@article{oai:konan-wu.repo.nii.ac.jp:00000844,
 author = {梶本, 正美},
 issue = {42},
 journal = {甲南女子大学研究紀要. 文学・文化編, Studies in Literature and Culture},
 month = {Mar},
 note = {110004868189, In Emily Dickinson's poetry the door motif is a favorite and elastic one. Through this door Dickinson tries to explore the relationship between man and the other world, whether it is nature or Heaven, with her keen sensitivity. So this door can be thought of as the door of perception. Charles Anderson talked about the "intensities" with which "she was bold to try to capture". As she says in "To tell the Beauty would decrease" (P-1700), it is impossible to express the object as it is in words. It is through her perception that she can create her own new world. In "I cannot live with You-" (P-640), with just the door ajar, despair becomes the "White Sustenance". In "Further in Summer than the Birds" (P-1068), nature's meaning is hidden from the poet, and the most she can know is the sense of loss. At the end of the poem, she feels "Druidic Difference". She doesn't define what this difference is, but it intensifies the meaning of nature up to a new level. "There's a certain Slant of light," (P-258) is an attempt to catch the fleeting moment which leaves the beholder changed. By her creative power, Dickinson can recreate even "the Object Absolute" as she says on P-1071. Many of Dickinson's poems end with irresolution. Considering her perception, I think the feature of irresolution is not only her unavoidable way of writing poetry, but shows her integrity as a poet and expands the possibility of her poetry.},
 pages = {43--51},
 title = {エミリィ・ディキンスン : "With just the Door ajar"},
 year = {2006}
}