美国文学艾米莉狄金森资料

美国女诗人艾米莉*狄金森创作了大量关于自然的诗歌.她以深刻的洞察力和创造性的天赋为我们展示了她眼中的自然:隐含宗教色彩的自然、体现先验主义的自然、富于形象和意象的自然.美国女诗人埃米丽·迪金森的自然观与她的社会、家庭以及个人阅历有着极其密切的联系。

她诗歌中所描绘的自然既反映出爱默生的超验主义思想，又不时地唱出与清教主义旋律相近的曲调。

她热爱大自然，但又夹杂着疑惑和恐惧。

她的复杂的心理因素构成了她的复杂的自然观。

爱默生和梭罗所奉行的超验主义自然观无法完全解释艾米莉·狄金森内心深处对"自然之谜"的疑惑,因她有意识地在诗歌创作中进行了极富独创精神的"再定义":"自然"等同于"知识",为直觉或"超灵"难以洞悉;"自然"独立于人的意志之外,它对人的基本利益漠不关心,两者之间的疏离感无法打破.因为不能体悟"自然"的本质,诗人对"自然"的敬畏感逐渐加深,也构成了她对超验主义自然观冷静的质疑.狄金森和爱默生都相信读者应该经由个人的实践去感受和解读"自然之谜",而两者之间最根本的不同在于狄金森最终确定该命题无解.爱默生的超验主义思想为艾米莉@狄金森的的诗歌创作提供了无尽的源泉.爱默生否定上帝,肯定人的神性,强调人的直觉意识,认为它与宇宙中的超灵是一体的.他的思想渗透在狄金森对心灵、自然、生与死以及永生的沉思冥想中.狄金森通过全身心的艺术追求和心灵与意识的探索实践着爱默生的超验主义思想.美国诗歌史上著名的"白衣修女"艾米莉·狄金森以其作品的内容新颖、诗风自由而名垂青史,其中相当一部分描写自然的小诗清新隽永,颇具代表性.对诗人的独特诗风进行溯源,即可发现19世纪超验主义思潮及其代表人物爱默生极大地影响了诗人的思想及作品,在形成狄金森独特诗风的诸多因素之中具有举足轻重的地位.同时发现,诗人不仅限于承接旁人思想,而是致力于创造性的开拓,取他家之长,凝聚自身精华,成功地开创了一代诗风之先河.从狄金森的诗歌美学观和超验主义两个视角浅析这位文坛巨匠独立、独创、独特的诗歌创造艺术及勇敢地与传统的诗歌美学决裂,以无拘无束的个性、不媚时俗的高尚品格,通过超验的内省构筑了自己独一无二的诗歌艺术形式和审美标准.美国女诗人艾米莉·狄金森生前默默无闻,死后却被奉为现代主义先驱.本文从其诗歌形式、语言运用以及诗歌技巧等几个方面,阐述她融合传统进行创新,从而走向现代主义的创作手法.狄金森在诗歌创作中进行了大胆的改革和创新,开创了独特的狄金森风格.因此,她常被誉为美国现代诗的开拓者.她的创作风格对现代美国诗人产生了巨大影响.死亡是美国著名女诗人艾米莉·狄金森的诗歌中经常出现的主题,这一主题作品数量多,角度奇特,意向奇特而大胆.本文首先探寻诗人对这一主题产生浓厚兴趣的原因,然后通过诗人的几首死亡诗来分析其死亡诗的特点.艾米莉@狄金森在她的诗中,从各个角度研究了死亡,并表达了她的真情实感.为了使她的死亡诗更加生动,更有吸引力,她运用了多种修辞手法去达到她的目的,其中主要运用了隐喻、拟人、象征、联觉等四种修辞手法.正是她熟练掌握这些修辞手法,使她赢得美国最伟大诗人之一的称号.艾米莉*狄金森在她的500多首死亡诗中,用"心灵之眼"对死亡主题进行了多层次、多角度的探索.本文通过最具代表性的死亡诗的分析,结合其书信,揭示出狄金森对死亡"剪不断,理还乱"的情感体验及她对永恒的追求.<我死时听到了苍蝇的嗡嗡声>是艾米莉·狄金森的代表作之一,诗歌短小精悍,反映对于"死亡"和"永生"的思索,从而对"永生"提出异议.诗歌形式优美,内容深刻,二者巧妙结合,完美统一,充分体现了诗人的哲学观和美学观.狄金森是对美国诗歌有重大影响的女诗人.她以独特的写作风格描写诗人们很少触及的诸如死亡这样的主题.在她的诗中,死亡就是永生.而狄金森对待死亡的态度,缘于她的家庭背景、宗教信仰和个人经历等方面Love, death and eternity:interpretation of Emily Dickinson's poems艾米莉·狄金森是美国现代诗歌的先驱，其诗歌仍给当代研究者留下了许多不解之谜。

分析赋予她诗歌生命力的内在联系，揭示她诗歌中爱情、痛苦、死亡与永恒的关系，并从宗教的角度揭示她生活的秘密。

死亡是文学中一个永恒的主题.古典文学中的死亡只是因不幸、灾难和阴谋等造成的生命终结,而在美国女诗人艾米莉·狄金森(Emily Dickinson)的诗作中,死亡被赋予人格,不再是一个抽象的概念.狄金森对于死亡这一神秘世界进行了深入的感性探索抑或审美观照.从某种意义上来说,她的探讨及刻画是穷尽性的.由此,狄金森成为探讨生命终极意义及灵魂永生问题的杰出代表.The subjects of Dickinson's poems, expressed in intimate, domestic figures of speech, include love, death, and nature. The contrast between her quiet, secluded life in the house in which she was born and died and the depth and intensity of her terse poems has provoked much speculation about her personality and personal relationships. Her 1,775 poems and her letters, which survive in almost as great a number, reveal a passionate, witty woman and a scrupulous craftsman who made an art not only of her poetry but also of her correspondence and her life.Emily Dickinson, poet of the interior life, imagined words/swords, hurling barbed syllables/piercing. Nothing about her adult appearance or habitation revealed such a militant soul. Only poems, written quietly in a room of her own, often hand-stitched in small volumes, then hidden in a drawer, revealed her true self. She did not live in time but in universals--an acute, sensitive nature reaching out boldly fromself-referral to a wider, imagined world.Dickinson died without fame; only a few poems were published in her lifetime. Her legacy was later rescued from her desk--an astonishing body of work, much of which has since appeared in piecemeal editions, sometimes with words altered by editors or publishers according to the fashion of the day.Now Ralph Franklin, the foremost scholar of Dickinson's manuscripts, has prepared an authoritative one-volume edition of all extant poems by Emily Dickinson--1,789 poems in all, the largest number ever assembled. This readingedition derives from his three-volume work, The Poems of Emily Dickinson: Variorum Edition (1998), which contains approximately 2,500 sources for the poems. In this one-volume edition, Franklin offers a single reading of eachpoem--usually the latest version of the entire poem--rendered with Dickinson's spelling, punctuation, and capitalization intact. The Poems of Emily Dickinson: Reading Edition is a milestone in American literary scholarship and an indispensable addition to the personal library of poetry lovers everywhere.</p>in full E mily Elizabeth Dickinson American poet who has been called “the New England mystic”and who experimented with poetic rhythms and rhymes. Almost all her poetry was published posthumously.Dickinson was the second of three children. The three remained close throughout their adult lives: her younger sister, Lavinia, stayed in the family home and did not marry, and her older brother, Austin, lived in the house next door after his marriage to a friend of Emily's. Her grandfather, Samuel Fowler Dickinson, had been one of the founders of Amherst College, and her father, Edward Dickinson, served as treasurer of the college from 1835 to 1872. A lawyer who served one term (1853-55) in Congress, Edward Dickinson was an austere and somewhat remote father, butnot an unkind one. Emily's mother, too, was not close to her children.Emily Dickinson was educated at Amherst Academy and Mount Holyoke Female Seminary. Mount Holyoke, which she attended from 1847 to 1848, insisted on religious as well as intellectual growth, and Emily was under considerable pressure to become a professing Christian.She resisted, however, and although many of her poems deal with God, she remained all her life a skeptic. Despite her doubts, she was subject to strong religious feelings, a conflict that lent tension to her writings. Dickinson began to write verse about 1850, apparently while under the spell of the poems of Ralph Waldo Emerson and Emily Bront and under the tutelage of Benjamin F. Newton, a young man studying law in her father's office. Only a handful of her poems can be dated before 1858, when she began to collect theminto small, handsewn booklets. Her letters of the 1850s reveal a vivacious, humorous, somewhat shy young woman. In 1855 Dickinson went to Washington, D.C., with her sister to visit their father, who was serving in Congress. During the trip they stopped off at Philadelphia, where she heard the preaching of the noted clergyman, the Reverend Charles Wadsworth, wh o was to become her “dearestearthly friend.” He was something of a romantic figure: a man said to have known great sorrow, whose eloquence in the pulpit contrasted with his solitary broodings. He and Dickinson exchanged letters on spiritual matters, his Calvinist orthodoxy perhaps serving as a useful foil for her own speculative reasoning. She may also have found in his stern, rigorous beliefs a welcome corrective to the easy assumption of a benign universe made by Emerson and the other transcendentalists.The three main themes of Emily Dickinson's poetry are love, death, and nature. Regarding love, Dickinson believed that the prismatic ("The Love of Thee--A Prism Be") quality of love enabled energy that passed through the experience of love to reveal a spectrum of possibilities. Dickinson never defined a specific lover, but concentrated on passion as a whole. Concerning nature, Dickinson generally equated nature with heaven or God. She used many Biblical allusions because she regarded nature as religious. Dickinson found manifestations of the universal in the minute details of nature such as bumblebees, eclipses, hills, and flies. She also saw nature as a friend with whom she loved to commune. Concerning death, Dickinson believed that the question of death was more important than the actual experience of death. It was a strong, cosmic force which left its victims and its survivors powerless--a question to be pondered by the living.Dickinson most frequently wrote her poems,compressed into brief stanza forms,in a few different combinations of iambic tetrameter and trimeter lines.She also employed partial rhyme schemes,which became commom in the nextcentury.Dickinson's complex syntax draws a rich variety of connotations from many common words.Her imagery and metaphors derive both from an acute observation of nature and from a powerful imagination.Dickinson most frequently wrote her poems,compressed into brief stanza forms,in a few different combinations of iambic tetrameter and trimeter lines.She also employed partial rhyme schemes,which became commom in the next century.Dickinson'scomplex syntax draws a rich variety of connotations from many common words.Her imagery and metaphors derive both from an acute observation of nature and from a powerful imagination. 花儿再美，难以抗拒被攀折的命运，死亡是terrifying，也是必然的，用清醒冷静的洞悉一切的眼球冷眼看待美丽的死亡美国女诗人埃米丽·迪金森的自然观与她的社会、家庭以及个人阅历有着极其密切的联系。