Abstract
“Solitude and the Consent of Language: Marosa di Giorgio and Emily Dickinson,” examines how the Uruguayan, Marosa di Giorgio, draws from Emily Dickinson’s poetry to imagine the mind’s solitude as a recuperation of linguistic and signifying freedom within the acute context of imposed consent during the Uruguayan dictatorship. I suggest that the question at work within both poet’s oeuvre has to do with how poetic form might access the tension between what each understood as the mind’s solitude, that is, its individual interpretive processes, and the pulls of communal life, which include governmental, juridical, narrative and pedagogical systems, as they are negotiated through language. In addition to being an interdisciplinary analysis that brings together the fields of philosophy, U.S., and Latin American letters, this paper calls attention to two women writers who are rarely considered together within literary and cultural studies.
Highlights
Resumen “Soledad y consentimiento del lenguaje: Marosa di Giorgio y Emily Dickinson” considera cómo la uruguaya, Marosa di Giorgio, coincide con la escritora decimonónica, Emily Dickinson, en su figuración poética de la soledad y el lenguaje tal como existen en tensión con los mecanismos sociales que difunden y estandarizan un lenguaje común y los dominios del conocimiento
Di Giorgio draws attention to physical solitude as well as the solitary processes of thought, or consciousness, as they exist with time, sound, and language vis-à-vis the ordering principals identified throughout the poem
The deeper question at work here has to do with how poetic form might access and unbind the strains between what di Giorgio understood as the mind’s solitude, that is, its individual interpretive processes, and the pulls of communal life, which include the conventions of moral, governmental, juridical, and pedagogical systems as they are negotiated through language
Summary
Resumen “Soledad y consentimiento del lenguaje: Marosa di Giorgio y Emily Dickinson” considera cómo la uruguaya, Marosa di Giorgio, coincide con la escritora decimonónica, Emily Dickinson, en su figuración poética de la soledad y el lenguaje tal como existen en tensión con los mecanismos sociales que difunden y estandarizan un lenguaje común y los dominios del conocimiento. Di Giorgio draws attention to physical solitude as well as the solitary processes of thought, or consciousness, as they exist with time, sound, and language vis-à-vis the ordering principals identified throughout the poem.
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