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It further draws on the historical context of tensions between\nscholasticism and naturalism in the work of writers including Basil Willey,\nWalter Houghton, and John Brewer. Close readings of four passages in The\nPrelude related to cabinets and virtuosi then invite discussion of the text’s\ncomplex positions on nature, classification, and mechanistic philosophy in\nthe context of seventeenth- and eighteenth-century epistemologies. The\npaper argues that the images of the ‘cabinet’ and the ‘virtuoso’ are highly\nunstable signifiers in their historical contexts. These images allow the\npoem to simultaneously critique opposing forces in intellectual history. On\nthe one hand, these images critique the naturalism of the ‘New Science’ of\nthe Enlightenment—the legacies of Bacon, Kepler, Descartes, and Locke—\nwhile making assumptions about its mechanistic and utilitarian goals, and\nits devotion to classifying and categorising objects and phenomena. On the\nother hand, these images also carry an implicit critique of the supernatural\nscholasticism of the classical and pre-Early-Modern periods, which\nmanifests in the late eighteenth century as retrograde antiquarianism,\nscientific dilettantism, and the character of the myopic antiquary or\ncollector. Here the text makes contrasting assumptions about the disorder,\nanti-historicism, and superstitions of the Kunstkammer as the prototypical\nmuseum. While the Prelude texts generally position Wordsworth against\nmechanistic natural philosophy, in favour of a more superstitious\nscholasticism, they simultaneously display a methodical, analytical\nEnlightenment mind at work. Through readings of passages of cabinets\nand virtuosos in Books 2, 3, and 5 of The Prelude, the paper concludes that\nWordsworth’s occasional use of these images in his work—what he might\nterm objects removed from context in order to be classified, arranged, and\npositioned ‘In disconnection, dead and spiritless’—significantly bears on a\ncentral concern in his poetry: the relationship between history, nature, and\nthe creative imagination.", "subitem_description_language": "en", "subitem_description_type": "Abstract"}]}, "item_10002_identifier_registration": {"attribute_name": "ID登録", "attribute_value_mlt": [{"subitem_identifier_reg_text": "10.34577/00003942", "subitem_identifier_reg_type": "JaLC"}]}, "item_10002_publisher_8": {"attribute_name": "出版者", "attribute_value_mlt": [{"subitem_publisher": "国際基督教大学", "subitem_publisher_language": "ja"}]}, "item_10002_source_id_9": {"attribute_name": "ISSN", "attribute_value_mlt": [{"subitem_source_identifier": "00733938", "subitem_source_identifier_type": "ISSN"}]}, "item_access_right": {"attribute_name": "アクセス権", "attribute_value_mlt": [{"subitem_access_right": "open access", "subitem_access_right_uri": "http://purl.org/coar/access_right/c_abf2"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "Simons, Christopher E. 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Wordsworth’s Cabinets and Virtuosi: Unstable Forms of Knowledge in The Prelude
https://doi.org/10.34577/00003942
https://doi.org/10.34577/000039426a71fe43-408a-43f2-99ca-e868979d2b09
名前 / ファイル | ライセンス | アクション |
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Wordsworth’s Cabinets and Virtuosi:Unstable Forms of Knowledge in The Prelude (1.6 MB)
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Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
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公開日 | 2015-09-01 | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Wordsworth’s Cabinets and Virtuosi: Unstable Forms of Knowledge in The Prelude | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | Wordsworth’s Cabinets and Virtuosi: Unstable Forms of Knowledge in The Prelude | |||||
言語 | ||||||
言語 | eng | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | departmental bulletin paper | |||||
ID登録 | ||||||
ID登録 | 10.34577/00003942 | |||||
ID登録タイプ | JaLC | |||||
アクセス権 | ||||||
アクセス権 | open access | |||||
アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||
著者 |
Simons, Christopher E. J.
× Simons, Christopher E. J. |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | This paper examines examples of the language of the Kunstkammer or Wunderkammer (the collector’s cabinet of art, antiquities, ‘curiosities’, and ‘wonders’), and the character of the ‘virtuoso’ (the collector, antiquary, connoisseur, and natural philosopher) and its parodies in William Wordsworth’s autobiographical epic poem, The Prelude (completed 1805). The paper uses a theoretical methodology based on ideas in Foucault’s The Order of Things and Horst Bredekamp’s The Lure of Antiquity and the Cult of the Machine. It further draws on the historical context of tensions between scholasticism and naturalism in the work of writers including Basil Willey, Walter Houghton, and John Brewer. Close readings of four passages in The Prelude related to cabinets and virtuosi then invite discussion of the text’s complex positions on nature, classification, and mechanistic philosophy in the context of seventeenth- and eighteenth-century epistemologies. The paper argues that the images of the ‘cabinet’ and the ‘virtuoso’ are highly unstable signifiers in their historical contexts. These images allow the poem to simultaneously critique opposing forces in intellectual history. On the one hand, these images critique the naturalism of the ‘New Science’ of the Enlightenment—the legacies of Bacon, Kepler, Descartes, and Locke— while making assumptions about its mechanistic and utilitarian goals, and its devotion to classifying and categorising objects and phenomena. On the other hand, these images also carry an implicit critique of the supernatural scholasticism of the classical and pre-Early-Modern periods, which manifests in the late eighteenth century as retrograde antiquarianism, scientific dilettantism, and the character of the myopic antiquary or collector. Here the text makes contrasting assumptions about the disorder, anti-historicism, and superstitions of the Kunstkammer as the prototypical museum. While the Prelude texts generally position Wordsworth against mechanistic natural philosophy, in favour of a more superstitious scholasticism, they simultaneously display a methodical, analytical Enlightenment mind at work. Through readings of passages of cabinets and virtuosos in Books 2, 3, and 5 of The Prelude, the paper concludes that Wordsworth’s occasional use of these images in his work—what he might term objects removed from context in order to be classified, arranged, and positioned ‘In disconnection, dead and spiritless’—significantly bears on a central concern in his poetry: the relationship between history, nature, and the creative imagination. |
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言語 | en | |||||
書誌情報 |
ja : 人文科学研究 : キリスト教と文化 号 46, p. 303-356, 発行日 2015-03-31 |
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出版者 | ||||||
言語 | ja | |||||
出版者 | 国際基督教大学 | |||||
ISSN | ||||||
収録物識別子タイプ | ISSN | |||||
収録物識別子 | 00733938 |