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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.8
- 수록면
- 25 - 67 (43page)
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Among the numerous Romantic literatures, “Simplon Pass” in Book 6 of The Prelude would be perhaps the most famous single episode in all of English literature. Indeed it would be difficult to understate the appropriateness of the episode for any understanding of the imagination and its role as a mode of interrelation within romanticism as well as the critical discourse on romanticism. Few critics have failed to note that Wordsworth in the episode is in his most exalted mood both naturalistic and anti-naturalistic, a view inaugurated by A. C. Bradley and consolidated by M. H. Abrams and Geoffrey Hartman. But the opposition between natural and “apocalyptic” raises the question about alienation from and return (at a higher level) to nature seen by Abrams and Hartman, about the assumed analogy between the mind and nature, and about the effect or function of the topos of the sublime. In transposing the rhetorical concept of difficulty into the experiential concept of blockage, I suggest, the analogy between natural and apocalyptic or the sublime scenario functions to consolidate a notion of the self and to establish a coherent image of the mind or self. Following the recent fruitful approach to Romanticism, I show how the Romantic's process of consolidating the idea of the 'self' is endangered or sustained by a formal materiality of language that consists in conventional signs, grammatical and figurative structure and that holds potential unpredicable meanings.
In analysis of “Simplon Pass” episode, I first present the characteristics of the figurative language by raising a question about how an address to imagination would be possible if human speech is sadly incapable of speaking of it. With close attention to conjunction “like,” I show how the figurative language such as “like” carries with it the index of its inadequacy and unrealizability, brings about the endless repetition of the struggle, which turns the language into a figure of nonclosure. I then turn to the reflection of the subject that participates in its consciousness and recognition, for an address to imagination would be impossible without its recognition. I then pay a special attention to linguistic materiality inhabiting in subject's halting and getting lost, for the materiality offers the gap that the subject needs for its reflection. It turns out, however, that consciousness has yet to come to the fore at the moment. It is conjunction “But” that permits the crossing from loss to consciousness and recognition, to the subject's speech “I now can say” (ll.1850, 6: 600: emphasis added). Then in discussing the line ““I recognize thy glory””(ll.1850, 6: 601), I focus on language's usurpation of the process from an address to imagination to subject's loss: language's speech in the line turns the empirical or reflective event into its own linguistic event, for such a difference between historical or reflective event in origin and linguistic event is posited as within language the difference between “actual” or reflective event and language. But language's usurpation is disrupted by another conjunction “but” in the text. The rupture is inevitable, because for language to speak about itself would require its own split between speaking language and speaking about language's speech. And the split itself presupposes the difference between them that materialize itself in signifier, grammatical and figurative structure. My final analysis focuses on how the difference itself materialized in such a materiality has a disruptive effect on the illusory continuity of the text and its meaning.
In analysis of “Simplon Pass” episode, I first present the characteristics of the figurative language by raising a question about how an address to imagination would be possible if human speech is sadly incapable of speaking of it. With close attention to conjunction “like,” I show how the figurative language such as “like” carries with it the index of its inadequacy and unrealizability, brings about the endless repetition of the struggle, which turns the language into a figure of nonclosure. I then turn to the reflection of the subject that participates in its consciousness and recognition, for an address to imagination would be impossible without its recognition. I then pay a special attention to linguistic materiality inhabiting in subject's halting and getting lost, for the materiality offers the gap that the subject needs for its reflection. It turns out, however, that consciousness has yet to come to the fore at the moment. It is conjunction “But” that permits the crossing from loss to consciousness and recognition, to the subject's speech “I now can say” (ll.1850, 6: 600: emphasis added). Then in discussing the line ““I recognize thy glory””(ll.1850, 6: 601), I focus on language's usurpation of the process from an address to imagination to subject's loss: language's speech in the line turns the empirical or reflective event into its own linguistic event, for such a difference between historical or reflective event in origin and linguistic event is posited as within language the difference between “actual” or reflective event and language. But language's usurpation is disrupted by another conjunction “but” in the text. The rupture is inevitable, because for language to speak about itself would require its own split between speaking language and speaking about language's speech. And the split itself presupposes the difference between them that materialize itself in signifier, grammatical and figurative structure. My final analysis focuses on how the difference itself materialized in such a materiality has a disruptive effect on the illusory continuity of the text and its meaning.
목차
Ⅰ. 낭만주의의 나르시시즘과 칸트적 시간의 이중성
Ⅱ. 낭만주의의 나르시시즘과 비평담론
Ⅲ. 언어의 물질성과 “심플론 고개” 일화 읽기
Ⅳ. 읽기의 윤리성
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UCI(KEPA) : I410-ECN-0101-2009-840-015214927