Dickinson and the Masochistic Aesthetic

Smith, Robert McClure

doi:10.1353/edj.1998.0019

Cited by 12 publications

(3 citation statements)

References 19 publications

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“…En 2019, Snediker, en «"The Vision -pondered long": Dickinson, Chronic Pain, and the Materiality of Figuration», estudiaba la relación entre los afectos psíquicos de Dickinson y su dolor crónico. Más recientemente, para Smith (1998), Jackson (2013) y Noble (2000) la escritora hace una poética del dolor, según Constantinesco (2022), «to inhabit the space of femininity carved out by nineteenth-century New England cultureand on the other hand, as a paradoxical conduit for reclaiming agency and authority» 4 (p. 88).…”

Section: Breve Estado Del Arte: Estudios Sobre La Tristeza En La Poes...unclassified

Descubriendo a Emily Dickinson: Después del giro crítico… ¿se asoma por fin la sonrisa?

Maldonado

2022

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El presente artículo hace una revisión sobre la forma en la que ha sido estudiada Emily Dickinson con anterioridad y las aproximaciones críticas más recientes, en particular en el tema de la emoción. Usando la poesía religiosa, la poesía sobre la naturaleza y el humor, se hace un estudio comparativo que pone de manifiesto el papel que tuvo por un tiempo el dolor y el sufrimiento en las interpretaciones de la crítica y el cambio gradual que se empezó a dar desdeos años setenta. Con la creciente diversidad de perspectivas críticas, puede resultar sorprendente que aún sea necesario remitirse a la imagen más lúgubre de la poeta. ¿Por qué persiste esta imagen? y ¿cómo reconciliar la imagen popular de Dickinson con las nuevas corrientes críticas? En este artículo se concluye que la imagen de Dickinson continúa en construcción.

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Section: Breve Estado Del Arte: Estudios Sobre La Tristeza En La Poes...unclassified

Descubriendo a Emily Dickinson: Después del giro crítico… ¿se asoma por fin la sonrisa?

Maldonado

2022

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“…It would appear that masochism is becoming a promising line of inquiry in the field of Dickinson’s studies. Using approaches different from that chosen in this essay, Smith’s essay (1998) and Marianne Noble’s full‐length book (2000) were turning points in this respect. As regards Paglia’s article on Dickinson in her book on masochism (1990), it is only a collection of unrelated remarks.…”

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“He fumbles at your Soul”: Emily Dickinson between the piano and the cosmos

Thomières

2021

Orbis Litterarum

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“…Dickinson's submissive speakers often invite a feminist reading that features subordination, subjugation, and empowerment. Robert McClure Smith notes that Dickinson's female speakers are marked by “passivity, weakness and insignificance”; he cites the line “Most – I love the Cause that slew Me” (Fr841) to illustrate the “self‐impelled subordination” and “ecstatic masochism” (Smith, , 2). Isabel Sobral Campos argues that Dickinson does not perform “the disappearance of the self in the immensity of God,” “but expands the boundaries of the self with the discovery of the depth of nature and feeling” (Campos, , 57).…”

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Dickinson's Dao

Kang

2018

Orbis Litterarum

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Drawing upon Mikhail Bakhtin's idea of the epistemic advantage of a cultural outsider, this essay seeks to enrich the newly developed Chinese critical perspective of rereading Emily Dickinson by arguing that Dickinson's explorations of spiritual ideals resonate with Daoism and Chan Buddhism in their focus upon non-action as a perfect action that entails consummate skills, sensuous eradication, and egoless aesthetics. Specifically, Dickinson uses the perfect actions to illustrate wandering (staying) at ease; she uses droppingbrain to emblematize eradicating senses; she exhorts selfsurrender and non-interference when dealing with the other; and she practices an egoless aesthetics that surpasses her predecessors and contemporaries. 1 K E Y W O R D S Chan Buddhism, creative understanding, Daoism, Emily Dickinson, non-action, Ralph Waldo EmersonRegarding a creative understanding, Mikhail Bakhtin privileges an outside position since it is "only in the eyes of another culture that foreign culture reveals itself fully and profoundly" (Bakhtin, 1986, 7). Bakhtin further indicates that a fruitful cross-cultural dialogue stems from "new questions for a foreign culture, ones that it did not raise itself" (p. 7). While much Emily Dickinson scholarship has worked to show how she is legible within her own cultural and artistic context, scholars have become increasingly aware of the need for more intercultural explorations. Echoing Bakhtin's insightful observation, Gary Stonum cautions that "a regional focus risks blinding the critic to larger patterns" (Stonum, 1998, 58). Inder Nath Kher also claims that an approach confined within "American history and culture" will "minimize the range of her poetic perspective" (Kher, 1974, 4-5). Both Stonum and Kher call for a crosscultural perspective that breaks through cultural boundaries and brings new cultural resources into critical considerations. There remains ample space for scholars to illuminate the ways that Dickinson as a powerfully idiosyncratic rule-breaker indefatigably reaches towards a larger circumference. For a critic situated in the Chinese context, significant "new questions" about Dickinson might include how Dickinson can be, and is, read by Chinese readers situated

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Dickinson and the Masochistic Aesthetic

Cited by 12 publications

References 19 publications

Descubriendo a Emily Dickinson: Después del giro crítico… ¿se asoma por fin la sonrisa?

Descubriendo a Emily Dickinson: Después del giro crítico… ¿se asoma por fin la sonrisa?

“He fumbles at your Soul”: Emily Dickinson between the piano and the cosmos

Dickinson's Dao

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