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 26
... death . And yet the traveler does not die ; somehow he endures in the follow- ing stanzas . Were he to die , he would cross the boundary between life and death and arrive at a symbolically secure condition . Culture treats death as if ...
... death . And yet the traveler does not die ; somehow he endures in the follow- ing stanzas . Were he to die , he would cross the boundary between life and death and arrive at a symbolically secure condition . Culture treats death as if ...
Seite 29
... death ; the voices of these two bodies may be a single voice , that of the body on the threshold between life and death , where the tormented body and the ghost begin to blend . The body in pain is beyond the living body without yet ...
... death ; the voices of these two bodies may be a single voice , that of the body on the threshold between life and death , where the tormented body and the ghost begin to blend . The body in pain is beyond the living body without yet ...
Seite 85
... death wish , resolves itself in a kind of ghostly closure . Through most of the poem , this wish exerts an enormous pressure on Margaret , who gradually but inevitably descends into death . Repetition becomes a kind of progres- sive ...
... death wish , resolves itself in a kind of ghostly closure . Through most of the poem , this wish exerts an enormous pressure on Margaret , who gradually but inevitably descends into death . Repetition becomes a kind of progres- sive ...
Inhalt
Errancy in the Salisbury Plain Poems | 18 |
Notes | 237 |
Works Cited | 269 |
Urheberrecht | |
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