Poetic language is often defined by its apparent violations of ordinary language rules because of its usage of ‘unacceptable’ or at least very unusual constructions, under the label of ‘poetic licence’. This is also true for Emily Dickinson’s language, characterised as obscure, elliptical or ambiguous. The present paper is an attempt to show how the ‘poetic forms’ are nothing but an extreme exploitation of everyday language resources which can sometimes appear to be ambiguous or obscure only as a side effect of their extra-contextualisation. The case in point is the analysis of Dickinson’s use of personal pronouns, which is not agrammatical, but resorts to the pragmatic and topicality conditions overruling the semantic rules of gender agreement, thus building her view and feeling of herself as a woman and a poet.
14 lut 2023
13 lut 2023
|Vezzosi, Letizia, Pronouns in Dickinson’s poetryas a means of constructing a poetic self||14 lut 2023|