Subtext: Conversations about Classic Books and Films

• “Where the Meanings Are” – Four Poems by Emily Dickinson – Part 3

  Erin & Wes continue their discussion of four of Dickinson’s best-loved poems, whose little rooms contain some of the definitive poetic statements on grief, pain, violence, death, reason, identity, and encounters with the divine.

  --------  

  43:58
• “Where the Meanings Are” – Four Poems by Emily Dickinson – Part 2

  Erin & Wes continue their discussion of four of Dickinson’s best-loved poems, whose little rooms contain some of the definitive poetic statements on grief, pain, violence, death, reason, identity, and encounters with the divine.

  --------  

  38:24
• “Where the Meanings Are” – Four Poems by Emily Dickinson

  If only because of its seeming incongruity with a brain “wider than the sky,” the central fact of Emily Dickinson’s life has become her seclusion. As she wrote to Thomas Wentworth Higginson in 1869, “I do not cross my Father’s ground to any House or town.” Like the relatively modest dimensions of her poems, this self-imposed constraint—of the property line within Amherst, Massachusetts, then the Dickinson home itself, then her bedroom—proved no barrier to a cosmic poetic imagination which “went out upon circumference,” and to which no subject, tone, or emotion was foreign. Erin & Wes discuss four of Dickinson’s best-loved poems, whose little rooms contain some of the definitive poetic statements on grief, pain, violence, death, reason, identity, and encounters with the divine: numbers 340, 372, 320, and 477.

  --------  

  52:34
• The Weight of Memory in Hitchcock’s “Rebecca” (1940) – Part 2

  Wes & Erin continue their discussion of the 1940 Best Picture winner "Rebecca," starring Joan Fontaine and Laurence Olivier.

  --------  

  38:25
• The Weight of Memory in Hitchcock’s “Rebecca” (1940)

  Alfred Hitchcock’s first American film—part love story, part ghost story, part courtroom melodrama—centers on a poor, timid young woman who falls in love with wealthy aristocrat Maxim de Winter, a widower tortured over the death of his first wife. When the young woman becomes the second Mrs. De Winter and moves into Maxim’s estate, she finds her predecessor’s initials stamped all over the house, and its staff in thrall to her beautiful, vibrant memory. But at the heart of the first Mrs. De Winter’s legacy lies a rot, and just what that rot represents in the film—be it the oppressions of vitality and ambition, the wages of class mobility, the unruly desires of sexuality, or the latent evidence of civilizational decline—is our subject today. Wes & Erin discuss the 1940 Best Picture winner "Rebecca," starring Joan Fontaine and Laurence Olivier.

  --------  

  43:52

Más podcasts de Arte

Podcasts a la moda de Arte

Acerca de Subtext: Conversations about Classic Books and Films