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논문 기본 정보

자료유형
학술저널
저자정보
Eun-Jung Yook (국민대학교)
저널정보
19세기영어권문학회 19세기 영어권 문학 19세기 영어권 문학 제14권 2호
발행연도
2010.8
수록면
227 - 247 (21page)

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We usually take the "Spots of Time" episodes in The Prelude as "an item" : though composed of two episodes (which we respectively call the "First" and the "Second" spot), they always go together. Or do they? Starting from this question, this paper takes an up close and personal look of the Spots in its inception in 1798-1799 and subsequent revisions. I argue that they became a unit threaded by a continuous plot in the process of revisions, rather than from the beginning. As in other similarly visionary moments in The Prelude, the elements of fear and guilt discernable in the Spots of Time signals the peculiarly Wordsworthian sublime imagination at work on the one hand, and on the other, the pronounced sense of transgression and (apparently unwarranted) guilt on the part of Wordsworth. In a seeming paradox, the latter is put into service as a defense against the former: Wordsworth subliminally sets up a transgression in the form of an unruly metonym in the first Spot, and brings it to an oedipal resolution in the second Spot by submitting the metonym to the position of a guilty son and to chastisement. In the larger frame of The Prelude this setting up of oedipal guilt and its final resolution is part and partial of the psychological defense mechanism the poem sets against a homologous but distinct guilt and anxiety, the root of which I explored elsewhere. By closely following the contour of the oedipal movement in the Spots, however, we can gain a better and more detailed understanding of the entire complicated defense mechanism of The Prelude.

목차

Ⅰ. Introduction
Ⅱ. The Self-haunting Ghost in the Spots of Time
Ⅲ. A “Redundant Energy Vexing“ : The Migrating Visionary Power in the First Spot
Ⅳ. In the Name of the Father : From Metonym to Patronym
Works Cited
Abstract

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