Exhibitions of Three Types

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The Dickinson Electronic Archives features Exhibitions of three different types, as well as legacy exhibitions from the DEA 1994-2012 such as that for Titanic Operas:

  • DISCOVERY EXHIBITIONS such as that for the 1859 Daguerreotype.

  • FULL-SCALE EXHIBITIONS such as Ravished Slates.

  • EVOLVING EXHIBITIONS such as Bound a Trouble encouraging a discussion of archives.


Exhibition 8 - Reading at Home: Emily Dickinson's Domestic Contexts

Edited by Gabrielle Dean, Reading at Home: Emily Dickinson's Domestic Contexts is a collection of three essays that consider the material and domestic context in which Dickinson's poetry should be read. Often overlooked artifacts, such as sheet music, friendship albums, and religious texts from the Dickinson family library are read as objects that, together, begin to assemble the domestic framework of Emily Dickinson’s reading habitus.

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Exhibition 7 - Emily Dickinson's Lyrical Ecologies: Forays into the Field 

Emily Dickinson's Lyrical Ecologies: Forays into the Field is a six-essay cycle that explores the interactions between Dickinson’s poetry and issues of environment and ecology. The essays draw on a wide range of ecological concepts, such as human-non-human crossings, or natural and engineered soundscapes, but together they demonstrate new readings of Dickinson’s poetry made possible by observing the convergence of ecological processes and poetic methods.

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Exhibition 6 - Digital Articles (From the DEA1)

A re-presentation of 6 “digital articles” originating from the DEA1. Coordinated by Martha Nell Smith and coproduced by Lara Vetter and Jarom McDonald. This exhibition includes:

The Civil War, Class & the Dickinsons

Emily Dickinson Writing a Poem

Dickinson, Cartoonist

Letter-Poem, A Dickinson Genre

Mutilations: What was Erased, Inked Over, and Cut Away

Virtual Landscapes

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Exhibition  5 - Writings by Susan Dickinson (An Exhibition from the DEA1)

This revised reissue of the original Writings by Susan Dickinson section of the DEA1 presents the edition in a new interface in order to build upon and extend the original presentation edited by Martha Nell Smith, Laura Elyn Lauth, and Lara Vetter.

The DEA is a living archive. Transcription can be a difficult and interpretive process, so our transcriptions are always produced collaboratively and with the potential for revision in mind. Writings by Susan Dickinson is under constant review by DEA staff, and we welcome suggestions from site visitors. Revisions are ongoing.

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Exhibition  4 - Titanic Operas (An Exhibition from the DEA1)

Appearing originally in the DEA1 and recently updated for the new DEA2Titanic Operas is a setting for contemporary poets, and their complex, contradictory, always inspiring responses to the nineteenth-century American poet Emily Dickinson.

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Exhibition  3 - ‘Bound—A Trouble—’: the Dickinson Archive

A collection of essays and commentaries on recent Dickinson-related digital archives and on the force of the Archive itself. This exhibition solicits responses (written or otherwise) from Dickinson scholars, Archive scholars, archivists, teachers, readers and anyone else curious and invested in the messy body of work we’ve come to know as Emily Dickinson’s.

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Exhibition 2 - Ravished Slates: A Scholarly Exploration of Material Evidence

Emily Dickinson's Ravished Slates is a scholarly exploration of a group of forty late drafts and fragments hitherto known as the "Lord Letters." In addition to digital surrogates of the documents and accompanying transcriptions, the included essays reveal the history of the editorial representation of the "Lord Letters" and open up new interpretive possibilities based on a reading of material evidence.

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Exhibition 1 - 1859 Daguerreotype: Is This Emily Dickinson?

A cultural palimpsest of our emotions, desires, opinions, and literary histories, the image of a teenage 'Emily Dickinson' has presided over this international icon. But what if another image crept into our mind's eye, an image that is not solitary, staring out, and a bit fretful, but is that of a bold, assertive woman in her late twenties with her arm around another woman. How might that change our literary history?

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