broadening the prospects for the study of poetry translation, combined with the performance of rewriters and patrons and with well-produced paratexts, has also greatly contributed to the introduction and dissemination of Dickinson s poetry in Brazil.

This essay seeks to investigate how bodies can be understood as a narrative element in five poems written by the American poet Emily Dickinson (1830 – 1886). Using phenomenology as understood by Maurice Merleau-Ponty and Elizabeth Grosz as a theoretical framework and a corporeal narratology as drawn up by Daniel Punday, the essay explores how the bodies of the characters within the fictional world are portrayed, which bodies are present and what places and types of situations they occupy. All in order to see how the narrative as a whole is affected in each poem. The essay uses the terms body and space, as being defined by the theoretical underpinnings, to structure the analysis. The study shows that the body indeed can be understood as a way of structuring the narrative in the poems. Mainly, the present bodies are used as a way of organizing spatiality and form a specific perspective. The degree of activity of the different bodies are also dependent on normative and conventional aspects. The use of narratology when analyzing poems of this sort requires flexibility, especially since the study focuses on elements that are not always explicitly portrayed.