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 83
... nearly identifies sex and death , pleasure and shattering ( 61-64 ) . In a similar way , Wordsworth's attempt to denounce sensationalism ends up revealing all the more how desire becomes fixated on what terrifies or shatters the subject ...
... nearly identifies sex and death , pleasure and shattering ( 61-64 ) . In a similar way , Wordsworth's attempt to denounce sensationalism ends up revealing all the more how desire becomes fixated on what terrifies or shatters the subject ...
Seite 225
... nearly allows Book 10 to culminate in a celebration of the pleasures of extravagant violence . For a moment it seems that this book , like Part One of the 1799 Prelude , will stage its fierce energies in a scene of divination which ...
... nearly allows Book 10 to culminate in a celebration of the pleasures of extravagant violence . For a moment it seems that this book , like Part One of the 1799 Prelude , will stage its fierce energies in a scene of divination which ...
Seite 246
... nearly as idealizing as Homans assumes ; on this point , see three excellent discussions of the passage : Ferguson 131–38 ; Christensen " The Sublime ” 19-20 ; and Warminski “ Facing Language ” 21-25 . As Chris- tensen argues , for ...
... nearly as idealizing as Homans assumes ; on this point , see three excellent discussions of the passage : Ferguson 131–38 ; Christensen " The Sublime ” 19-20 ; and Warminski “ Facing Language ” 21-25 . As Chris- tensen argues , for ...
Inhalt
Errancy in the Salisbury Plain Poems | 18 |
Notes | 237 |
Works Cited | 269 |
Urheberrecht | |
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