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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2001.6
- 수록면
- 179 - 201 (23page)
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Reading Wordsworth's "The Sublime and the Beautiful" in psychoanalytic terms of desire and the unconscious, this article aims to study the characteristics of the Romantic construction of the unconscious.
While Lacan says the sublime is a sense of great enjoyment, jouissance, "which provides Trieb(the drive) with a satisfaction" by "rais[ing] an object to the dignity of the Thing," the forbidden object of incestuous desire, the Mother, the Wordsworthian sublime is peculiar in tending to minimize the oedipal crisis between the unconscious drive for the Mother and the castrating threat of the Father. Wordsworth aims to prolong the sublime effect in "that state of opposition and reconcilement" of both powers. This impossible project is imagined to be possible when the Real Thing Wordsworth desires is, not the demonic beyond sense involving the negation of self, but the sensual beauty which sustains the body ego even to the extreme pursuit of the drive. Thus, the representational strategy Wordsworth tries to work out is to bridge the gap which the acquisition of the Symbolic Law entails in a moment of its genesis by allowing himself two places at once where he can be not only the son of the Symbolic Father, but be in organic unity with the phallic Mother.
Through this reading I characterize the Romantic unconscious like these: first, the Romantic is the first era in which the unconscious emerged in a form of discourses. While the rise of the unconscious is dimly reflected in the hot discussion of the sublime in the 18th century, it found its representational outlet in the Romantic literature which is bent to the unknown, the darkness, the 'uncanny' childhood memories, and most of all the self-creative power of imagination; second, the unconscious drive is the source of Romantic imagination, which, I assert, is nothing other than the belief that 'I' can continue its subjectivity by the sustained unification with the Real self the sublime moment ensures; third, the Romantic subject is comparatively other-oriented as, resisting to the castrating intervention of symbols, it tries to keep reciprocal relationship with sensual objects, which is why the physical presence of objects is so essential to the Romantic self.
Thus this study intends to call attention to the historical specificity of Romanticism even in the matter of the unconscious commonly misunderstood, I think, for its negative prefix, as a dichotomy to define the dark side of the conscious.
While Lacan says the sublime is a sense of great enjoyment, jouissance, "which provides Trieb(the drive) with a satisfaction" by "rais[ing] an object to the dignity of the Thing," the forbidden object of incestuous desire, the Mother, the Wordsworthian sublime is peculiar in tending to minimize the oedipal crisis between the unconscious drive for the Mother and the castrating threat of the Father. Wordsworth aims to prolong the sublime effect in "that state of opposition and reconcilement" of both powers. This impossible project is imagined to be possible when the Real Thing Wordsworth desires is, not the demonic beyond sense involving the negation of self, but the sensual beauty which sustains the body ego even to the extreme pursuit of the drive. Thus, the representational strategy Wordsworth tries to work out is to bridge the gap which the acquisition of the Symbolic Law entails in a moment of its genesis by allowing himself two places at once where he can be not only the son of the Symbolic Father, but be in organic unity with the phallic Mother.
Through this reading I characterize the Romantic unconscious like these: first, the Romantic is the first era in which the unconscious emerged in a form of discourses. While the rise of the unconscious is dimly reflected in the hot discussion of the sublime in the 18th century, it found its representational outlet in the Romantic literature which is bent to the unknown, the darkness, the 'uncanny' childhood memories, and most of all the self-creative power of imagination; second, the unconscious drive is the source of Romantic imagination, which, I assert, is nothing other than the belief that 'I' can continue its subjectivity by the sustained unification with the Real self the sublime moment ensures; third, the Romantic subject is comparatively other-oriented as, resisting to the castrating intervention of symbols, it tries to keep reciprocal relationship with sensual objects, which is why the physical presence of objects is so essential to the Romantic self.
Thus this study intends to call attention to the historical specificity of Romanticism even in the matter of the unconscious commonly misunderstood, I think, for its negative prefix, as a dichotomy to define the dark side of the conscious.
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