MARC Record from marc_columbia

LEADER: 03309fam a2200481 a 4500
001 1929568
005 20220609031106.0
008 960529s1997 kyu b s001 0 eng
010 $a 96025520
020 $a081311988X (alk. paper)
035 $a(OCoLC)34912738
035 $a(OCoLC)ocm34912738
035 $9AMC5867CU
035 $a(NNC)1929568
035 $a1929568
040 $aDLC$cDLC$dNNC$dOrLoB-B
043 $an-us---
050 00 $aPS1541.Z5$bC75 1996
082 00 $a811/.4$220
100 1 $aCrumbley, Paul,$d1952-$0http://id.loc.gov/authorities/names/n96054971
245 10 $aInflections of the pen :$bdash and voice in Emily Dickinson /$cPaul Crumbley.
260 $aLexington :$bUniversity Press of Kentucky,$c1997.
263 $a9612
300 $a212 pages ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references (p. [193]-198) and indexes.
505 00 $tPrint Representations of the Dickinson Holographs --$g1.$tDashes and the Limits of Discourse --$g2.$tPlaying with Elite and Popular Traditions --$g3.$tDash and Voice in the Letters --$g4.$tListening to the Child --$g5.$tThe Community of Self --$g6.$tHomelessness and the Forms of Selfhood.
520 $aEmily Dickinson's life and art have fascinated - and perplexed - the poet's admirers for more than a century. One of the most hotly debated elements of Dickinson's poetry has been her unconventional use of punctuation.
520 8 $aNow, in Inflections of the Pen: Dash and Voice in Emily Dickinson, Paul Crumbley unravels many of these stylistic mysteries in his careful examination of manuscript versions of her poems - including selections from the fascicles, Dickinson's own hand-bound gatherings of her poems - and of Dickinson's letters. Crumbley argues that the dash is the key to deciphering the poet's complex experiments with poetic voice.
520 8 $a.
520 8 $aFrom the time of Dickinson's first editors, Mabel Loomis Todd and Thomas Wentworth Higginson, standard versions of her poetry have tended to normalize the poems. Designated as either em- or en-dashes in print by all but a few recent editors, Dickinson's dash marks in the holograph versions vary tremendously in length, height, and angle. According to Crumbley, these varied dashes suggest subtle gradations of inflection and syntactic disjuction.
520 8 $aThe printed poems give the impression of a unified voice, whereas the dashes that appear in the manuscripts disrupt conventional thought patterns and suggest multiple voices.
600 10 $aDickinson, Emily,$d1830-1886$xTechnique.
650 0 $aWomen and literature$zUnited States$xHistory$y19th century.$0http://id.loc.gov/authorities/subjects/sh2008113610
600 10 $aDickinson, Emily,$d1830-1886$xCriticism, Textual.
650 0 $aEnglish language$y19th century$xPunctuation.
650 0 $aPoint of view (Literature)$0http://id.loc.gov/authorities/subjects/sh85103919
650 0 $aDash (Punctuation)$0http://id.loc.gov/authorities/subjects/sh85035832
650 0 $aLiterary form.$0http://id.loc.gov/authorities/subjects/sh85077490
650 0 $aPoetics.$0http://id.loc.gov/authorities/subjects/sh85103703
852 00 $bglx$hPS1541.Z5$iC75 1997
852 00 $bbar$hPS1541.Z5$iC75 1997