Emily Dickinson As A Second Language

Emily Dickinson (1830-1886) wrote in 19th century American English and referenced long-vanished cultural contexts. A "private poet," she created her own vocabulary, and many of her poems have quite specific local and personal connections. Twenty-first century readers may find her poetry elusive and challenging. Promoting a richer appreciation of Dickinson's work for a modern audience, this book explores unfamiliar aspects of her language and her world.

 Emily Dickinson (1830–1886) wrote in 19th century American English and referenced long-vanished cultural contexts. A “private poet,” she created her own vocabulary, and many of her poems have quite specific local and personal connections. Twenty-first century readers may find her poetry elusive and challenging. Promoting a richer appreciation of Dickinson’s work for a modern audience, this book explores unfamiliar aspects of her language and her world.

"The Language of Emily Dickinson" provides valuable insight into the cryptic, complex, and unique language of America’s premier poet. The essays make each subject of exploration accessible to general readers, providing sufficient background and contextual information to situate anyone interested in a better understanding of Dickinson’s language. The collection also makes a substantial contribution to Dickinson studies with new scholarship in philology, musicality, and manuscript study. Cynthia L. Hallen, creator of the invaluable Emily Dickinson Lexicon, offers a detailed examination of Dickinson’s words and phrases that are lexically alive and semantically vital. Nicole Panizza, an accomplished pianist, explores Dickinson’s poetic relationship with music as bilingual practice. Holly L. Norton outlines the surprising connections between Dickinson’s poetry and rap music, and Trisha Kannan contributes to recent discussions regarding Dickinson’s fascicles, the manuscript “books” that contain just over 800 of Dickinson’s 1,789 poems, by reading Fascicle 30 in relation to the work and life of John Keats. This book will be of interest to scholars of Emily Dickinson and advanced readers of poetry—such as those in upper-level undergraduate English courses and graduate students in departments of English—as well as to general readers with an interest in Emily Dickinson.

This collection brings together scholarship in theoretical and applied linguistics, literary and cultural studies, and second language studies. The contributors here investigate the nature of linguistic, cultural, and cognitive diversity, offering rich insights for theoretical advancement in multiple disciplines. Their theoretical and practical explications on discourse, literature, and linguistic structure contribute to a multifaceted conversation about diversity in language structure and use. From the relationships between eye contact and mindfulness, to the question of the universality of critical thinking, the topics in this volume represent a wide variety of approaches to the study of language. Specific areas in which advances are made here include sociolinguistics, second language pedagogy, and literature studies.

In Feeling as a Foreign Language, Alice Fulton considers poetry's uncanny ability to access and recreate emotions so wayward they go unnamed. Fulton contemplates topics ranging from the intricacies of a rare genetic syndrome to fractals from the aesthetics of complexity theory to the need for "cultural incorrectness." Along the way, she falls in love with an outrageous 17th century poet, argues for a Dickinsonian tradition in American letters, and calls for a courageous poetics of inconvenient knowledge.

This two-volume book contains the refereed proceedings of The Second International Conference on Globalization: Challenges for Translators and Interpreters organized by the School of Translation Studies, Jinan University (China) on its Zhuhai campus, October 27-29, 2016. The interrelation between translation and globalization is essential reading for not only scholars and educators, but also anyone with an interest in translation and interpreting studies, or a concern for the future of our world’s languages and cultures. The past decade or so, in particular, has witnessed remarkable progress concerning research on issues related to this topic. Given this dynamic, The Second International Conference on Globalization: Challenges for Translators and Interpreters organized by the School of Translation Studies, Jinan University (China) organized by the School of Translation Studies, Jinan University (China), was held at the Zhuhai campus of Jinan University on October 27-29, 2016. This conference attracts a large number of translators, interpreters and researchers, providing a rare opportunity for academic exchange in this field. The 135 full papers accepted for the proceedings of The Second International Conference on Globalization: Challenges for Translators and Interpreters organized by the School of Translation Studies, Jinan University (China) were selected from 350 submissions. For each paper, the authors were shepherded by an experienced researcher. Generally, all of the submitted papers went through a rigorous peer-review process.

Emily Dickinson's poetry is known and read worldwide but to date there have been no studies of her reception and influence outside America. This collection of essays brings together international research on her reception abroad including translations, circulation and the responses of private and professional readers to her poetry in different countries. The contributors address key translations of individual poems and lyric sequences; Dickinson's influence on other writers, poets and culture more broadly; biographical constructions of Dickinson as a poet; the political cultural and linguistic contexts of translations; and adaptations into other media. It will appeal to all those interested in the international reception of Dickinson and nineteenth-century American literature more widely.

Heginbotham's book focuses on Emily Dickinson's work as a deliberate writer and editor. The fascicles were forty small portfolios of her poems written between 1856 and 1864, composed on four to seven stationery sheets, folded, stacked, and sewn together with twine. What revelations might come from reading her poems in her own context? Are they simply "scrapbooks," as some claim, or are they evidence of conscious, canny editing? Read in their original places, each lyric becomes different-and more interesting-than when read in isolation. We cannot know why Dickinson compiled the books or what she thought of them, but we can observe what she left in them. What she left is visible only by noting the way the poem answers in a dialogue across the pages, the way lines spilling onto a second page introduce the next poem, the way openings suggest image clusters so that each book has its own network of concerns and language-not a story or philosophical preachment but an aesthetic wholeness. This book is the first to demonstrate that Dickinson's poetic and philosophical creativity is most startling when the reader observes the individual lyric in the poet's own, and only, context for them. For teacher, student, scholar, and poetry lover, Heginbotham creates an important new framework for understanding one of the most complex, clever, and profound U.S. poets.