시각 기술과 체험된 지리
Technologies of Vision and Experienced Geography
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This paper is mainly concerned with explaining how William Wordsworth, a famous Romantic author, reconfigures geography on the basis of his embodied encounter with elements in an environment. In his espousal of a felt relatedness to the environment, Wordsworth, most of all, allows for reconfiguration of world and selfhood, upsetting the convention of the visual construction and anthropocentrism. Contrary to the constraints of spatialization mediated through technological devices, Cartesian perspectivalism, and a picturesque frame, all of which in turn have contributed to constructing the hegemony of the optical subject according to their regime of sight, Wordsworth in many instances brilliantly dramatizes a different sense of space employing a unique experiential, corporeal, tactile syntax quite different from mental abstraction and illusionary transparency. As in many of his landscape poems, human subjectivity is never determined by a unique essence within itself but by its relation to the surroundings. The narrator no longer remains a mere picturesque tourist—a viewing subject rationally abstracted from his surroundings on a stationary observation point, but actively engages in physical reality as a bodily, mobile being. His identity is formed in his haptic, phenomenological exchange with geographies, as well as with biological, economic, and political networks.
Abstract
This paper is mainly concerned with explaining how William Wordsworth, a famous Romantic author, reconfigures geography on the basis of his embodied encounter with elements in an environment. In his espousal of a felt relatedness to the environment, Wordsworth, most of all, allows for reconfiguration of world and selfhood, upsetting the convention of the visual construction and anthropocentrism. Contrary to the constraints of spatialization mediated through technological devices, Cartesian perspectivalism, and a picturesque frame, all of which in turn have contributed to constructing the hegemony of the optical subject according to their regime of sight, Wordsworth in many instances brilliantly dramatizes a different sense of space employing a unique experiential, corporeal, tactile syntax quite different from mental abstraction and illusionary transparency. As in many of his landscape poems, human subjectivity is never determined by a unique essence within itself but by its relation to the surroundings. The narrator no longer remains a mere picturesque tourist—a viewing subject rationally abstracted from his surroundings on a stationary observation point, but actively engages in physical reality as a bodily, mobile being. His identity is formed in his haptic, phenomenological exchange with geographies, as well as with biological, economic, and political networks.
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