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  1. 大学紀要
  2. キリスト教と文化研究所
  3. 人文科学研究
  4. 第46号(2015.3)

Wordsworth’s Cabinets and Virtuosi: Unstable Forms of Knowledge in The Prelude

https://doi.org/10.34577/00003942
https://doi.org/10.34577/00003942
6a71fe43-408a-43f2-99ca-e868979d2b09
名前 / ファイル ライセンス アクション
12-Simons.pdf 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)
公開日 2015-09-01
タイトル
タイトル Wordsworth’s Cabinets and Virtuosi: Unstable Forms of Knowledge in The Prelude
言語 en
タイトル
タイトル Wordsworth’s Cabinets and Virtuosi: Unstable Forms of Knowledge in The Prelude
言語 en
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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en Simons, Christopher E. J.

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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.
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
出版者
出版者 国際基督教大学
言語 ja
ISSN
収録物識別子タイプ ISSN
収録物識別子 00733938
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