Emily Dickinson and Victorian Poetry

美国诗人艾米莉·狄金森(1830-1886)以其省略、神秘、极具独创性的诗歌和极端的隐逸而闻名，在她生命的最后20年里，她被关在父亲的房子里。直到最近，狄金森学者才挑战了这个流行的概念，展示了她对历史、社会、文化和文学世界的创新和大胆的干预，她显然是与世隔绝的。我的项目通过考察她对她最喜欢的英国诗人--勃朗特·S、伊丽莎白·巴雷特·布朗宁、罗伯特·布朗宁、阿尔弗雷德·丁尼生勋爵和乔治·艾略特--的反应，为这部作品提供了一个新的原创进展。文章首先分析了狄金森书信体中对这些诗人的引用以及她在其作品版本中的旁白，并探讨了这些诗人在19世纪英美文化中的主要阅读方式。在重建了狄金森阅读这些诗人的文化环境的各个方面后，该项目然后将狄金森的诗歌与她同时代的诗歌进行比较，以描绘19世纪英美诗歌的共同和共同特征。例如，它考察了他们作品中类似的反复出现的主题、比喻和意象群，以及关于诗歌功能和诗人角色的类似想法塑造了他们的作者身份。通过将狄金森的作品置于这样的语境中，她成为了一个不区分英国作家和美国作家，也不像她的同时代人拉尔夫·瓦尔多·爱默生、沃尔特·惠特曼和赫尔曼·梅尔维尔那样倡导美国文化民族主义的作家。然而，即使是这些作家，如狄金森，也参与并钦佩英国诗人的作品，因此，狄金森的态度比乍看起来更具代表性，因为它来自19世纪的大西洋彼岸文化，在这种文化中，作家在不断增加的英美社区读者之间共享。这项研究与19世纪文学的研究方法背道而驰，这些方法忽视了大西洋两岸的背景，转而强调英美之间的文化对立，这种对立在这个时期是出现的，但尚未成为压倒性的现实。

The American poet Emily Dickinson (1830-1886) is best known for her elliptical, enigmatic and highly original poems and her extreme reclusiveness, culminating in her confinement in her father's house for the last twenty years of her life. It is only very recently that Dickinson scholarship has challenged this popular conception by demonstrating her innovative and daring interventions in the historical, social, cultural and literary world from which she apparently secluded herself. My project offers a new and original advancement on this work by examining her often provocative responses to her favourite British poets: the Brontës, Elizabeth Barrett Browning, Robert Browning, Alfred Lord Tennyson and George Eliot. It begins by combining analysis of Dickinson's epistolary references to these poets and the marginalia in her editions of their works with an exploration of the predominant ways in which these poets were read in nineteenth-century Anglo-American culture. Having reconstructed aspects of the cultural milieu in which Dickinson read these poets, the project then compares Dickinson's poems with those of her contemporaries as a means of delineating shared and common features of nineteenth-century Anglo-American poetry. For example, it examines similar recurring topics, tropes and image-clusters in their works and the comparable ways ideas about the function of poetry and the role of the poet shaped their authorial identities. By positioning Dickinson's work within this context, she emerges as a writer who did not make distinctions between British and American writers, nor promote American cultural nationalism as did her contemporaries, Ralph Waldo Emerson, Walt Whitman and Herman Melville. Yet even these writers, like Dickinson, engaged with and admired the works of British poets, and, accordingly, Dickinson's attitude is more representative than it at first appears, deriving as it does from a transatlantic nineteenth-century culture in which writers were shared between ever-increasing Anglo-American communities of readers. This research counters approaches to nineteenth-century literature that ignore this transatlantic context and instead emphasise a cultural opposition between Britain and America, which is emergent in this period but has not yet become an overpowering reality.