Abstract This paper explores the themes integral to Emily Dickinson's works. The author examines the writer's use of imagery and abstraction that makes her poems so unique with emphasis on one poem "Safe in Their Alabaster Chambers".
From the Paper "Emily Dickinson asserts and establishes her poetic individuality and identity in her poetry; her poems delve deep into her personality and expose her thoughts about religion, life, and society. Her consistent themes of metaphor, ambiguity, and identity persevere and triumph in her poetic expressions of herself. Dickinson was a reclusive individual who separated herself from society; her personality is exhibited and revealed within her poetry, most of which was published after her death about a century ago. She was a profound mystery when she was alive and continues to remain an enigma today. Dickinson has been deemed a "Queen Recluse" (Lindberg-Seyersted 17) by Samuel Bowles and even the "madwoman in the attic" by Sandra Gilbert. The imagery and abstraction in her poetry hint at the hidden genius concealed within this woman, who continues to be one of the most influential poets of the 19th century. She precluded her time by challenging and redefining the standard structure and model of poetry established by lesser poets before her."
Tags: dickinson, emily, poetry, imagery, symbolism, style, language
From the Paper " Superficial attention to the 1861 version of Emily Dickinson's poem 216 ("Safe in their Alabaster Chambers") might produce readings that say, roughly, that the dead in their tombs await the last judgment while the universe and human history, unheeded by the dead, continue on their course, headed toward their own inevitable ends. (Though the first stanzas of the two versions of 216 are nearly identical, this stanza is examined here specifically in relation to the second stanza of the 1861 version.) The timelessness of death--the cessation of any relationship between the dead and time--appears to dominate the first stanza of the poem. But "the Resurrection" of the poem is the resurrection of the body and this doctrine periodizes death, that is, relates it to time. The death of the body is a stage in existence: life of the body, death of the body, resurrection of..."
Abstract This paper shows that archaeological evidence such as cult-based figurines, ossuaries, buildings and structures and the contexts in which they were found demonstrate the religion and cult practices of the Chalcolithic Era in Palestine. The paper examines several of these findings, including the sites of Teleilat Ghassul and Ein Gedi.
From the Paper "Several of the chalcolithic sites excavated after the 1920's, in which the chalcolithic era was first recognised , are indicative of cult worship and religion, and one of these sites includes Teleilat Ghassul, the first of the period to be excavated . Originally thought to be several settlements because of its scattered mounds indicating settlements , it is now thought by most scholars including Hennessey to be a single, 20 ha site with a religious culture that spread to other settlements in the Palestine region".
Abstract The paper shows that Emily Dickinson's individualistic style of diction, as it relates to her poems, "Safe in Their Alabaster Chambers" and "The Soul Selects Her Own Society," is indicative of her assimilation of her context, her time and the value of the idealistic nature of language and belief. The paper argues that Dickinson is clearly a reflection of her time and her works are a reflection of her diversity and genius.
From the Paper "Dickinson conveys meaning beyond her initial message by redefining words from her trusted lexicon, even to the point of bawdry, some would say. There is no message of choice or loss within her works that is not relished by her wordplay. To her the divine is associated not with a future promise but with the ability to keep learning and growing as an individual and a poet."
