Gathering and Scattering Emily Dickinson’s Poetry

The composition of Emily Dickinson’s poetic work has implied many stages of unbinding and rebinding her poems, from her own self-publishing practices (the now famous “fascicles”), through three editions of her Complete Poems (Johnson 1955, Franklin 1998, Miller 2016, all published by Harvard Univers...

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Main Author: Antoine Cazé
Format: Article
Language:English
Published: Centre de Recherche "Texte et Critique de Texte" 2022-12-01
Series:Sillages Critiques
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Online Access:https://journals.openedition.org/sillagescritiques/13464
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author Antoine Cazé
author_facet Antoine Cazé
author_sort Antoine Cazé
collection DOAJ
description The composition of Emily Dickinson’s poetic work has implied many stages of unbinding and rebinding her poems, from her own self-publishing practices (the now famous “fascicles”), through three editions of her Complete Poems (Johnson 1955, Franklin 1998, Miller 2016, all published by Harvard University Press) up to the recent uploading of her manuscripts as electronic archives on the Internet. It has fiercely divided scholars over what it has meant to “collect” Dickinson’s poems. This article presents certain aspects of this history, and contends that the combination of manuscript, print, and screen versions that we have today essentially corresponds to Dickinson’s writing project as a mixed media venture, always already predicated on re-mediation as a feature of collecting and dissemination. Ultimately, it examines Dickinson’s famous reticence to publish her poems in print as a component of a set of unconventional collecting practices.
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publishDate 2022-12-01
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spelling doaj-art-be779c5704fc401da3125d5fced781882025-01-30T13:47:14ZengCentre de Recherche "Texte et Critique de Texte"Sillages Critiques1272-38191969-63022022-12-013310.4000/sillagescritiques.13464Gathering and Scattering Emily Dickinson’s PoetryAntoine CazéThe composition of Emily Dickinson’s poetic work has implied many stages of unbinding and rebinding her poems, from her own self-publishing practices (the now famous “fascicles”), through three editions of her Complete Poems (Johnson 1955, Franklin 1998, Miller 2016, all published by Harvard University Press) up to the recent uploading of her manuscripts as electronic archives on the Internet. It has fiercely divided scholars over what it has meant to “collect” Dickinson’s poems. This article presents certain aspects of this history, and contends that the combination of manuscript, print, and screen versions that we have today essentially corresponds to Dickinson’s writing project as a mixed media venture, always already predicated on re-mediation as a feature of collecting and dissemination. Ultimately, it examines Dickinson’s famous reticence to publish her poems in print as a component of a set of unconventional collecting practices.https://journals.openedition.org/sillagescritiques/13464intermedialitybook historyDickinson (Emily)manuscript studiesgenetic criticismprint culture
spellingShingle Antoine Cazé
Gathering and Scattering Emily Dickinson’s Poetry
Sillages Critiques
intermediality
book history
Dickinson (Emily)
manuscript studies
genetic criticism
print culture
title Gathering and Scattering Emily Dickinson’s Poetry
title_full Gathering and Scattering Emily Dickinson’s Poetry
title_fullStr Gathering and Scattering Emily Dickinson’s Poetry
title_full_unstemmed Gathering and Scattering Emily Dickinson’s Poetry
title_short Gathering and Scattering Emily Dickinson’s Poetry
title_sort gathering and scattering emily dickinson s poetry
topic intermediality
book history
Dickinson (Emily)
manuscript studies
genetic criticism
print culture
url https://journals.openedition.org/sillagescritiques/13464
work_keys_str_mv AT antoinecaze gatheringandscatteringemilydickinsonspoetry