Emily Dickinson is a great American poetess. Her poems foreshadow the transformation from western traditional poetry to modern poetry, which is of great significance to the study of Dickinson's poems from literary history to social and cultural history. This paper attempts to analyze Dickinson's poems from the aesthetic perspective of the author's understanding.
The introduction summarizes the history of Dickinson's research at home and abroad, and points out that the advantages of foreign research lie in the novel theoretical perspective, in-depth analysis and rich materials, and the interpretation of the text is well-founded whether from the internal or background connection of the text; Influenced by the evaluation of China's traditional poems, most domestic studies do not pursue the integrity of the theoretical system, but try to restore and interpret the enjoyment and inspiration left by Dickinson's poems to ordinary readers. However, on the one hand, only theory, only materials and only intensive reading often take poetry as the object of scientific research, blindly seeking novelty and difference, and do not highlight the authenticity of poetry; On the other hand, only personal impression comments are often general.
The above highlights the necessity of studying Dickinson's poems from an aesthetic point of view: combining the advantages of the two is a possible way. Of course, all poems have aesthetic value, but Dickinson is different from other poets in that all her poems are not static and isolated to show some beautiful things, nor are they just to express some beautiful feelings, but to establish and show a whole aesthetic process. Dickinson's poems are short in length, and most of them are untitled, but this strongly implies that each of her poems is actually not a "poem" or an isolated text in the traditional sense, but only a fragment of a "long poem" composed of all her works. All poems are short, precisely because this long poem is continuing; All poems have no title, precisely because this long poem has an inseparable theme-the pursuit of beauty and the aestheticization of her and her whole world. This provides an important methodological perspective for us to interpret Dickinson's poems.
Because the aesthetic process is essentially a process from subject to object, the second chapter discusses the aesthetic object in Dickinson's poems. The aesthetic object is not a natural thing in the physical sense, nor a social relationship in the general sense, but the objectification of the subject's emotion, which must have the objectified form and connotation. This chapter first demonstrates that the basic unit of aesthetic object analysis is image. Then these images are analyzed from three fields-nature, life and mind, which are divided according to the different spiritual connections of the subject. The main part of this chapter discusses how these images are shaped and played a role, and how the aesthetic characteristics of Dickinson's poems are different from those of his predecessors and contemporaries. However, this chapter is not so much to discuss the different image categories in various fields as to discuss the "imagization" trajectory of the subject's emotions in various fields. The first section discusses the images in the triple relationship between self and nature (subordination, alienation and opposition); The second section discusses the basic perspective of image formation in the field of social life, the positive and negative role of class consciousness in it, and the triple characteristics of the image formed from it: blending with nature, non-event and multiple implications. The third section points out that the image in the spiritual field actually returns to the aesthetic subject, but it brings more content than the simple subject, and then discusses the image in the belief conflict and the image in the process of self-reflection.
Although aesthetics does have its object, this object is not formed at one time, but is in the process of continuous generation and interpretation. The third chapter analyzes the generation process and interactive relationship of aesthetic subject and object from the perspective of methodology. First of all, this chapter generally defines this kind of interaction as two-way communication. Then, this chapter focuses on the analysis of three pairs of key unity of opposites in this communication process: meditation and infiltration, affirmation and irony, rebellion and integration. This part of the investigation provides a deeper understanding of Dickinson's poetry creation method and how to regard the whole world of Dickinson's poetry as an aesthetic world.
The final conclusion of this paper is that the core of Dickinson's poetry is not only to show beautiful things and sense of beauty, but also to show a complete aesthetic activity as a whole. From this perspective, we can more reasonably observe many seemingly incomprehensible and contradictory features in Dickinson's poems. Dickinson's poems are short and pithy, but her unique originality lies in her good use of cracks, differences, conflicts and other factors to develop her aesthetic process and run through it. Although traditional poets will encounter these factors at first, they will try to unify in the end. Although Dickinson initiated postmodernism in emphasizing tension and fragmentation, she has a transcendental perspective, so from all her poems, she has a potential aesthetic unity, so it makes sense to interpret her poems in a traditional way. Contemporary literature will not stop at blindly rebelling against tradition. Its continuous development promotes the dialogue between pioneers and traditions. In this evolution and dialogue, Dickinson's poems will surely enjoy a higher status.