Indiana University-Purdue University Indianapolis (IUPUI) / This essay explores a broad range of literary works that treat long-term grief as a natural response to the death of a child. Literary examples show gaps in the medical and social sciences’ considerations of grief, since these disciplines judge bereaved mothers’ grief as excessive or label it bereavement disorder. By contrast, authors who employ the ancient storyline of child death illuminate maternal grieving practices, which are commonly marked with a vigilance that expresses itself in wildness. Many of these authors treat grief as a forced pilgrimage, but question the possibility of returning to a previous state of psychological balance. Instead, the mothers in their stories and poems resist external pressure for closure and silence and favor lasting memory. Harriet Beecher Stowe, in Uncle Tom’s Cabin, and Emily Dickinson, in letters to bereaved mother Susan Gilbert Dickinson and in the poetry included in these letters, represent maternal child loss as compelling a movement into a new state and emphasize the lasting pain and disruption of this loss.

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Ce mémoire examine les poétiques de trois poètes très différentes, mais dont les œuvres peuvent être qualifiées d'indéterminées et de radicales : Emily Dickinson (1830-1886), Gertrude Stein (1874-1946) et Caroline Bergvall (née en 1962). Dickinson et Stein sont anglo-américaines, tandis que Bergvall est d’origine franco-norvégienne, bien qu'elle choisisse d’écrire en anglais. Toutes les trois rompent la structure syntaxique conventionnelle de l’anglais par leurs poétiques, ce qui comporte des implications esthétiques et politiques. Dans ce qui suit, j’analyse l’indétermination de leurs poétiques à partir de la notion, décrite par Lyn Hejinian, de la description comme appréhension qui présente l’écriture comme un mode de connaissance plutôt qu'un moyen d’enregistrer ce que le poète sait déjà. La temporalité de cette activité épistémologique est donc celle du présent de l’écriture, elle lui est concomitante. J'affirme que c'est cette temporalité qui, en ouvrant l’écriture aux événements imprévus, aux vicissitudes, aux hésitations, aux erreurs et torsions de l’affect, cause l'indétermination de la poésie. Dans le premier chapitre, j'envisage l'appréhension chez Gertrude Stein à travers son engagement, tout au long de sa carrière, envers « le présent continu » de l’écriture. Le deuxième chapitre porte sur le sens angoissé de l’appréhension dans la poésie de Dickinson, où le malaise, en empêchant ou en refoulant une pensée, suspend la connaissance. Le langage, sollicité par une expérience qu'il ne peut lui-même exprimer, donne forme à l'indétermination. Un dernier chapitre considère l’indétermination linguistique du texte et de l’exposition Say Parsley, dans lesquels Bergvall met en scène l’appréhension du langage : une appréhension qui survient plutôt chez le lecteur ou spectateur que chez la poète. / This thesis investigates the poetics of three very different female poets, whose works nevertheless are characterized as both indeterminate and radical: Emily Dickinson (1830-1886), Gertrude Stein (1874-1946), and Caroline Bergvall (b. 1962). Dickinson and Stein are Anglo-American, while Bergvall is of French-Norwegian descent yet writes in English, but all three fracture the conventional syntactic structures of the English language in their poetics. This move bears both aesthetic and political implications. In this thesis, I read the indeterminacies of their poetics through Lyn Hejinian’s notion of description as apprehension, which figures writing as a mode of knowing rather than a means of recording something the poet already knows. The temporality of epistemology in their work is thus the present tense of writing; thinking is concomitant with it. Following Hejinian, I contend that it is this temporality that, in making writing open to the vicissitudes, hesitations, reprisals, unexpected events, errors, and the torsions of affect, perturbs determination. The first chapter explores apprehension in Gertrude Stein’s work through her career-long commitment to the present tense of writing: perception occurs concurrently with composition. The second chapter, on Dickinson, hinges on the anxious dimension of apprehension, in which unease, in thwarting or repressing a thought, suspends its understanding. Indeterminacy figures as language claimed by an experience it can’t itself claim. Finally, the last chapter considers the linguistic indeterminacies of Say Parsley, where Bergvall stages the apprehension of language itself in using indeterminacy as a poetic strategy to determinate ends, placing the possibilities, uncertainties and responsibilities of apprehension onto the reader or spectator.

The aim of this thesis is to show that Emily Dickinson was not concerned with the publication of her poems and she herself decided to withdraw from the outside world, a decisive event which contributed to the original production of her almost eighteen hundred poems and over eleven hundred letters. Emily Dickinson withdrew into her untouched private world – which here is called “the bubble” – and developed the contemplation process based on the approach of apprehending perceptions which resulted in the instant captions that have enchanted readers. Since her withdrawal was as a result of her own free choice and own writing and living conventions, she was able to be the craftsperson that enjoyed living and writing. Her perception of nature by taking instant captions of the observable natural objects is perfected by the process of contemplation developed in some of her poems. The theoretical and methodological basis of the study comes from the analysis of the complete edition of poems edited by Thomas H. Johnson, the letters edited by Mabel Loomis Todd, and the concept of Nature by Hans Georg Schenk. For the analyses of different issues related to Dickinson’s verses, withdrawal, and apprehension of perceptions, the works of the biographer Richard Benson Sewall and critics such as Albert Gelpi, Barton Levi Armand, Karl Keller, Sharon Cameron, among others, were consulted. This study aims to demonstrate that Emily Dickinson was not concerned with publication and her withdrawal within her bubble was a positive event for her life and poetry. Such conclusion might contribute to enlighten the knowledge about the life and work of such an amazing personage of American Literature and American society as Emily Dickinson has been so far.

本論文檢視艾蜜莉狄金生詩中的沉默不語與銷聲匿跡。第一章為現今狄金生研究的基本介紹與本論文章節編排。一個關於「我一早出發–帶著我的狗–」 (富蘭克林656) 的簡單問題燃起第二章的書寫與隨後的整本論文：在護送詩中人前往海邊之後，詩中人的狗去了哪裡? 為了獲得答案，我並列閱讀四首提到狗的詩，這四首詩分別是「我一早出發–帶著我的狗–」 (富蘭克林656)、「我的花園裡馳騁著一隻鳥兒」 (富蘭克林370)、「又一次–他的聲音在門邊–」 (富蘭克林274)、「我該如何是好–牠如此嗚咽著–」 (富蘭克林237)。檢視以上四首提到狗的詩，使我大有斬獲：首先，我發現這幾首詩的主題其實是人與人之間的關係，尤其是女性詩中人與男性的關係。再者，透過並置閱讀這四首詩，讀者能發現狗總是不在詩中人的特殊經驗之中，只在其外；這意味著狗代表詩中人的日常生活身份。第三章緣起於並置閱讀四首詩時，得到的第三個發現：詩中人與男人之間的互動通常都是靜默的，而他們的溝通方式常常只是一個眼神，而不是有聲的對話。於是第三章深入探索狄金生對沉默的依賴：「我–已–離家–多年–」 (富蘭克林440首版)、「不可能平凡–再次–我說–」 (富蘭克林388)以及「永遠在他身邊走」 (富蘭克林264)：第三章深談沉默在最刺激或痛苦的時刻中帶來的效果。第四章將沉默從人際關係拓展到天人關係： 「我聽到最遠的雷聲」 (富蘭克林1665首版)、「鳥兒從南邊報告-」 (富蘭克林780)、「在夏天比鳥兒還深遠」 (富蘭克林895首版與第四版)不只展示沉默的意義，也揭露自然對人類的不同態度。第五章則為本論文結語：我簡略整理本論文中所討論到的狄金生作品的共通點。 / This thesis delves into the silence and the unpresented in Emily Dickinson’s poetry. Chapter One is the basic background introduction to the existing Dickinson scholarship and the chapter organization of the whole thesis. A very simple question regarding “I started Early - Took my Dog - ” (Fr656) ignites the writing of Chapter Two and subsequently the whole thesis: where is the speaker’s dog after he escorts the speaker to the seashore? I piece together four poems mentioning dogs to secure an answer and my choices of poems are “I started Early - Took my Dog - ” (Fr656), “Within my garden rides a bird” (Fr370), “Again - his voice is at the door” (Fr274) and “What shall I do - it whimpers so - ” (Fr237). Examining the above four poems where dogs appear produces fruitful results: firstly it leads to the finding that the theme of these poems is in fact human relationship, especially that between the female speaker and the man. Furthermore, it enables readers an interpretation that the dog signifies the speaker’s ordinary subjectivity, since the dog keeps her company only when the speaker is outside of a special experience, rather than within. Chapter Three is initiated by the third interesting discovery made during the process of reading the poems with dogs: the interaction between the speaker and the man is usually silent and their method of communication is very often just a look, instead of verbal conversations. It is Dickinson’s reliance on silence that propels my investigation of “I - Years - had been - from Home - ” (Fr440 A), “It would never be Common - more - I said - ” (Fr388) and “Forever at His side to walk” (Fr264) in Chapter Three: at the most intensely exciting or nerve-wracking moment of life lies the power of silence and its effect is discussed in detail. Chapter Four expands the scale of silence from the human relationship to the man and nature connection: poems such as “The farthest Thunder that I heard” (Fr1665A), “The Birds reported from the South-” (Fr780) and “Further in Summer than the Birds -” (Fr895A, D) demonstrate not only the signification of silence but also different attitudes the nature holds towards human beings. Chapter Five is the conclusion of this thesis, in which I summarize the common ground among all Dickinson’s works discussed in this thesis.

Ce mémoire examine les poétiques de trois poètes très différentes, mais dont les œuvres peuvent être qualifiées d'indéterminées et de radicales : Emily Dickinson (1830-1886), Gertrude Stein (1874-1946) et Caroline Bergvall (née en 1962). Dickinson et Stein sont anglo-américaines, tandis que Bergvall est d’origine franco-norvégienne, bien qu'elle choisisse d’écrire en anglais. Toutes les trois rompent la structure syntaxique conventionnelle de l’anglais par leurs poétiques, ce qui comporte des implications esthétiques et politiques. Dans ce qui suit, j’analyse l’indétermination de leurs poétiques à partir de la notion, décrite par Lyn Hejinian, de la description comme appréhension qui présente l’écriture comme un mode de connaissance plutôt qu'un moyen d’enregistrer ce que le poète sait déjà. La temporalité de cette activité épistémologique est donc celle du présent de l’écriture, elle lui est concomitante. J'affirme que c'est cette temporalité qui, en ouvrant l’écriture aux événements imprévus, aux vicissitudes, aux hésitations, aux erreurs et torsions de l’affect, cause l'indétermination de la poésie. Dans le premier chapitre, j'envisage l'appréhension chez Gertrude Stein à travers son engagement, tout au long de sa carrière, envers « le présent continu » de l’écriture. Le deuxième chapitre porte sur le sens angoissé de l’appréhension dans la poésie de Dickinson, où le malaise, en empêchant ou en refoulant une pensée, suspend la connaissance. Le langage, sollicité par une expérience qu'il ne peut lui-même exprimer, donne forme à l'indétermination. Un dernier chapitre considère l’indétermination linguistique du texte et de l’exposition Say Parsley, dans lesquels Bergvall met en scène l’appréhension du langage : une appréhension qui survient plutôt chez le lecteur ou spectateur que chez la poète. / This thesis investigates the poetics of three very different female poets, whose works nevertheless are characterized as both indeterminate and radical: Emily Dickinson (1830-1886), Gertrude Stein (1874-1946), and Caroline Bergvall (b. 1962). Dickinson and Stein are Anglo-American, while Bergvall is of French-Norwegian descent yet writes in English, but all three fracture the conventional syntactic structures of the English language in their poetics. This move bears both aesthetic and political implications. In this thesis, I read the indeterminacies of their poetics through Lyn Hejinian’s notion of description as apprehension, which figures writing as a mode of knowing rather than a means of recording something the poet already knows. The temporality of epistemology in their work is thus the present tense of writing; thinking is concomitant with it. Following Hejinian, I contend that it is this temporality that, in making writing open to the vicissitudes, hesitations, reprisals, unexpected events, errors, and the torsions of affect, perturbs determination. The first chapter explores apprehension in Gertrude Stein’s work through her career-long commitment to the present tense of writing: perception occurs concurrently with composition. The second chapter, on Dickinson, hinges on the anxious dimension of apprehension, in which unease, in thwarting or repressing a thought, suspends its understanding. Indeterminacy figures as language claimed by an experience it can’t itself claim. Finally, the last chapter considers the linguistic indeterminacies of Say Parsley, where Bergvall stages the apprehension of language itself in using indeterminacy as a poetic strategy to determinate ends, placing the possibilities, uncertainties and responsibilities of apprehension onto the reader or spectator.

The aim of this thesis is to show that Emily Dickinson was not concerned with the publication of her poems and she herself decided to withdraw from the outside world, a decisive event which contributed to the original production of her almost eighteen hundred poems and over eleven hundred letters. Emily Dickinson withdrew into her untouched private world – which here is called “the bubble” – and developed the contemplation process based on the approach of apprehending perceptions which resulted in the instant captions that have enchanted readers. Since her withdrawal was as a result of her own free choice and own writing and living conventions, she was able to be the craftsperson that enjoyed living and writing. Her perception of nature by taking instant captions of the observable natural objects is perfected by the process of contemplation developed in some of her poems. The theoretical and methodological basis of the study comes from the analysis of the complete edition of poems edited by Thomas H. Johnson, the letters edited by Mabel Loomis Todd, and the concept of Nature by Hans Georg Schenk. For the analyses of different issues related to Dickinson’s verses, withdrawal, and apprehension of perceptions, the works of the biographer Richard Benson Sewall and critics such as Albert Gelpi, Barton Levi Armand, Karl Keller, Sharon Cameron, among others, were consulted. This study aims to demonstrate that Emily Dickinson was not concerned with publication and her withdrawal within her bubble was a positive event for her life and poetry. Such conclusion might contribute to enlighten the knowledge about the life and work of such an amazing personage of American Literature and American society as Emily Dickinson has been so far.

The aim of this thesis is to show that Emily Dickinson was not concerned with the publication of her poems and she herself decided to withdraw from the outside world, a decisive event which contributed to the original production of her almost eighteen hundred poems and over eleven hundred letters. Emily Dickinson withdrew into her untouched private world – which here is called “the bubble” – and developed the contemplation process based on the approach of apprehending perceptions which resulted in the instant captions that have enchanted readers. Since her withdrawal was as a result of her own free choice and own writing and living conventions, she was able to be the craftsperson that enjoyed living and writing. Her perception of nature by taking instant captions of the observable natural objects is perfected by the process of contemplation developed in some of her poems. The theoretical and methodological basis of the study comes from the analysis of the complete edition of poems edited by Thomas H. Johnson, the letters edited by Mabel Loomis Todd, and the concept of Nature by Hans Georg Schenk. For the analyses of different issues related to Dickinson’s verses, withdrawal, and apprehension of perceptions, the works of the biographer Richard Benson Sewall and critics such as Albert Gelpi, Barton Levi Armand, Karl Keller, Sharon Cameron, among others, were consulted. This study aims to demonstrate that Emily Dickinson was not concerned with publication and her withdrawal within her bubble was a positive event for her life and poetry. Such conclusion might contribute to enlighten the knowledge about the life and work of such an amazing personage of American Literature and American society as Emily Dickinson has been so far.

Though born a century apart, American poets Emily Dickinson and Sylvia Plath share several similarities: Both were born in New England, both fought for their rights by writing, and both broke new poetic ground.          In this thesis, I look at their poetry through a movement in space, which begins with the poets’ precarious position as societal outliers and ends with ascension. I examine what crossing the threshold meant to them, physically and metaphorically, and how it is mirrored in their poems, I look at how the physical space in which they wrote color their poetry, I examine windows as a space of transit, and finally I take a closer look at the shape ascension takes in selected poems. I propose this road, this movement in space, is mirrored in both Dickinson’s and Plath’s poetry.      I use as my method deconstruction, to uncover hints and possibilities. I scan letters and journals, biographies and memoirs. As my theoretical framework, I use Walter Benjamin’s ideas about the threshold as a place of transit, as well as his thoughts about the flaneur as the observer of the crowd, both of which are presented in The Arcades Project. To further examine the threshold as a space for pause, reconsideration, retreat, or advance, I rely on Subha Mukheriji and her book Thinking on Thresholds: The Poetics of Transitive Spaces. I further use Gaston Bachelard’s seminal The Poetics of Spaceto investigate the poets’ response to the physical space in which they wrote. I look at ascension through the prism offered by the ideas of Mircea Eliade as presented in Myths, Dreams, and Mysteries: The Encounter Between Contemporary Faiths and Archaic Realities.

Выпускная квалификационная работа имеет своей целью выявить ключевые характеристики индивидуального стиля поэтического творчества Эмили Дикинсон и особенности их передачи на русском языке. Первая глава посвящена теоретическим основам изучения отражения индивидуального стиля автора в художественном переводе. В главе рассматриваются основные научные подходы к изучению понятия «индивидуальный стиль», выделяются его компоненты, изучается проблема передачи индивидуального стиля в поэтическом переводе, а также перечисляются и описываются методы и методики сравнительного анализа переводов поэтических произведений. Во второй главе рассматривается идиостиль Эмили Дикинсон в русских переводах. В начале представляется методика отбора исследовательского материала, а далее анализируются 3 стихотворения (“The Soul selects her own Society”, “I died for Beauty – but was scarce”, “The Sky is low – the Сlouds are mean”) в оригинале и их переводы на русский язык. В последнем разделе главы также разбираются виды трансформаций оригиналов в переводах, что позволяет обобщить наблюдения о ключевых характеристиках индивидуального стиля Дикинсон и особенностей их передачи на русском языке. / Master's thesis aims to identify the key characteristics of the individual style of Emily Dickinson's poetic work and the features of their transmission in Russian. The first chapter is devoted to the theoretical foundations of studying the reflection of the author's individual style in literary translation. The chapter discusses the main scientific approaches to the study of the concept of "individual style", identifies its components, studies the problem of transferring individual style in poetic translation, and lists and describes methods and techniques for comparative analysis of translations of poetic works. The second chapter deals with the idiostyle of Emily Dickinson in Russian translations. At the beginning, the methodology for selecting research material is presented, and then 3 poems are analyzed (“The Soul selects her own Society”, “I died for Beauty – but was scarce”, “The Sky is low – the Clouds are mean”) in the original and their translations into Russian. The last section of the chapter also analyzes the types of transformations of the originals in translations, which allows to summarize the observations about the key characteristics of Dickinson's individual style and the features of their transmission in Russian.