![]() This discourse demands reinterpretations of several ca-nonical Dickinson poems. In emily dickinsons poem, the railway train, which type of figurative language is used most. I argue that thinking of these media acoustically, instead of in terms of literacy, reveals a rich separate discourse running through Dickinson's poetry and American poetry generally. It concludes by examining the intersection of her poetry and telephony, which was perceived as an extension of telegraphy. As the poem begins when the train bears west, the poet interweaves visual imagery of nature with the mechanical imagery of a moving train to narrate the. The essay focuses on Emily Dickinson as an in-depth case study because of her unusual familiarity with telegraphic acoustics in Amherst her visual impairment, which heightened her awareness of sound and her insights into the nature and future of networks and information flow. In turn, American poets, including John Greenleaf Whittier and Oliver Wendell Holmes Sr., also thought about poetry in terms of telegraphic acoustics. I have also used literature examples from the core. I've included worksheets, rubrics, and answers keys where applicable. Because of this emphasis and because of increasingly universal poetic education, American telegraphers understood their technology in poetic terms. The 7th grade poetry unit gives an in depth approach to poetry involving the four strands within the core. ![]() So, of course, does the context of Dickinsons poem. Telegraphic acoustics started as a distinctively American technical evolution that emphasized sound and listening over sight and literacy. This privileges a reading of the train as tenor of the metaphor to which the horse is vehicle. This essay focuses on a specific aspect of electric telegraphy in America-what I call 'telegraphic acoustics', which includes: 1) the sound of telegraph wires vibrating overhead and 2) 'sound-reading', the practice of transcribing Morse code by ear instead of transcribing it from a printout.
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