Deleuzian Time-Image in Emily Dickinson: Dash/Death between Immortality and Eternity
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Emily Dickinson is famous for syntactically innovative punctuation in using the dash. The dash makes her a lyric cubist because it deconstructs traditional grammar and word order. It becomes a syntactic bridge between immortality and eternity. This essay explores why Dickinson’s time is analogous to Gilles Deleuze’s time-image. The dash overarches her syntactic and thematic goals. Through repetition of the dash and images of death, Dickinson continuously crystalizes her poems in the realm of time. Her poems echo several features like crystal images. The dash overarches not only the path of space-time but also the path of reality. In her poems, the poet struggles with time and timelessness or the actual and the virtual. This struggles allow us to interpret multiplied meanings. The poet attempts to build a metaphorical house in her poems. The house serves as the dwelling space for death and immortality and for possibility and paradise. The former pair waits for eternity, and the latter pair stays there. By scrutinizing a complex syntactic suspension via the dash, this essay also highlights why crystallized images parallel the syntactic function of the dash.
Abstract
Emily Dickinson is famous for syntactically innovative punctuation in using the dash. The dash makes her a lyric cubist because it deconstructs traditional grammar and word order. It becomes a syntactic bridge between immortality and eternity. This essay explores why Dickinson’s time is analogous to Gilles Deleuze’s time-image. The dash overarches her syntactic and thematic goals. Through repetition of the dash and images of death, Dickinson continuously crystalizes her poems in the realm of time. Her poems echo several features like crystal images. The dash overarches not only the path of space-time but also the path of reality. In her poems, the poet struggles with time and timelessness or the actual and the virtual. This struggles allow us to interpret multiplied meanings. The poet attempts to build a metaphorical house in her poems. The house serves as the dwelling space for death and immortality and for possibility and paradise. The former pair waits for eternity, and the latter pair stays there. By scrutinizing a complex syntactic suspension via the dash, this essay also highlights why crystallized images parallel the syntactic function of the dash.
참고문헌 (10)
- Anderson, Charles R, "The Trap of Time in Emily Dickinson’s Poetry", The Journal of English Literary History, 22, pp.402~424 (1959)
- Cameron, Sharon, "Lyric Time: Dickinson and the Limits of Genre" (1979), Johns Hopkins UP
- Crumbley, Paul, "Inflection of the Pen: Dash and Voice in Emily Dickinson" (1997), UP of Kentucky
- Deleuze, Gilles, "Cinema 2: The Time Image" (2005), Continuum
- Denman, Kamilla, "Emily Dickinson's Volcanic Punctuation", Emily Dickinson Journal, 2(1), pp.22~46 (1993)
- Dickinson, Emily, "Johnson" (1955), Harvard UP
- Grabher, Gudrun M, "A Companion to Emily Dickinson", pp.256~268 (2008), Blackwell
- Griffith, Clark, "The Long Shadow: Emily Dickinson’s Tragic Poetry" (1964), Princeton UP
- VanZanten, Susan, "‘Bridges Often Go’: Emily Dickinson’s Bridge Poems", The New England Quarterly, 85(3), pp.526~540 (2012)
- Wohlpart, A. James, "A New Redemption: Emily Dickinson’s Poetic in Fascicle 22 and ‘I Dwell in Possibility", South Atlantic Review, 66(1), pp.50~83 (2001)