Wordsworthian Errancies: The Poetics of Cultural DismembermentJohns Hopkins University Press, 1994 - 287 Seiten According to David Collings, Wordsworth interpreted the outbreak of war between England and France in 1793 as a cataclysmic event, one whose utterly disfiguring effect he would trace in his work over the next decade. Expanding upon this extravagant interpretation of events, Collings argues, Wordsworth constructed a poetics of cultural dismemberment - a way for culture to imagine that it survives in the midst of its own destruction. In Wordsworthian Errancies, Collings challenges prevailing critical approaches to Romantic poetry by describing and critiquing this deconstructive account of culture in Wordsworth's poetry. Drawing ideas from deconstruction, psychoanalysis, Marxism, feminism, and queer theory, Collings's reading reveals a radically new Wordsworth, one who is far more concerned with various "queer" modes of sexuality than previously suspected. In a provocative reading of The Prelude, for example, Collings argues that Wordsworth associated his poetic power with homoerotic masochistic fantasies and with his involuntary delight in traumatic events. He also redefines the debate concerning the politics of Wordsworth's poetry: disputing recent critics who claim that Wordsworth retreated from history into a poetry of the self, Collings argues instead that the very notion of the solitary, autobiographical subject derived from Wordsworth's sense of cultural trauma. The suspect dimension of Wordsworth's poetry, Collings concludes, is not its retreat from history but rather its claim that history is disaster. |
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Seite 60
... crime or the sacrificial crisis , how can one expel the knowledge of violence ? As Wordsworth writes in his prefatory essay to The Borderers , a young man " goes into the world and is betrayed into a great crime " ( Osborn 62 ) . What ...
... crime or the sacrificial crisis , how can one expel the knowledge of violence ? As Wordsworth writes in his prefatory essay to The Borderers , a young man " goes into the world and is betrayed into a great crime " ( Osborn 62 ) . What ...
Seite 65
... crime as greatness is itself an act of hyperbolic disorientation . Strangely enough , the attempt to master the crime repeats it on the level of interpretation . The will to mastery , it turns out , is inseparable from the will to ...
... crime as greatness is itself an act of hyperbolic disorientation . Strangely enough , the attempt to master the crime repeats it on the level of interpretation . The will to mastery , it turns out , is inseparable from the will to ...
Seite 109
... crime was not a crime at all . Failing to rescue the captain or Herbert is merely to do as the old man himself pleases , for he disdains rescue . He is abandoned but needs no help ; he wanders in ab- ject solitude but is not in exile ...
... crime was not a crime at all . Failing to rescue the captain or Herbert is merely to do as the old man himself pleases , for he disdains rescue . He is abandoned but needs no help ; he wanders in ab- ject solitude but is not in exile ...
Inhalt
Errancy in the Salisbury Plain Poems | 18 |
Notes | 237 |
Works Cited | 269 |
Urheberrecht | |
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