Text: Various, “International Poe Bibliography: 1983-1985,” Poe Studies / Dark Romanticism, June 1986, Vol. XIX, No. 1, 19:11-23


[page 11:]

International Poe Bibliography: 1983-1985

[column 1:]

This checklist, which supplements “Current Poe Bibliography” appearing in Poe Studies, 16 (1983), 34-38, features chiefly entries from 1983-1985, yet includes, too, selected items from 1981-1982. This listing was compiled by a Committee composed of Richard Kopley, The Pennsylvania State University/DuBois Campus; Roberto Cagliero, University of Colorado at Boulder; Lawrence H. Klibbe, New York University; Kent Ljungquist, Worcester Polytechnic Institute; Amy Horning Marschall, The Johns Hopkins University; Tohru Nakamura, Ibaraki University; E. Kate Stewart, Worcester Polytechnic Institute; and Bruce I. Weiner, St. Lawrence University. The Committee will be pleased to receive offprints from any source. Send offprints to Richard Kopley, Department of English, The Pennsylvania State University/DuBois Campus, College Place, DuBois, Pennsylvania 15801.

The Committee wishes to thank American Literary Scholarship for granting permission to include listings from its annual review-essay on Poe criticism and scholarship. In some instances, annotations are also drawn from the MLA International Bibliography. Reviews and review-essays from 1983-1986 will be gathered separately with “International Poe Bibliography: 1986,” to be published next year.

Allison, John B. a The Sacred Fount: James’s Literary Joke,” American Transcendental Quarterly, No. 51 (1981), 183-193. [The Sacred Fount is a joke aimed at Poe and Hawthorne; it “unites a number of related devices employed by” both Poe and Hawthorne.]

Andreoli, Aurelio and Massimo Dini. “Ancora un Poe,” Panorama, 17 Sept. 1984, pp. 114-117. [The authors introduce a collection of Poe’s writings, edited by Francesco Mei and still unpublished in book form.]

Anon. “Bibliographic des Publications du Professeur W. T. Bandy,” Bulletin Baudelairien, 17 (Dec. 1982), 49-71. [Lists over thirty Poe items by Bandy.]

————————. “Evermore,” The New Yorker, 1 July 1985, pp. 21-23. [Poe-focused meditation during a visit to the Poets’ Corner at the Cathedral of St. John the Divine.]

————————. “Ghost of ‘Mr. Eddie’ Bars Intruders at Poe’s House,” New York Times, 10 Nov. 1985, Sec. 1, p. 68. [Baltimore gang members consider the Poe House haunted.]

————————. “Hommage a W. T. Bandy,” Bulletin Baudelairien, 7 (Dec. 1982), 46-48. [Discusses Bandy’s accomplishments, including his work on Poe.]

————————. “Poe’s Tale of Horror Based on True Incident,” The American Cemetery (Feb. 1985), 42-43. [column 2:] [Account of the immurement of Captain Green at Fort Independence in 1817, considered an influence on Poe’s writing of “The Cask of Amontillado.”]

Apollonio, Carla. “Edgar Allan Poe e I promessi sposi Otto/Novecento, 9 (1985), 237-246. [Apollonio reviews contrasting positions on the possibility of Poe’s having written the Messenger review of Alessandro Manzoni’s novel, I Promessi Sposi, and denies a direct influence of Manzoni’s work on “King Pest.”]

Asahara, Yoshio. “Baudelaire’s Sympathy with Poe,” Bulletin of Atomi Gakuin Junior College, 19 (1983), 71-83.

Bachinger, Katrina. “The Obscure Web(be) and Poe’s ‘The Man of the Crowd,‘” Notes and Queries, 31 (1984), 478-479. [Cornelius Webb’s Glances at Life in City and Suburbs may have contributed to Poe’s urban vision.]

————————. “Poe’s Folio Club: A Pun on Peacock’s Folliott,” Notes and Queries, 31 (1984), 66. [In Peacock’s Crotchet Castle, Reverend Dr. Folliott presides at a dinner which features speeches by diverse characters.]

————————. “Poe’s ‘For Annie,“’ Explicator, 43 (1984), 33-35. [A reordering of the poem’s sequence heightens the effect of narration by a dead speaker.]

————————. “Tit for Tat: The Political Poe’s Ripostes to Nineteenth Century American Culture and Society,” Studies in Nineteenth Century Literature: Fourth Series, ed. James Hogg (Salzburg: Institute fur Anglistik s Amerikanistick, Universitat Salzburg, 1981), pp. 46-90.

————————. “Towards a New Era in Poe Studies: The Case for a Byronic Interpretation of Poe’s Tales IIlustrated by ‘A Decided Loss’ and ‘Bon-Bon,“’ On Poets and Poetry: Sisth Series, ed. James Hogg (Salzburg: Institue fur Anglistik s Amerikanistick, Universitat Salzburg, 1984), pp. 37-54. [Links the narrator of “A Decided Loss” and “Bon-Bon” with Byron.]

Balestra, Gianfranca. “E. A. Poe: L‘ossessione Teriomorfa,” Scrittura, immaginario, magia, G. Balestra et al. (Milan: Unicopli, 1983), 113-141. [The author discusses animal metamorphoses in “Metzengerstein” and “The Black Cat” as metaphors of art and death.]

Barbolini, Roberto. “Presentazione,” Il Giocatore di Scacchi di Maeizel, E. A. Poe, tr. Grazia Crocco (Rome: Theoria, 1985), pp. 7-14. [Barbolini notes that the narrator of “Maelzel’s Chess-Player” exemplifies the connection between aesthetic and analytic ideas in Poe.] [page 12:]

Beegel, Susan F. “The Lilerary Histrio as Detective,” Massachusett’ Studies in English, 8 (1982), 1-8. [Discusses the role of language in the tales of ratiocination.]

Bennett, Maurice J. “The Detective Fiction of Poe and gorges,” Comparative Literature, 35 (1983), 262-275. [Borges’ aDeath and the Compass” is both a parody and a serious rewriting of Poe’s tales of ratiocination.]

————————. “Edgar Allan Poe and the Literary Tradition of Lunar Speculation,” Science Fiction Studies, 10 (1983), 137-147. [Poe juxtaposes lunar and earthly customs for satiric purposes.]

Benton, Richard P. “Is Poe’s ‘The Assignation’ a Hoax?” The Naiad Voice: Essays on Poe‘‘ Satiric Hoaxing, ed. Dennis W. Eddings (Port Washington, N. Y.: Associated Faculty Press, 1983), pp. 18-21. [Reprint of an essay that appeared in Nineteenth-Century Fiction (1963).]

Berces, Francis. aPoe and Imagination: An Aesthetic for Short Story Form,” Le’ Cahiers de la Nouvelle: Journal of the Short Story in English, 2 (Jan. 1984), 105-113. [Study of the relationship between short story form and aesthetic theory.]

Berryman, Charles. “Hawkes and Poe: Travesty,” Modern Fiction Studie‘, 29 (1983), 643-654. [John Hawkes’ Travesty traces a Poe-esque theme: the relationship between art and death.]

Blakeburn, Mark. “Poe and Crane’s ‘The Monster,‘” Tennessee Philological Bulletin, 20 (1983), 23. [Crane’s “The Monster” may have been influenced by “A Descent into the Maelstrom.”]

Block, Haskell. “Poe, Baudelaire, Mallarme, and the Problem of the Untranslatable,” Translation Perspectives, ed. Marilyn Gaddis Rose (Binghamton: Translation Research and Instruction Program, 1984), pp. 104112. [Acknowledges the role of French poemes en prose, a new genre that developed via Poe’s influence.]

Borrelli, Robert L., Courtney S. Coleman, and Dana D. Hobson. aPoe’s Pendulum,” Mathematics Magazine, 58 (March 1985), 78-83. [Mathematicians cannot find a model for Poe’s pendulum, which functioned with “steadily increasing total energy.”]

Bottiroli, Giovanni. aL‘isola delle Fate — Percorsi Narrativi e Proposte di Identita,” ll Testo Letterario, ed. Dario Corno (Turin: Giappichelli, 1984), pp. 193-288. [Relying upon the work of Lacan, the author suggests that “The Island of the Fay” concerns nostalgia for a prelingrustic stage.]

Brunauer, Dalma H. “Parallel Lives: Edgar Allan Poe and Attila J6zsef,” Journal of Evolutionary Psychology, 3 (1982), 1-11. [Finds correspondences between the life of Poe and that of the 20th-century Hungarian poet, Attila J6zsef.]

Burduck, Michael L. “An Index to Poe Studies: Volumes IXVI,” Poe Studies, 17 (1984), 1-11. [A comprehensive index that provides a listing of individual Poe works mentioned in the journal.] [column 2:]

Cagliero, Roberto. “Un Colpo Mancato,” introductory note for “Poe Recensisce Manzoni,” tr. Roberto Cagliero, Alfabeta, 74/75 (1985), 7. [Cagliero comments that in Poe’s journalistic work, the writer aimed to create for himself the image of the truly American intellectual.!

Calabrese, Omar. a‘Il Cottage del Signor Landor‘ — Ovvero: come Ammobiliare un Mondo Narrative,” Rivista di EDtetica, 22 (1982), 155-165. [Applying semiotics to “The Philosophy of Furniture” and “Landor’s Cottage,” Calabrese discusses the literary connotation of the term “furniture” in Poe — “to furnish” is to create the preliminary conditions for the beginning of a fictional world.]

Carlson, Thomas C. “The Reception of Edgar Allan Poe in Romania,” Mississippi Quarterly, 38 (1985), 441-446. [Traces the influence of Poe in Romanian literature; discusses numerous Romanian writers, including Titu Maiorescu, Tudor Arghezi, Lucian Blaga, Ion Barbu, and Mihu Dragomir.]

Carton, Evan. The Rhetoric of American Romance: Dialectic and Identity in Emerson, Dickinson, Poe, and Hawthorne (Baltimore: The Johns Hopkins Univ. Press, 1985), pp. 36-41, 59-75, 90-105, 132-147. [Reconceiving American romance as a “rhetorical performance” concerning athe relation of words to things and the nature of the self,” Carton explores affinities between Poe, Emerson, Dickinson, and Hawthorne.]

Castillo Martin, Francisco-Javier. “‘The Fall of the House of Usher’: Acercamiento a su Ritmo Narrativo,” Revista Canaria de Estudios Ingleses, 8 (1984), 149-160. “Examines narrative rhythm from a linguistic point of view.]

———. “Notes Sobre la Estructuracion Sintagmatica Ternaria en la Narrativa de Edgar A. Poe,” Revista Ganaria de E‘tudios Ingleses, 5 (1982), 95-102. [Argues that the aternary sintagmatic structure” of Poe’s tales oflers a balance between flow and detail.]

Caws, Mary Ann. “Insertion in an Oval Frame: Poe Circumscribed by Baudelaire,” Parts One and Two, French Review, 56 (1983), 679-687 and 885-895. [Baudelaire’s translation of Poe is analogous to the placement of a frame on a picture.]

Ceni, Alessandro. aIntroduzione,” Eureka, E. A. Poe (Bologna: Cappelli, 1983), 7-22. [Argues that this text, which reconciles analytic faculties and imagination, carefully prepares the reader for a moment of revelation.]

Cersowsky, Peter. Phantastische Literatur im ersten Viertel des 20. Jahrhunderts: Untersuchungen zum Strukturwandel des Genres, seinen geistesgeschichtlichen Voraussetzungen und zur Tradition der “Schwarzen Romantik” insbesondere bei Gustav Meyrink, Alfred Kubin und Franz Kafka (Munich: Fink, 1983). [The author discusses Poe’s reception and influence in early twentieth-century Germany and considers selected works by Poe in conjunction with selected works by Meyrink, Kubin, and Kafka.]

Chambers, Ross. “Narratorial Authority in ‘The Purloined [page 13:] Letter,‘” Story and Situation: Narrative Seduction and the Power of Fiction (Minneapolis: Univ. of Minnesota Pres9, 1984), pp.50-72. [The play on narrative authority in “The Purloined Letter” illustrates the atransactional” nature of fiction.]

Cheney, Patrick. “Poe’s Use of The Tempest and the Bible in ‘The Masque of the Red Death,“’ English Language Note‘, 20 (1983), 31-39. [Through its ironic reversals of mythic patterns in Shakespeare and the Bible, Poe’s tale comments on the abuse of the human will.]

Clyne, Patricia Edwards. “Thomas O. Mabbott as Teacher,” Books at Iowa, 34 (April 1981). [Fond recollections of Mabbott at Hunter College.]

Cortazar, Julio. aEdgar Allan Poe,” Alberto Martini Illwtratore di Edgar Allan Poe, ed. Marco Lorandi (Milan: Franco Maria Ricci, 1984), 15-37. [Cortazar’s short biography, drawn from Hervey Allen’s lsrafel, stresses the influence of women in Poe’s life.]

Cox, James M. sEdgar Poe: Style as Pose,” The Naiad Voice: Essays on Poe‘‘ Satiric Hoazing, ed. Dennis W. Eddings (Port Washington, N. Y.: Associated Faculty Press, 1983), pp.41-56. [Reprint of an essay that appeared in Virginia Quarterly Review (1968).]

Crawford, Gary, Frederick Frank, Kent Ljungquist, and Benjamin Franklin Fisher IV. The Annual Bibliography of Gothic Studies (Baton Rouge: Gothic Press, 1983). [A chapbook that notes out-of-the-way items on Poe in secondary literature on the supernatural]

Crisman, William. “‘Mere Household Events’ in Poe’s ‘The Black Cat,‘” Studies in American Fiction, 12 (1984), 87-90. [Poe’s tale presents a fable of jealousy.]

Crutchfield, Will. “Opera: Bronx Arts Ensemble in ‘Fall of the House of Usher,‘” New York Time,, 17 June 1985, C14. [Negative review of an opera based on Poe’s “Usher.” ]

Cucchi, Maurizio. “I1 Cuore Messo a Nudo,” Marginalia, E. A. Poe, tr. Fausta Bennobini (Rome: I1 Melograno, 1981), pp.5-9. [Considers the importance of this work for understanding Poe’s fiction and poetry and discusses originality, symmetry, and unpredictability.]

Current-Garcia, Eugene. “Poe’s Short Fiction,” The American Short Story Before 1850 (Boston: Twayne, 1985), pp. 59-83. [Surveys Poe’s fiction in light of what recent scholarship has suggested about his multiple intentions.]

Dameron, J. Lasley, et al. “Current Poe Bibliography,” Poe Studies, 16 (1983), 34-38. [Supplements “Current Poe Bibliography,” Poe Studies, 15 (1982), 13-18.]

Dameron, J. Lasley, William R. Osborne, and Pamela Palmer. “Index to the Bibliographies of Poe Criticism and Scholarship Appearing in Poe Studies 1969-1983,” Poe Studies, 17 (Dec. 1984), 1-40. [Complete index to all installments of Poe Studies “Current Poe Bibliography.”]

Davis, Robert Con. “Lacan, Poe, and Narrative Repression,” [column 2:] MLN, 98 (1983), 983-1005. [Analysis of aThe Tell-Tale Heart” in light of Lacan’s theory of the Gaze.]

Dayan, Joan. “The Analytic of the Dash: Poe’s Eureka,” Genre, 16 (1983),437-466. [Poe’s use of the dash gives precision to an indefinite effect.]

———. “The Identity of Berenice, Poe’s Idol of the Mind,” Studies in Romanticism, 23 (1984),491513. [Discusses structure and internal tensions in Poe’s tale.]

Delarue, Claude. Edgar Poe (Paris: Ballard, 1984).

Dello Buono, Carmen Joseph, ed. Rare Early Essays on Edgar Allan Poe (Derby, Pa.: Norwood Editions, 1981). [Features early pieces on Poe by Edmund Clarence Stedman, Andrew Lang, Nathan Haskell Dole, and others.]

Durzak, Manfred. “Alfred Andersch. Seismographisches Erzahlen — Poe/Hemingway,” Zu Alfred Andersch, ed. Volker WeLdeking (Stuttgart: Klett, 1983), pp.77-87. [After comparing Andersch’s sVormittag am Meer” with Hemingway’s sA Clean, Well-Lighted Place,” Durzak discusses sThe Man of the Crowd” as a contrast to Andersch’s short fiction.]

Eddings, Dennis W. “A Suggestion on the Unity of Poe’s Fiction,” The Naiad Voice: Essays on Poe’s Satiric Hoaxing, ed. Dennis W. Eddings (Port Washington, N. Y.: Associated Faculty Press, 1983), pp. 155-165. [The notion of duplicity is a characteristic of the physical universe mirrored in the psyche of man.]

Egeta, Sadayoshi. “Poe, Dostoevski, Andreyev — Self and its Metamorphosis in Russian fin-de-siecle,” Annual of Comparative Literature (Waseda Univ.), 20 (1984), 100-112.

Eguchi, Yuko. “Edgar Allan Poe — Encounter of the Dreamer with His Other Self,” Essays and Studies (Tokyo Woman’s Christian Univ.), 34 (1983), 205-217.

Eisenzweig, Uri. “L‘Instance du Policier dans le Romanesque: Balzac, Poe et le mystere de la chambre close,s Poetique, 12 (1982), 279-302. [Consideration of Poe in light of Balzac’s Maitre Corne‘liu‘.]

————————. “Poe, Paris, 1846: La Lettre Pillee,” Litte‘rature, 49 (Feb. 1983), 63-68. [On French versions of aThe Murders in the Rue Morgue” appearing in La Quotidienne and Le Commerce in 1846.]

Engel, Leonard. “Obsession, Madness, and Enclosure in Poe’s ‘Ligeia’ and ‘Morella,‘” College Literature, 9 (1982), 140-146. [Examines the function of enclosure in two of Poe’s tales.]

————————. “Psychological Crisis and Enclosure in ‘The Pit and the Pendulum,‘” CEA Critic, 45 (1983), 28-31. [Enclosure reinforces the psychological theme.]

————————. “Victim and Victimizer: Poe’s ‘The Cask of Amontillado,‘” Interpretations, 15 (1983), 2630. Explains Montresor’s vengeance as an attempted burial of his own “guilt for his aristocratic family’s decline.” ] [page 14:]

Ensley, Helen. Poe’s Rhymes (Baltimore: Enoch Pratt Free Library, 1981). [Explores the function of Poe’s rhymes in terms of the rhythm and structure of his poetry.]

Fisher, Benjamin Franklin, IV. “Fugitive Poe References: A Bibliography,” Poe Studies, 16 (June 1983), 7-12. [Supplements “Fugitive Poe References” appearing in Poe Studies 15 (1982), 18-22.]

———. “Fugitive Poe References: A Bibliography,” Poe Studies, 17 (June 1984), 11-21. [Supplements “Fugitive Poe References” appearing in Poe Studies, 16 (1983), 7-12.]

———. “Poe’s ‘Tarr and Fether’: Hoaxing in the Blackwood Mode,” The Naiad Voice: Essays on Poe’s Satiric Hoaxing, ed. Dennis W. Eddings (Port Washington, N. Y.: Associated Faculty Press, 1983), pp. 136-147. [Reprint of an essay that appeared in Topic (1977) ]

———. “That ‘Daughter of Old Time’: Science in the Writings of Edgar Allan Poe,” Papers of the Arkansas Philological Association, 9 (1983), 36-41. [“The System of Doctor Tarr and Professor Fether” treats the imbalance between reason and intuition.]

Fisher, Roscoe Brown, ed. The James Carling Illustrations of Edgar Allan Poe’s The Raven (Charlotte, N. C.: Delmar Publishers, 1982). [Poe’s poem, Carling’s illustrations (annotated), and Fisher’s introduction are accompanied by essays by George F. Scheer (sJames Carling — A Brief Life”), Bruce K. B. Laughton (“Carling as an Illustrator” ), Thomas Ollive Mabbott ( “The Writing of The Raven”), Raymond W. Adams(“The Publishings of The Raven”), and Floyd Stovall (“In Conclusion” ).]

Frank, Frederick S. “Introduction” and “Poe’s Gothicism: An Analytic Bibliography,” Sphinx: A Magazine of Literature and Society, 4 (1985), 223-225 and 277-301. [Frank’s introductory comments for this special Poe issue are accompanied by a bibliography of secondary works on Poe’s Gothic techniques.]

Freitag, Hans-Heinrich. “James Clarence Mangan — Bin irischer Edgar Allan Poe?” Die amerikanische Litcratur in der Weltliteratur: Themen und A‘pekte, ed. Claus Uhlig and Volker Bischoff (Berlin: Schmidt, 1982), pp. 84-93. [Mangan’s “And Then No More” is compared with “The Raven” in terms of theme and style; Mangan’s work is said to possess greater “organic unification.”]

Freundlieb, Dieter. “Understanding Poe’s Tales: A Schema-Theoretic View,” Poetics, 11 (1982), 25-44. [Applies “schema theory” to “Usher” and “Metzengerstein.”]

Fukuda, Tatsuaki. “E. A. Poe,” Rising Generation, Literary Scholarship Special Number (1984), 94-96.

———. “Where Did the Black Cat Come From? (2): From Psychoanalytic Criticism to MythArchetypal Criticism,” Bulletin of the Faculty of General Education, Gifu University, 18 (1983), 135-150. [column 2:]

Galli Mastrodonato, Carla. “‘The Fall of the House of Usher’: il Paradasso del Narrare,” Studi Americani, 25-26 (1979-1980; printed in 1984), 7-35. [Considers doubling in “Usher” as suggestive of language’s self-reflexivity and contends that Macbeth is Poe’s tale’s counter-text.]

Galloway, David, ed. The Other Poe: Comedie, and Satires (Harmondsworth, England and New York: Penguin, 1983). [Critical edition of some of Poe’s lesser-known works; Galloway’s introduction notes Poe’s anticipation of the black humor of Crane, Anderson, West, Faulkner, and Heller.]

Gallup, Donald, ed. “From the Journals of Thornton Wilder,” The New Criterion, 4 (1985), 6-23. [Wilder comments on Poe’s greatness and focuses on Eureka.]

Gannon, Frank. “Yo, Poe,” The New Yorker, 5 Aug. 1985, 24-25. [Manager Baudelaire defends boxer Poe as “not a ‘party’ person.”]

Garber, Frederick. “Centers of Nostalgia,” The Autonomy of the Self from Richardson to Huysmans (Princeton: Princeton Univ. Press, 1982), pp. 220-235. [Poe traces the self’s capacity to realize its autonomy.]

Gargano, James W. “The Question of Poe’s Narrators,” The Naiad Voice: Essays on Poe’s Satiric Hoaxing, ed. Dennis W. Eddings (Port Washington, N. Y.: Associated Faculty Press, 1983), pp. 22-28. [Reprint of an essay that appeared in College English (1963).]

Gilmore, Michael T. “Words and Things in Antebellum American Literature,” Brandeis Essays in Literature, ed. John Hazel Smith (Waltham: Brandeis Univ. Dept. of English, 1983), pp. 85-99. [“Usher” both afflrms and challenges America’s skepticism about the power of words.]

Giorello, Giulio. “Introduzione,” Eureka, E. A. Poe, tr. Agostino Quadrino (Rome: Theoria, 1982), pp. 521. [Discusses Eureka with reference to pre-Socratic philosophers, as well as Lucretius, Newton, Kepler, and Laplace.]

Girgus, Sam B. “R. D. Laing and Literature: Readings of Poe, Hawthorne, and Kate Chopin,” Psychological Perspectives on Literature: Freudian Dissidents and Non-Freudians, ed. Joseph Natoli (Hamden, Ct.: Archon, 1984), pp. 181-197. [Offers Laingian analysis of “The Fall of the House of Usher,” “William Wilson,” “The Imp of the Perverse,” “The Pit and the Pendulum,” “The Tell-Tale Heart,” and “The Black Cat.”]

Goldhurst, William. “Misled by a Box: Variations on a Theme from Poe,” Clues, 3 (1982), 31-37. [Parallels exist among Poe’s “The Oblong Box,” Conan Doyle’s “That Little Square Box,” and Eugene O‘Neill’s “In the Zone.”]

Graffi, Milli. “Possibile Influenza di Edgar Allan Poe su Lewis Carroll,” Quaderni di Lingua e Letteratura, 9 (1984), 83-90. [Graffl discusses Carroll’s use of two elements taken from Poe’s sThe Literary Life of Thingum Bob, Esq.“ — the name “Thingum” in Carroll’s “The Hunting of the Snark” and the idea of sorting out sentences [page 15:] at random as a method i-or composition in Carroll’s “Poeta Fit Non Nascitur.”]

Graham, Kenneth W. “‘Inconnue dans les Annales de la Terre’: Backford’s Benign and Demonic Influence on Poe,” Sphinz: A Magazine of Literature and Society, 16 (1985), 226-240. [Aspects of grotesque perversity in Poe may derive from Vathek.]

Gramigna, Ginliano. “I1 Fondo del Barile (Per una Lettura di ‘The Cask of Amontillado’),” Il Piccolo Hans, 48 (1985), 190-199. [Gramigna discusses wordplay in “Cask” and argues that horror and the grotesque coexist in Poe’s tale.]

———. “II Signor E. Poe Abita Proprio Qui,n n Corriere della Sera, 5 Jan. 1984, p. 3.

Gregorzewski, Carla. Edgar Allan Poe und die Anfangc einer originar amerikanischen Asthetik, Reihe Siegen, Bd. 22 (Heidelberg: Carl Winter, 1982). [Employing a theoretical framework dependent on Adorno, the author examines technical aspects of Poe’s work and concludes that this work possesses a unity of technique and of problems addressed. Considers Poe as a forerunner of Kafka and Beckett.]

Gribben, Alan. ” ‘When Other Amusements Fail’: Mark Twain and the Occult,” The Haunted Dusk: American Supernatural Fiction, 1820-1920, ed. Howard Kerr, John W. Crowley, and Charles L. Crow (Athens: Univ. of Georgia Press, 1983), pp. 169-189. [Notes Poe’s influence on selected tales by Twain.]

Griffith, Clark. “Poe’s ‘Ligeia’ and the English Romantics,” The Naiad Voice: Essays on Poe’s Satiric Hoaxing, ed. Dennis W. Eddings (Port Washington, N. Y.: Associated Faculty Press, 1983), pp. 1-17. [Reprint of an essay that appeared in University of Toronto Quarterly (1954).]

Harpham, Geoffrey. “Permeability and the Grotesque: ‘The Masque of the Red Death,‘” On the Grotesque: Strategics of Contradiction in Art and Literature (Princeton: Princeton Univ. Press, 1982), pp. 106-121. [The grotesque is defined as an aesthetic of unnatural partition; the arabesque is characterized as a form of organic recombination.]

Harrowitz, Nancy. “The Body of the Detective Model: Charles Sanders Peirce and Edgar Allan Poe,” The Sign of Three: Dupin, Holmes, Peirce, ed. Umberto Eco and Thomas Sebeok (Bloomington: Indiana Univ. Press, 1983), pp. 179-197. [Comments on Peirce’s contributions to semiotics and his interest in the detective genre.]

Hatagaki, Yuko. “The Imp of Perverseness in E. A. Poe and Its Transformation in France,” Ji‘‘en Studies in English and American Literature (Jissen Woman’s Junior College), 15 (March 1985).

————————. “On ‘The Fall of the House of Usher‘ — Concerning the Insertion of ‘Mad Trist,‘” Ji‘sen Studies in English and American Literature (Jissen Woman’s Junior College), 14 (1984). [column 2:]

Hayashi, Koji. “Pym’s Voyage and Poe’s Poetics (2) — The Arabesque of Mirror,” Memoirs of the Faculty of General Education, Ehime University, 17 (1984), 273-303.

Hernandez, Ramon. “Edgar Allan Poe,” Republica de las Letras, 9 (1984), 59.

Hoffman, Daniel. “Poe’s Obsessive Themes,” The Origins and Originality of American Culture, ed., Tibor Frank (Budapest: Akademiai Kiado, 1984), pp. 105-111. [The themes considered are knowledge of the forbidden, the death of women, and premature burial.]

Hoffman, Gerhard. “Edgar Allan Poe and German Literature,” American-Gcrman Interrelations in the Nineteenth Century, ed. Christy Wecker (Munich: Wihlhelm Fink, 1983), pp. 52-104. [Discusses Poe’s reliance on German romantic theory and his impact on twentieth-century German authors.]

Honda, Masahide. “Edgar Allan Poe’s Poetic Theory and Philosophy of Composition,” Bulletin of Mutogawa Woman’s College, 31 (1983), 11-20.

Horn, Andrew. “The Half-Rusted Helmet: Julian Hawthorne’s Poe and Flann O‘Brien’s Joyce,” Essays in Literature, 12 (1985), 97-109. [Compares and contrasts the portrayal of Poe in “My Adventure with Edgar Allan Poe” with that of Joyce in The Dallcey Archive.]

———. “Poe and the Tory Tradition: The Fear of Jacquerie in ‘A Tale of the Ragged Mountains,‘” ESQ, 29 (1983), 25-30. [Poe’s sources suggest that his tale is a critique of mobocracy.]

———. “‘A Refined Thebiad’: Wealth and Social Disengagement in Poe’s ‘The Domain of Arnheim,‘” ESQ, 27 (1981), 191-197. [Argues that Poe’s tale, which concerns “The golden dream of a world without workers,” influenced J. K. Huysman’s novel A Rebours.]

Hubbs, Valentine C. “The Struggle of the Wills in Poe’s ‘William Wilson,‘” Studies in American Fiction, 11 (1983), 73-79. [Wilson is unable to comprehend paradox in human behavior.]

Iacopini, Roberto. “Il Planeta / Stamberga: Strutture ad Effetto nel Linguaggio di Poe,” Letteratura, 1 (1983), 86-91. [In his tales, Poe creates a fictional geometry of suspense by combining detail, brevity, and a sense of realism.]

Inoue, Ken. “E. A. Poe and Theatrical Imagination — Vision of Amphitheater,” Rising Generation, 128 (1983), 666-669.

———. “Poe and Fin-de-siecle Arts — Centering Around ‘The Fall of the House of Usher,‘” Fin-de-Siccle of American Literature (Tokyo: Nan-undo, 1983), 157-206.

Intress, Ruth S. “Poe Portrayer, Defender Spurs ‘Poisonous Myths,‘” Richmond Times-Dispatch, 1 Nov. 1985, B4. [Concerning the performance of Norman George as Poe at the University of Virginia.] [page 16:]

Isani, Mukhtar Ali. “Poe and ‘The Raven’: Some Recollections,” Poe Studies, 18 (1985), 7-9. [Discussion and presentation of a 1905 reminiscence of Poe’s reading “The Raven.”]

Ishihara, Toshiko. “Poe’s Ideal World as Manifested in His Window Imagery,” Journat of Soai Univeriity, 1 (Feb. 1985).

Itoh, Shoko. “Concerning Shadow in E. A. Poe’s Works,” Studies in Language and Culture (Dept. of Integrated Arts and Sciences, Hiroshima Univ.), 9 (1983), 21-40.

Jackson, David K. “William Wilson: Another Possible Source for the Name,” Poe Studies, 16 (1983), 13. [A Richmond schoolteacher named Wilson was active when Poe attended Clarke’s Academy.]

Jacoby, Jay. “Poe, Rossetti, and the Doctors Maudsley,” Poe Studies, 17 (1984), 22. [Distinguishes Dr. Henry Maudsley, a defender of Poe, and Dr. Henry Carr Maudsley, Rossetti’s physician.]

Jay, Gregory S. “Poe: Writing and the Unconscious,” Bucknell Review, 28 (1983), 144-169. [Discusses the relationship of sexuality, philosophy, and textuality in “Berenice,” “Morella,” and “Usher.”]

Jefferson, Ann. “Mise en abyme and the Prophetic in Narrative,” Style, 17 (1983), 196-208. Considers the function of mise en abyme in “The Fall of the House of Usher.” ]

Jones, Daryl E. “Poe’s Siren: Character and Meaning in ‘Ligeia,‘” Studies in Short Fiction, 20 (1983), 33-37. [Parallels with Greek myth suggest that Ligeia is a siren.]

Justin, Henri. “The Fold is the Thing: Poe Criticism in France in the Last Five Years,” Poe Studies, 16 (1983), 25-31. [Surveys French theory and considers its fixation on the motifs of ‘qetter,” “text,” and “double.”]

Kanjo, Eugene R. “‘The Imp of the Perverse’: Poe’s Dark Comedy of Art and Death,” The Naiad Voice: Essays on Poe’s Satiric Hoaxing, ed. Dennis W. Eddings (Port Washington, N. Y.: Associated Faculty Press, 1983), pp. 57-65. [Revision of an essay that appeared in the Poe Newsletter (1969).]

Katsube, Akito. “The Four Perfect Beauties in Poe’s Four Short Stories,” The Journal of Otemae Women‘’ University, 18 (Nov. 1984), 1-10.

Kecht, Maria-Regina. “The Aberration of the Mind and the Revelation of the Soul: Some Critical Notes on V. Brjusov and E. A. Poe,” Wiener Slawiatischer Almanach, 12 (1983), 181-210. [Compares Poe to Valerit Iakovlevich Brjusov.]

Kemp, Anthony. “The Greek Joke in Poe’s ‘Bon-Bon,‘” American Literature, 56 (1984), 580-583. [Various inversions in the Plato passage in this story reflect “larger inversions.”]

Kennedy, J. Gerald. “The Invisible Message: The Problem of Truth in Pym,” The Naiad Voice: Essays on Poe’s [column 2:] Satiric Hoaxing, ed. Dennis W. Eddings (Port Washington, N. Y.: Associated Faculty Press, 1983), pp. 124-135. [Revision of an essay that appeared in Topic (1976).]

“Phantasms of Death in Poe’s Fiction,” The Haunted Dusk: American Supernatural Fiction, 1820-1920, ed. Howard Kerr, John W. Crowley, and Charles L. Crow (Athens: Univ. of Georgia Press, 1983), pp. 37-65. [Poe’s treatment of death derives from pervasive cultural attitudes.]

Keogh, J. G. “The Crowd as No Man’s Land: Gas-Light and Poe’s Symbolist Effects,” AntigoniJh Review, 58 (Summer 1984), 19-31. [“The Man of the Crowd” probes the nightmare world of the city.]

Kerr, Howard. “James’s Last Early Supernatural Tales: Hawthorne Demagnetized, Poe Depoetized,” The Haunted Dusk: American Supernatural Fiction, 1820-1920, ed. Howard Kerr, John W. Crowley, and Charles L. Crow (Athens: Univ. of Georgia Press, 1983), pp. 133-148. [Considers possible influence of “Usher” on James’ “The Ghostly Rental.”]

Ketterer, David. “Poe’s Usage of the Hoax and the Unity of ‘Hans Pfaal,‘” The Naiad Voice: Essays on Poe’s Satiric Hoaxing, ed. Dennis W. Eddings (Port Washington, N. Y.: Associated Faculty Press, 1983), pp. 88-96. [Revision of an essay that appeared in Criticism (1971).]

Kido, Terufumi. “The Effect of Short Poems in E. A. Poe’s Short Stories,” Bulletin of Chabu Woman’s Junior College, 13 (March 1983).

Kishel, Joseph F. “Poe’s ‘The Cask of Amontillado,“’ Explicator, 41 (1982), 30. [Notes the link between Fortunato’s phrase “For the love of God” and the traditional cry of the beggar.]

Kleinstuck, Johannes. “Poe und Baudelaire,” Die amerikanische Literatur in der Weltlsteratur: Themen und Aspekte, ed. Claus Uhlig and Volker Bischoff (Berlin: Schmidt, 1982), pp. 75-83. [Baudelaire identified with Poe because Poe was a representative of the romantic movement, and not, as Paul Valery has claimed, because Poe had articulated a particular theory of writing.]

Knapp, Bettina L. Edgar Allan Poe (New York: Ungar, 1984). [A Jungian approach to Poe’s works, which treats them generally as “probings into the unsounded depths of the collective unconscious.”]

Kobayashi, Takahisa. “Genealogy of Dreaming Room — Interior Space in Koji Uno’s and Poe’s Literary Works,” Foreign Literature (Utsunomiya Univ.), 31 (1983), 35-49.

Kock, Christian. “The Poetics of Poe’s Last Poems,” The Romantic Heritage, ed. Karsten Engleberg (Copenhagen: Publications of the Dept. of English, University of Copenhagen, 1983), pp. 105-122. [Comments on musicality in “The Bells” and “Annabel Lee.”]

Kopley, Richard. “Early Illustrations of Pym’s ’Shrouded [page 17:] Human Figure,‘” The Scope of the Fantastic — Culture, Biography, Themes, Children’s Literature, ed. Robert A. Collins and Howard D. Pearce (Westport, Ct.: Greenwood Press, 1985), pp. 155-170. [Early illustrations of the ending of Pym anticipated, and sometimes influenced, later scholarly interpretations.]

————————. “Fugitive Poe References: A Bibliography,” Poe Studies, 18 (1985), 9-12. [Supplements “Fugitive Poe References” in Poe Studies, 17 (1984), 11-21.]

————————. “The Hidden Journey of Arthur Gordon Pym,” Studies in the American Renaissance, (1982), 29-51. [Explores the structure and the autobiographical significance of Pym.]

————————. “The Narrative of Arthur Gordon Pym,” Survey of Modern Fantasy Literature (La Canada, Calif.: Salem Press, 1983), III, 1092-1095. [Survey of approaches to Pym and its influence on various writers.]

Krainik, Cliff and Michele. Catalogue of Poeiana, untitled (1985). [Features 29 Poe items, including the rare volume, Some Letters of Edgar Allan Poe to E. H. N. Patterson of Oquawha, Illinois, With Comments by Eugene Field.]

Kush, S. S. The End Befallen Edgar Allan Poe (Blue Bell, Pa.: Singing Horse Press, 1982). [A verse play based upon Poe’s supposed “cooping” just prior to his death.]

Kushigian, Julia. “The Detective Story Genre in Poe and gorges,” Latin American Literary Review, 11 (1983), 27-37. [Borges’ “Death and the Compass” follows the structure of the detective story.]

Laws, Page. “In Search of Edgar Allan Poe,” Country Magazine: The Best of Mid-Atlantic Living, 6 (Jan. 1985), 22-27. [Discussion of the Poe associations of Richmond, Charlottesville, Fort Monroe/Norfolk, and Baltimore.]

Lawes, Rochie. “The Dimensions of Terror: Mathematical Imagery in ‘The Pit and the Pendulum,‘” Poe Studies, 16 (1983), 5-7. [Poe’s narrator has the manner and training of a mathematician.]

Leonard, Douglas Novich. “Poe’s ‘The City in the Sea,‘” Explicator, 43 (1984), 30-32. [Argues that Poe’s purpose in this poem is not evident from his sources.]

Levine, Stuart. “Masonry, Impunity, and Revolution,” Poe Studies, 17 (1984), 22-23. [The Latin motto in “Cask” may derive from Richmond military history.]

Levine, Stuart and Susan Levine. “Poe and Fuentes: The Reader’s Prerogatives,” Comparative Literature,] 36 (1984), 34-53. [Notes affinities between Pym and Carlos Fuentes’ Terra Nostra.]

Liao, Ping-hui. “Chieh Kou so yu ch‘uan: P‘o, La Kang, Te Hsi Ta, Chiang Sen, Ling Meng-ch‘u,” Chung-wai Literary Monthly, 12 (Aug. 1983), 46-70.[Poe is compared to Ling Meng-ch‘u.] [column 2:]

Limon, John. “How to Place Poe’s Arthur Gordon Pym in Science-Dominated Intellectual History and How to Extract It Again,” North Dakota Quarterly, 51 (Winter 1983), 31-47. [Considers Pym in light of Eureka.]

Lindberg, Gary. “Poe’s Credentials: The Confidence Man as New-World Artist,” The Confidence-Man in American Literature (New York: Oxford Univ. Press, 1982), pp. 48-69. [Hoaxing and dissecting hoaxes, Poe reveals his ambivalence about the credibility of art in America and his role as an artist.]

Ljungquist, Kent. ” ‘The Coliseum’: A Dialogue on Ruins,” Poe Studies, 16 (1983), 32-33. [Like C. F. Volney’s prose work The Ruins, Poe’s poem presents a dialogue that reflects unresolved tensions.]

————————. “Current Poe Activities,” Poe Studies, 16 (1983), 47. [Lists scholarly meetings, recent dissertations, and Poe-related research and publications.]

————————. :Current Poe Activities,” Poe Studies, 18 (1985), 15-16. [Identifies Poe talks, publications, research, performances, and dissertations of 1983-1985.]

————————. The Grand and the Fair: Poe in the American Landscape (Baltimore: Enoch Pratt Free Library, 1983). [Analyzes “Julius Rodman” and “Ligeia” in the light of Poe’s response to American scenery.]

————————. The Grand and the Fair: Poe’s Landscape Aesthetic and Pictorial Techniques (Potomac, Md.: Scripta Humanistica, 1984). [Examines Poe’s adaptation of the conventions of the sublime and beautiful to dramatize landscapes of the mind.]

————————. “Poe’s ‘The Island of the Fay’: The Passing of Fairyland,” The Naiad Voice: Essays on Poe’s Satiric Hoaxing, ed. Dennis W. Eddings (Port Washington, N. Y.: Associated Faculty Press, 1983), pp. 148-154. [Revision of an essay that appeared in Studies in Short Fiction (1977).]

————————. “The Short Fiction of Poe,” Survey of Modern Fantasy Literature (La Canada, Calif.: Salem Press, 1983), IV, 1665-1678. [Surveys Poe’s comments on fantasy and applies such comments to Poe’s fiction.]

————————. “’Speculative Mythology’ and the Titan Myth in Poe’s Pym and Melville’s Pierre,” Sphinx: A Magazine of Literature and Society, 4 (1985), 250-257. [Discusses the implications of mythic stories of the Titans for the endings of Pym and Pierre.]

Ljungquist, Kent and Buford Jones. “Poe, Mrs. Osgood, and ‘Annabel Lee,‘” Studies in the American Renaissance, (1983), 275-280. [Notes similarities between Levine, Stuart and Susan Levine.“Poe and Fuentes:Poe’s ballad and Frances Sargent Osgood’s “The Life Voyage.”

Lloyd, Rosemary. “Baudelaire’s Creative Criticism,” French Studies, 36 (1982), 37-44. [Baudelaire’s essays on Poe served positive creative ends.]

————————. “La Verite sur le case de M. Valdemar,” Bulletin Baudelairien, 19 (1984), 3-6. [The narrator’s [page 18:] statement “I am dead” may be understood literally.]

Lorandi, Marco, ed., Alberto Martini Illwtratore di Edgar Allan Poe (Milan: Franco Maria Ricci, 1984). [Included in this first complete edition of Alberto Martini’s illustrations of Poe’s stories are analyses of Martini’s pictorial interpretation of Poe by Roberto Tassi and Marco Lorandi and a biography of Poe by Julio Cortazar. (See Tassi, Lorandi, and Cortazar.)]

————————. “Alberto Martini Illustratore di Edgar Allan Poe,” Alberto Martini mustratore di Edgar Allan Poe, ed. Marco Lorandi (Milan: Franco Maria Ricci, 1984), pp. 67-80. [Considers Martini’s renderings of Poe’s works.]

Lyttle, David. “Edgar Allan Poe’s Electric Will,” Studies in Religion in Early American Literature: Edward,, Poe, Channing, Emerson, Some Minor Transcendentalists (Lanham, Md.: Univ. Press of America, 1983), pp. 33-59. [Lyttle finds in Eureka and the “philosophic” tales a cosmic war between the desire of the will for individual being and the longing of the spirit for unity.]

Manganelli, Giorgio. “Note del Traduttore,” Racconti, E. A. Poe, tr. Giorgio Manganelli (Turin: Einaudi, 1983), 1033-1040. [Manganelli divides Poe’s language into three categories — grotesque, visionary, and argumentative — and explains his choices in translating in terms of these categories.]

Martin, Terence. “The Imagination at Play: Edgar Allan Poe, The Naiad Voice: Essays on Poe’s Satiric Hoaxing, ed. Dennis W. Eddings (Port Washington, N. Y.: Associated Faculty Press, 1983), pp. 29-40. [Reprint of an essay that appeared in the Kenyon Review.]

McCammon, Robert R. Usher’s Parsing (New York: Holt, Rinehart and Winston, 1984). [Novel concerning the wealthy, infamous Usher family and its firm, Usher Armaments.]

McCaslin, Susan. “Eureka: Poe’s Cosmogonic Poem,” Studies in Nineteenth Century Literature: Fourth Series, ed. James Hogg (Salzburg: Institute fur Anglistik ‘5‘ Amerikanistick, University of Salzburg, 1981), pp. 345.

McLees, Ainslie Armstrong. “Baudelaire and Caricature: Argot Plastique,” Symposium, 38 (1984), 221-233. [Considers Baudelaire’s essays on Poe as evidence of the growth of Baudelaire’s thought on caricature.]

Mei, Francesco. aLe Esequie Premature di E. A. Poe,” Idea, 40 (Nov.-Dee. 1984), 50-60. [A brief history of Poe’s editions in English.]

————————. “Introduzione,” Scritti Ritrovati 1839/1845, E. A. Poe, tr. Francesco Mei (Brescia: Shakespeare sc Co., 1984), pp. 1-18. [Mei discusses the significance of Poe’s activity as a journalist, and he asserts that for attribution of items in this work he employed the method of T. O. Mabbott.]

————————. “Zolla: ‘Invento il giornalismo,‘” Panorama, 17 Sept. 1984, p. 119. [In this short interview, Zolla discusses Poe’s work as a journalist and [column 2:] his fortune in Europe.]

Metcalf, Paul. Both (East Haven, Conn.: Jargon Society Press, 1982). [On both Poe and John Wilkes Booth.]

Mikami, Tadashi. “Doppelganger in Poe’s ‘William Wilson,‘” Daito Bunka Review (Daito Bunka Univ.), 16 (1985), 77-87.

————————. “On Poe’s ‘The Fall of the House of Usher,‘” Daito Bunka Review (Daito Bunka Univ.), 14 (1983), 1-19.

Mitchell, James H. “Madness and Magic in Repetition,” Composition and Literature, 34 (Fall 1984), 31-43. Discusses Poe’s use of “mechanical repetition” as an attempt “to will radical changes.”]

Miyanaga, Takashi. “Edgar Allan Poe’s Fortune in Japan — Meiji Era,” Parts 6 and 7, Bulletin of the Faculty of Liberal Arts, Hosei University, 46 (1983), 101-141; 49 (1984), 1-24.

————————. Genealogy of Extraordinary Stories — Poe in France (Tokyo: Sanshusha, 1983).

————————. “Poe and France — the Stir Created by Histoires Extraordinaires-2 — ,” Bulletin of the Faculty of Liberal Arts, Hosei University, 45 (1983), 91-124.

Montgomery, Marion. The Prophetic Poet and the Spirit of the Age: Why Poe Drank Liquor (LaSalle, Ill.: Sherwood Sugden, 1983). [Contends that Poe’s failed romanticism is not as valid as Flannery O‘Connor’s Christian vision.]

Moore, Rayburne S. “‘A Great and Original Genius’: Hayne Champions Poe,” Southern Literary Journal, 15 (1983), 105-112. [Recounts l9th-century poet Paul Hamilton Hayne’s defense of Poe.]

Moreira, Joao Paulo R. “A Retorica das Ficcoes de Edgar Allan Poe,” Biblos (Coimbra) 60 (1984), 314-347. [Focuses on Poe’s use of the dramatized narrator in his short fiction.]

Morita, Masami. “Sakutaro Hagiwata and Edgar Allan Poe — Their Solitary Battles,” The Journal of Takasaki City University of Economics, 25 (1983), 121-128.

Morita, Takeshi. “The True Character of What Goes On Calling — The Narrative of Arthur Gordon Pym,” American Literary Review (1983).

Motoyama, Chitoshi. “The Fantastic in a Collapsing Monochromatic Time System — E. A. Poe’s ‘The Devil in the Belfry,‘” Bulletin of Hiroshima Jogakuin College, 34 (1984), 71-80.

————————. “Structure of Malady in ‘The Fall of the House of Usher,‘” Bulletin of Hiroshima Jogaknin College, 33 (1983), 71-81.

Nakamura, Tohru. “Poe in Japan 7: Showa 20’s (1),” Bulletin of College of General Education, Ibaraki University, 17 (March 1985), 155-167. [page 19:]

Nigro, August J. “Kaleidoscope: The Bad Dreams of Edgar Allan Poe,” The Diagonal Line: Separation and Reparation in American Literature (London and Toronto: Associated Univ. Presses, 1984), pp. 58-67. [More than Hawthorne or Melville, Poe evokes “the internal state of the separate self.”]

Niki, Katsuji. aOn Jun-ichiro Tanizaki’s and Poe’s Works,” Annual Bulletin of the Institute of Humanistic Sciences, Rissho University, Extra No. 4 (1983), 75-80.

Nishiguchi, Masahiro. “On Poe’s Sea Stories,” Journal of Otsuki Junior College, 16 (March 1985).

Oates, Joyce Carol. “Wonderlands,” Georgia Review, 38 (1984), 487-506. [Discusses the Gothic in “Ligeia,” “The Imp of the Perverse,” and Eureka.]

Ogawa, Kazuo. My Edgar Poe (Tokyo: Aratake Shuppan, 1983). [Includes essays on Poe’s method, Eureka, and the tales and poems.]

Okado, Mitsuo. “A Study of Poe’s ‘The Murders in the Rue Morgue,‘” Parts 1 and 2, Journal of thc College of Industrial Technology, Nihon University, 17 (1984), 1-12; 18 (1985), 29-38.

Oliver, Lawrence J., Jr. “Kinesthetic Imagery and Helplessness in Three Poe Tales,” Studies in Short Fiction, 20 tl983), 73-77. [In “MS. Found in a Bottle,” “The Pit and the Pendulum,” and “A Descent into the Maelstrdm,” Poe created a “visceral instead of visual world.”]

Ono, Kazuto. “The ‘I‘-Narrator in Poe: ‘Oval Portraitt and ‘The Tell-Tale Heart,‘” Studies in English Language and Literature (Kyushu Univ.), 34 (Jan. 1984). [Argues that Poe avoids excessive subjectivity in “The Oval Portrait” by introducing the commentary but permits such subjectivity in “The Tell-Tale Heart.”]

Pahl, Dennis. “Recovering Byron: Poe’s ‘The Assignation,‘” Criticism, 26 (1984), 211-229. [Explores Poe’s use of Byron in his tale.]

Parma, Cristina. “Edgar Allan Poe e il Simbolismo: Parola e Immagine,” Antichita’ Viva, 23 (May-June 1984), 33-41. [Parma applies Poe’s philosophy of composition to the work of symbolists Manet, Redon, Previati, Beardsley, Martini, Ensor, and Kubin.]

Pepin, Ronald E. “Insipiens Fortunatas,” American Notes and Queries, 22 (1983), 9-10. [Fortunato in “Cask” is drawn from Cicero’s De Amicitia.]

Perosa, Sergio. “Introduzione ai Racconti di E. A. Poe,” Racconti del Terrore. Racconti del Grottesco. Racconti di Enigmi, E. A. Poe, tr. Delfino Cinelli et al. (Milan: Mondadori, 1985), I, 5-20. [In the general introduction, Perosa discusses extensively Poe’s theory of the tale. Perosa also offers specific introductions for each volume: “Racconti del Terrore,” I, 21-26; sRacconti del Grottesco,” II, 21-25; aRacconti di Enigmi,” III, 21-25. These introductions outline a typology of the “horror” tales, the “grotesque” tales, and the “enigmatics tales.] [column 2:]

————————. “The Short Story and the Great American Novel,” American Theories of the Novel: 1795-1905 (New York: New York Univ. Press, 1983), pp. 72-83 and passim. [Argues that Poe’s theory of the short story contradicted efforts in his day to extol the virtues of the novel.]

Pierstorff, Don K. “Poe as Satirist: An Apology,” Studies in Contemporary Satire, 10 (1983), 32-34. [Examines Poe’s theory of satire in “The Philosophy of Composition.” ]

Pisanti, Tommaso. “Introduzione,” Tutte le Poesie, E. A. Poe, tr. Tommaso Pisanti (Rome: Newton Compton, 1982), pp. 7-22. [Seeking a lost totality with his poetry, Poe, an heir to eighteenth-century rationalism, combined creative imagination with science.]

Pitcher, Edward W. R. “Beyond ‘Gothic Flummery’: A Cosmoramic View of Poe’s Symbolism and Ideas,” The Sphinx, 4 (1985), 241-249. [Analyzes Poe’s water imagery, “a key to Poe’s aesthetic, to his philosophy, and to the ‘coherent pattern of ideas’ underlying his works.”]

————————. “Poe’s ‘William Wilson’ and Robert Bell’s ‘The Story Haunted’: A Source Study,” American Notes and Queries, 20 (Jan.-Feb. 1982), 73-76. [New source for “William Wilson.”]

Poe, Edgar Allan. The Brevities: Pinakidia, Marginalia, Fifty Suggestions, and Other Works, ed. Burton R. Pollin, Vol. 2 of Collected Writings of Edgar Allan Poe (New York: Gordian, 1985). [Scholarly edition of Poe’s “brief essay-notes,” with thorough annotations.]

————————. Edgar Allan Poe — Essays and Reviews, ed. G. R. Thompson (New York: The Library of America, 1984). [Includes essays, reviews, and marginalia, lightly annotated.]

————————. Edgar Allan Poe — Poetry and Tales, ed. Patrick F. Quinn (New York: The Library of America, 1984). [Includes poetry, tales and sketches, long fiction (“Hans Pfaall,” Arthur Gordon Pym, and “Julius Rodman”), and Eureka, lightly annotated.]

————————. Eureka (Bologna: Cappelli, 1983).

————————. Eureka, tr. Agostino Quadrino (Rome: Theoria, 1982).

————————. Il Giocatore di Scacchi di Maelzel, tr. Grazia Crocco (Rome: Theoria, 1985).

————————. Marginalia, tr. Fausta Bennobini (Rome: Il Melograno, 1981).

————————. Poliziano. tr. Riccardo Reim (Rome and Cosenza: Lerici, 1983).

————————. Prefaces et Marginalia, ed. Claude Richard (Aix-en-Provence: Alinea, 1983).

————————. Racconti, tr. Giorgio Manganelli (Turin: Einaudi, 1983). [page 20:]

Racconti del Terrore. Racconti del Grottcsco. Racconti di Enigmi, tr. Delfino Cinelli et al. (Milan: Mondadori, 1985), 3 vols.

————————. Seritti Ritrovati 1839/1845, tr. Francesco Mei (Brescia: Shakespeare s Co., 1984).

————————. Tutte le Poesic, tr. Tommaso Pisanti (Rome: Newton Compton, 1982).

————————. The Unabridged Edgar Allan Poe, ed. Tam Mossman (Philadelphia: Running Press, 1983).

The Poe Messenger. Summer 1983 (Richmond, Va.: Poe Foundation). [Features essays by James E. Devlin (“Poe’s ‘Man of the Crowd‘”), Clifford Krainik (“The ‘Ultima Thule’ Bust of Poe by Rudolph Evans”), and Beverly D. Tucker (“Solomon, Kierkegsard, and Poe” ), as well as a continuation of editor Agnes Bondurant Marcuson’s essay on the history of the Poe Museum (“The Origins of Richmond’s Poe Museum”).]

The Poe Messenger. Summer 1984 (Richmond, Va.: Poe Foundation). [Includes pieces by Bruce V. English (“Poe and the Sullys”), Donald A. Coulson (“Our Flowers are Merely — Flowers: Edgar Allan Poe”), James Loverde ( “M. Edgar Allan Poe — An Acrostic Sonnet”), and Clifford Krainik (“The Sir Moses Ezekiel Statue of Edgar Allan Poe in Baltimore”), and a new installment of Agnes Bondurant Marcuson’s “The Origins of Richmond’s Poe Museum.”]

The Poe Messenger. Autumn 1985 (Richmond, Va.: Poe Foundation). [Offers essays by Thomas M. Rowe (“The Dark Fire — Poe’s Links to Hitchcock”) and Nancy G. Culp (“Whistler’s Annabel Lee at the Poe Museum”), a slightly abridged version of an SAR piece by Richard Kopley (“The Hidden Journey of Arthur Gordon Pym”), and a continuation of Agnes Bondurant Marcuson’s aThe Origins of Richmond’s Poe Museum.”]

Pollin, Alice M. “Edgar Allan Poe in the Works of Llanos y Alcaraz, Hispano, 27 (Sept. 1983), 21-37. Discusses the musical adaptation of “Tarr and Fether” by the late-19th-century Spanish journalist, Llanos y Alcaraz.]

Pollin, Burton R. “Edgar Allan Poe and John G. Chapman: Their Treatment of the Dismal Swamp and the Wissahickon,” Studies in the American Renaissance, (1983), pp. 245-275. [Explores the connections between Poe and the popular l9th-century American artist, J. G. Chapman.]

————————. “Longfellow and Poe: An Unnoted Hexameter Exchange,” Mississippi Quarterly, 37 (1984), 474-482. [Discusses lines on Poe penned by Longfellow.]

————————. “Poe in Clavell’s Shogun: A Novel of Japan,” Poe Studies, 16 (1983), 13. [Comments on Clavell’s borrowing of the phrase sa dream within a dream.”]

————————. “Poe’s Word Coinages: A Supplement,” Poe Studies, 16 (1983), 39-40. [Complements Poe, Creator [column 2:] of Words (1974) by adding 24 words which Poe gave to the English language.]

————————. “The Richmond Compiler and Poe in 1845: Two Hostile Notices,” Poe Studies, 18 (1985), 67. [A study of Poe’s changing reputation as reflected in items appearing in the Richmond Compiler, 1835-1846.]

————————. “Shakespeare in the Works of Edgar A1lan Poe,” Studies in the American Renaissance (1985), 157-186. [Discusses and documents Poe’s extensive use of Shakespeare’s plays.]

————————. “Traces in ‘Annabel Lee’ of Cunningham’s Poems,” American Note, and Queries, 22 (1984), 133-135. [Draws parallels between “Annabel Lee” and Alan Cunningham’s “Lily of Nithsdale.”]

Poncet, Andre. “Le Voyage Initiatique du Heros d‘Edgar Poe dans les Aventures d‘Arthur Gordon Pym, S. F. Fantastique,” Metaphores, 7 (1983), 83-101.

Porter, Dennis. The Pursuit of Crime: Art and Ideology in Detective Fiction (New Haven, Yale Univ. Press, 1981), pp. 22-28, 153-154.

Pozzo, Felice. “I Figli di Gordon Pym,” LG Argomenti, 20 (Sept.-Dee. 1984), 63-69. [Pozzo discusses Pym-influenced works by Verne, Lovecraft, Salgari, Novelli, and Motta.]

Rainwater, Catherine. “Encounters with the ‘White Sphinx’: Poe’s Influence in Some Early Works of H. G. Wells,” English Literature in Transition, 26 (1983), 31-51. [Explores connections between Wells’ “White Sphinx” and the “shrouded human figure” of Pym.]

————————. “Poe’s Landscape Tales and the ‘Picturesque’ Tradition,” Southern Literary Journal, 16 (1984), 30-43. [Reveals Poe’s attitude towards the ‘picturesque’ tradition in “The Landscape Garden,” “The Domain of Arnheim,” and “Landor’s Cottage.”]

Regan, Robert. “Hawthorne’s ‘Plagiary‘; Poe’s Duplicity,” The Naiad Voice: Essays on Poe’s Satiric Hoaxing, ed. Dennis W. Eddings (Port Washington, N. Y.: Associated Faculty Press, 1983), pp. 73-87. [Reprint of an essay that appeared in Nineteenth-Century Fiction (1970).]

Reilly, John E. “Mrs. Osgood’s ‘The Life-Voyage’ and ‘Annabel Lee,‘” Poe Studies, 17 (1984), 23. [Takes issue with the Jones-Ljungquist view that “The Life-Voyage” was a model for “Annabel Lee.”]

Reim, Riccardo. “Amore e Morte tra i Fantasmi del Colosseo,” Rinascita, 36 (Sept. 1983), 20-21. [The problems of performing Politian on stage spring from the absence of narrative action and from the extreme length of the monologues. (The essay is followed by a translation of Scenes VII and XI).]

————————. “D Cuore e un Liuto Sospeso,” Poliziano, E. A. Poe, tr. Riccardo Reim (Rome and Cosenza: Lerici, 1983), pp. 5-8. [Discusses Poe’s use of elements from Byron, Webster, and Shakespeare in Politian and [page 21:] argues that death is the play’s main theme.]

Renza, Louis A. “Poe’s Secret Autobiography,” The American Renaissance Reconsidered — Selected Papers from the English Institute, 1982-83, ed. Walter Benn Michaels and Donald E. Pease (Baltimore: The Johns Hopkins Univ. Press, 1985), pp. 58-89. [Discusses the projection of misreadings in such works as “The Gold-Bug,” “The Oval Portrait,” “The Oblong Box,” and “Ligeia.”]

Richard, Claude. “Arrant Bubbles: Poe’s ‘The Angel of the Odd,‘” The Naiad Voice: Essays on Poe’s Satiric Hoaxing, (Port Washington, N. Y.: Associated Faculty Press, 1983), pp. 66-72. Reprint of an essay that appeared in the Poe Newsletter (1969).

————————. “Destin, Design, Dasein: Lacan, Derrida and ‘The Purloined Letter,‘” Iowa Review, 12 (1981), 1-11.

————————. “Edgar A. Poe et l‘Esthetique du Double,” Le Double Dans le Romantisme Angle-Americain, ed. La Cassagnere, Christian (Clermont-Ferrand: Faculte des Lettres et Sciences Humaines de [‘univ. de Clermont-Ferrand, 1984), pp. 155-164. [Discusses mirror imagery in “The Fall of the House of Usher.”]

Richards, Sylvie L. F. “The Eye and the Portrait: The Fantastic in Poe, Hawthorne, and Gogol,” Studies in Short Fiction, 20 (1983), 307-315. [Applies Todorov’s theory of the fantastic to “The Oval Portrait.”]

Riha, Karl. “Nachricht von ‘Museum des Wunderwollen oder Magazin des Auflerordentlichen.’ Eine verschollene Zeitschrift und ihr moglicher literarischer Kontext: Johann Peter Hebel, Heinrich von Kleist, E. T. A. Hoffmann, Jeremias Gotthelf und Edgar Allan Poe,” Germanisch-romanische Monatsschrift, 33 (1983), 410423. [Argues that “The Descent into the Maelstrom” is indebted in subject matter and function to sensational journalism.]

Ringe, Donald A. “Edgar Allan Poe,” American Gothic: Imagination and Reason in Nineteenth-Century Fiction (Lexington, Ky.: Univ. of Kentucky Press, 1982), pp. 128-151. [Surveys Poe’s fiction in the context of European and American Gothic developments and contends that no American writer has equalled Poe’s ability ato forge so organic a bond between Gothic device and symbolic meaning.”]

Robbins, Bruce. “Edgar Allan Poe and the Life of Literature,” Etudes de Lettres, (1983), 3-12. [Studies self-consciousness in Poe’s work and speculates that writing was Poe’s special form of salvation.]

Robinson, Douglas. American Apocalypses: The Image of the End of the World in American Literature (Baltimore: The Johns Hopkins Univ. Press, 1985). [Poe’s interest in the process of apocalyptic transformation makes him the principle figure in this study.]

Roge, Raymond.. “Edgar Poe, La Mort Blanche et Le Diable Noir,” Litteratures, 8 (Fall 1983), 51-62. [Concerning “The Masque of the Red Death” and “The Devil in the Belfry.”] [column 2:]

Rollason, Christopher. “On Sexual Relations in Poe’s ‘Berenice’ and ‘Morella,‘” Al Amor en la Litcratura de Habla Inglesa (Symposium) (Cadiz: University of Cadiz, 1984), 55-68. [Both tales are read as expressing an unconscious male fear of female sexuality, symbolized, respectively, by the teeth in “Berenice” and by the taboo on the name in “Morella.”]

Rose, Alexander G., III. Basic Documents for a History of The Edgar Allan Poe Society of Baltimore: The Minutes of the Meetings of the Executive Committee, 1924-1963, and the Presidential Annual Report,, 1965-1983 (Baltimore: The Edgar Allan Poe Society of Baltimore, 1982).

————————. A History of The Edgar Allan Poe Society of Baltimore, 1923-1982: A Footnote to a Cultural History of Baltimore (Baltimore: The Edgar Allan Poe Society of Baltimore, 1982). [A detailed chronicle of this thriving Poe organization.]

Roth, Martin. “Inside ‘The Masque of the Red Death,‘” Sub-Stance, No. 43 (1984), 50-53. [Contends that inside and outside interpenetrate in “Masque.”]

————————. “Poe’s ‘Three Sundays in a Week,‘” Sphinx: A Journal of Literature and Society, 4 (1985), 258-267. [Examines “Three Sundays” as an expression of Poe’s cosmological vision.]

Rowe, John Carlos. Through the Custom-House: Nineteenth-Century American Fiction and Modern Theory (Baltimore: The Johns Hopkins Univ. Press, 1982), pp. 911-10. [Pym is deconstructed to reveal Poe’s uncertainty about the process of writing as a means of inscribing the truth.]

Rubeo, Ugo. “‘The Mystery of Monsieur Dupin’: n Fantastico nei Racconti del Raziocinio,” I Piaceri dell‘lmmaginazione, ed. B. Pisapia (Rome: Bulroni, 1984), pp. 167-192. [Argues that while Dupin’s investigations rely upon Poe’s claim for a scientifically-grounded aesthetics, the unlikely perfection of Dupin’s method must be taken metaphorically — it proves that no distinction can be made between “grotesque” tales and “ratiocinative” tales.]

Ruddick, Nicholas. KThe Hoax of the Red Death: Poe as Allegorist,” Sphinx: A Journal of Literature and Society, 4 (1985), 268-276. [The color pattern in “Masque” was designed to frustrate allegorical interpretation.]

Sadoya, Shigenobu. “Poe’s ‘The Raven‘ — The Idea of the Demon of Vision,” Parts 1, 2, and 3, Studies in English Language and Literature (Seinan Gakuin Univ.), 24(1) (July 1983), 21-46; 24(2) (Dec. 1983), 29-49; 24(3) (March 1984), 43-59.

Scari, Robert M. “Horacio Quiroga y los Fenomenos Parapsicologicos,” Cuadernos Hispaneamericanos: Revista Mensual de Cultura Hispanica, 397 (1983), 123-132. [Discusses influence of Poe on Quiroga and correspondences between the two writers.]

Schwartz, Joel S. “Alfred Russel Wallace and ‘Leonainie’: A Hoax that Would Not Die,” Victorian Periodicals Review, 17 (1984), 3-15. [Reveals Wallace’s advocacy [page 22:] of the view that James Whitcomb Riley’s imitative poem sLeonainie” was actually the work of Poe.]

Shapiro, Joel. ” ‘The Tell-Tale Heart’: Une Parodie de Platon,” Theorie Litterature-Enseignement (St-Dents: Presses et Publications de l‘Universite de Paris VIII, 1982).

Shear, Walter.“Poe’s Use of an Idea about Perception,” American Notes and Queries, 21 (1983), 134-136. [Traces Poe’s references to the advantage of indirect vision.]

Smith, Allan Gardner. “Edgar Allan Poe, the Will, and Horror Fiction,” American Fiction’: New Readings, ed. Richard Gary (Totowa, N. J.: Barnes s Noble, 1983), pp. 53-63. [In Poe’s tales, the will cloaks desire.]

Smith, Dave. Homage to Edgar Allan Poe (Baton Rouge: Louisiana State Univ. Press, 1981). [The poem of the title (pp. 27-40) features six sections: “The Hotel: Old Point Comfort,” “Nekkid,” “Nigh/crawlers,” “A Dream of Poe Speaking in New York,” “The End of Everything,” and “Steamer to Baltimore.”]

Snyder, Robert Lance. “A De Quinceyan Source for Poe’s ‘The Masque of the Red Death,‘” Studies in Short Fiction, 21 (1984), 103-110. [Suggests that “setting, plot, climactic incident, and expression” in Poe’s “Masque” were influenced by De Quincey’s Klosterheim.]

Sowa, Yoshie. ” ‘The Masque of the Red Death‘ — Ambivalence to Closed Space,” Annual Studies (Kwansei Gakuin Univ.), 33 (1983), 77-90.

Stauffer, Donald Barlow. The Merry Mood — Poe’s Uses of Humor (Baltimore: Enoch Pratt Free Library, 1982). [Discussion of Poe’s humor — parody, satire, wordplay — in his poems, tales, essays, and reviews.]

Straumann, Heinrich. “Zur Bedeutung der amerikanischen fur die europaische Literatur,” Die amerikanische Literatur in der Weitliteratur: Themen und Aspekte, ed. Claus Uhlig and Volker Bischoff (Berlin: Schmidt, 1982), pp. 1-13. [Baudelaire’s adoption of Poe’s concept of writing is representative of a tendency of European authors to find models in American authors. This work is a slightly revised version of an article appearing in Amerika-Europa: Freund und Rivale, ed. Friedrich A. Lutz [Erlenback-Zurich: Rentsch, 1970.]

Strickland, Edward. “The Ruins of Romanticism in The Confidence-Man,” American Notes and Queries, 22 (1983), 40-43. [Develops Harrison Hayford’s theory that Melville patterned the crazy beggar in his novel after Poe.]

Sunaga, Keisuke. “Poe and Baudelaire,” Parts 2 and 3, English and American Literature (Musashino Woman’s Univ.), 16 (1983), 147-162; 17 (1984), 131-144.

Sutherland, Judith L. “Poe: The Captain Regrets . . .,” The Problematic Fictions of Poe, James, and Hawthorne (Columbia, Mo.: Univ. of Missouri Press, 1984), pp. 12-37. [Pym is problematic in that u . . . it reveals with a vengeance the inability of critical discourse to seize and record” the experience of the text.] [column 2:]

Suzuki, Shunji. “Some Notes on Dostoevski — Referring to Crime and Punishment, E. A. Poe, Anima and so on,” Kagoshima Studies in English Language and Literature (Kagoshima Univ.), 16 (1985), 1-12.

Takaoka, Atsuko. “Mallarme and Poe — Concerning the Translation of ‘The Raven,‘” Baika Literary Bulletin (Baika Woman’s College), 19 (1983), 13-27.

Takemura, Naoyuki. “Poe’s Cosmic Sense,” Bulletin of Musashi College of Technology (Human and Social Sciences), 2(1) (March 1983).

Tani, Stephano. The Doomed Detective: The Contribution of the Detective Novel to Postmodern American and Italian Fiction (Carbondale, Ill.: Southern Illinois Univ. Press, 1984), pp. 3-15. [Postmodern santi-detective” novels subvert the static, intellectual tradition in detective fiction initiated by Poe rather than the adventurous, hard-boiled tradition.]

Tassi, Roberto. “Il Dominio dell‘ombra,” Alberto Martini Illustratore di Edgar Allan Poe, ed. Marco Lorandi (Milan: Franco Maria Ricci, 1984), pp. 41-65. [Examines Alberto Martini’s visual interpretation of Poe’s works.]

Tatsumi, Takayuki. “The Masque and/or the Red Death: A Deconstructive Reading,” Studies in American Literature (American Literary Society of Japan), 20 (1984), 1-17. [In “Masque,” Poe deconstructs allegorical significance and the form of the masque itself.]

————————. “Tragedy Differentiated: Poe as the Genre-Reader,” The Rising Generation, 130 (August 1984), 210-214. [Considers Dupin to be a deconstructive reader.]

————————. “Violence as Metaphor: Deconstruction of Authority in The Narrative of Arthur Gordon Pym,” Studies in English Literature (The English Literary Society of Japan), 61 (1984), 253-267. [Argues that the first half of Pym is dominated by narrator Pym, a Christian romantic, while the second half of Poe’s novel is dominated by narrator Poe, a postromantic.]

Thierfelder, William R., III. “Zola’s Theresa Raquin,” Explicator, 41 (1983), 33-34. [Notes Zola’s debt to “Poesque vampirism.”]

Thompson, G. Richard. Circumscribed Eden of Dreams: Dreamvision and Poe’s Early Poetry (Baltimore: Baltimore Poe Society, 1984). [Discusses the apocalyptic dreamscape in Poe’s early verse.]

————————. “Perspectives on Poe,” The Naiad Voice: Essays on Poe’s Satiric Hoaxing, ed. Dennis W. Eddings (Port Washington, N. Y.: Associated Faculty Press, 1983), pp. 97-111. [Reprinting of sections of Thompson’s Poes Fiction: Romantic Irony in the Gothic Tales (1973) .]

Thorpe, Dwayne. “Poe and the Revision of ‘Tamerlane,‘” Poe Studies, 18 (1985), 1-5. [In his 1829 revision of “Tamerlane,” Poe shifted from the conflict between love and ambition of the original poem to the tension between mortality and the quest for the supernal.] [page 23:]

Tochiyama,Michiko. “‘Berenice‘ — An Artist’s Failure,” The Ohtani Studies (Ohtani Woman’s Univ.), 18 (1983), 113.

————————. “Poe’s Verbal Universe,” Studies in American Literature (American Literary Society of Japan), 20 (1984), 19-35.

Tritt, Michael. “‘The Masque of the Red Death’: Yet Another Source,” Poe Studies, 16 (1983), 13-14. [Draws parallels between Poe’s tale and Byron’s Childe Harold, Canto III.]

Uchida, Ichigoro. “E. A. Poe’s Last Venture — From the Publishing Scheme of the 2nd Stylus to His Death,” Bulletin of Kyoritsu Woman’s Junior College, 27 (1983).

Udono, Etsuko. “Infinity in the Mirror — On The Narrative of Arthur Gordon Pym of Nantucket,” American Literary Review, (1983).

Vaughan, Larry. “Poe and the Mystery of Things: A Remembrance,” SubStance, No. 42 (1983), 95-98. [Meditation on death as motif in “The Mystery of Marie Roget.”]

Vulis, A. “Zhuk yes’ zolotoi chistoe zoloto,” Voprosy Literatury, 2 (Feb. 1984), 86-104. [Generic consideration of “The Gold-Bug.”]

Weiner, Bruce Ira. UPoe’s Subversion of Verisimilitude,” The Naiad Voice: Essays on Poe’s Satiric Hoaxing, ed. Dennis W. Eddings (Port Washington, N. Y.: Associated Faculty Press, 1983), pp. 112-123. [Revision of an essay that appeared in American Transcendental Quarterly (1974).]

Weissberg, Liliane. Afterword, Ligeia und anderc Erzahlungen: Ausgewa-hit und mit einem Nachwort versehen von Lilianc Weissberg, Edgar Allan Poe (Frankfort: Ullstein, 1985), pp. 267-286. [Discusses women in Poe’s life and works in view of the changing status of women in the nineteenth-century.]

West, G. V. “Note sur Mallarme et Poe,” Yeats Eliot Review, 7 (1982), 36-41. [Translates a 1926 review by T. S. Eliot and comments that Eliot relied on Poe’s philosophy concerning metaphysical poetry.]

Williams, Michael. “The Voice in the Text: Poe’s ’Some Words with a Mummy,‘” Poe Studies, 16 (1983), 1-4. [In this tale, Poe undercuts the view that the “originating, authenticating voice in a written text” may be recovered.]

Wilson, James D. The Romantic Heroic Ideal (Baton Rouge: Louisiana State Univ. Press, 1982), pp. 115-124, 154160. [Poe’s tales challenge the romantic ideal of uncontrolled [column 2:] solipsism.] [column 2:]

Wilt, Timothy. “The Usefulness of Case Frames,” Notes on Linguistics, 30 (1984), 24-30. [Employs Robert E. Longacre’s method of verb classification to analyze “The Masque of the Red Death.”]

Woodall, Guy. “Another Source for the ‘Misty Mid Region of Weir,‘” American Notes and Queries, 23 (1984), 810. [Links James Hogg’s “A Tale of the Martyrs” and John Weir’s “A Ballad” with “UIalume.”]

Wright, Nathalia. “The American Writer’s Search for Identity: Some Reflections,” South Atlantic Bulletin, 49 (1984), 39-55. [Treats Poe and James Agee, among others.]

Yakushigawa, Asami. “E. A. Poe’s Portraits of Women,” Main Stream (Doshisha Univ.), 44 (1983), 62-78.

————————. “The Part the Narrator Plays in ‘The Fall of the House of Usher,‘” Main Stream, 45 (1983), 70-84.

Yamakawa, Tsotomu. “An Experimental Essay on Poe’s ‘The Raven,‘” Musashi Women’s Junior Collegc, 17 (1985), 85-125.

Yamamoto, Tsunemasa. “E. A. Poe — An Ontological Reverie — 5 — Sea Eyeball of Maelstrom,” Esoteric Buddhism Culture (Society of Esoteric Buddhism), 141 (1983), 55-66.

————————. “E. A. Poe — An Ontological Reverie VI,” Journal of Koyaean University, 19 (1984), 1-21.

———————— . “The Tomb of Ulalume,” English and American Literature (Kwansei Gakuin Univ.), 29 (1983).

Zaciu, Mircea. “I. L. Caragiale si Edgar Allan Poe,” Rceista dc I‘toric si Teorie Literara, 31, No. 2 (1983), 17-23; 31, No. 3 (1983), 74-80. [Poe is compared to Ion Luca Caragiale.]

Zayed, Georges. The Genius of Edgar Allan Poe (Cambridge, Ma.: Schenkman Pub. Co., 1985). [A layman’s guide to Poe’s achievements, with particular attention to the reception of Poe’s works in France in contrast to their reception in America. Extensive bibliography.]

Ziff, Larzer. “The Self Divided by Democracy: Edgar A1lan Poe and the Already-Answered Question,” Literary Democracy: The Declaration of Cultural Independence in America (New York: Viking, 1981), pp. 67-86. [Ziff contends that Poe’s aestheticism constituted a defense of sthose psychic processes otherwise ignored, denied, or maimed by bourgeois democratic institutions.”]


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