‘악마화,’ ‘정화’ 그리고 미국적 숭고: 에머슨, 스티븐스 그리고 블룸
‘Daemonization,’ ‘Askesis’ and the American Sublime: Emerson, Stevens and Bloom
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‘The American Sublime’ can be said to be a poetic genealogy mixed with Bloom’s subject-centered thought and theory of influence. Especially, two decisive stages in Bloom’s theory of influence, ‘daemonization’ and ‘Askesis,’ are used to explain how strong poets in the American tradition come to clear creative space for themselves. However, Bloom’s theory of influence and sublime seems to fail in understanding new aspects of the American sublime which creates a site of passage or a confluence between the self and nature, because his theory itself was greatly influenced by the western theories of sublime such as Kant’s ‘negative sublime’ and Freud’s ‘uncanny’ which focus on the confrontation with objects. Most of all, “I am nothing” in Emerson’s “Nature” reads as expressing a discontinuity with everything that is anterior and an identification with the father god by Bloom, but this reading misses the fact that in this scene, the self exists in the flow of objects and becomes a part of it instead of confronting the threat of objects and overcoming it through stronger will. Of course, Stevens doesn’t believe that this Emersonian sublime, where I become a part of nature, is possible and human can stay in such an innocent time. Therefore, he tries to create an innocent moment in a fictional world by repeating making metaphor or poetry. This continuous making-poetry process can be one of the sublime moments possible in modern times.
Abstract
‘The American Sublime’ can be said to be a poetic genealogy mixed with Bloom’s subject-centered thought and theory of influence. Especially, two decisive stages in Bloom’s theory of influence, ‘daemonization’ and ‘Askesis,’ are used to explain how strong poets in the American tradition come to clear creative space for themselves. However, Bloom’s theory of influence and sublime seems to fail in understanding new aspects of the American sublime which creates a site of passage or a confluence between the self and nature, because his theory itself was greatly influenced by the western theories of sublime such as Kant’s ‘negative sublime’ and Freud’s ‘uncanny’ which focus on the confrontation with objects. Most of all, “I am nothing” in Emerson’s “Nature” reads as expressing a discontinuity with everything that is anterior and an identification with the father god by Bloom, but this reading misses the fact that in this scene, the self exists in the flow of objects and becomes a part of it instead of confronting the threat of objects and overcoming it through stronger will. Of course, Stevens doesn’t believe that this Emersonian sublime, where I become a part of nature, is possible and human can stay in such an innocent time. Therefore, he tries to create an innocent moment in a fictional world by repeating making metaphor or poetry. This continuous making-poetry process can be one of the sublime moments possible in modern times.
참고문헌 (14)
- Emerson, Ralph Waldo, "Essays and Lectures" (1983), Library of America
- Harold Bloom, "The Anxiety of Influence" (1973), Oxford UP
- Harold Bloom, "A Map of Misreading" (1975), Oxford UP
- Harold Bloom, "Poetry and Repression" (1976), Yale UP
- Kant, Immanuel, "Critique of Judgment" (1951), Hafner
- Longinus, "On the Sublime, in Classical Literary Criticism" (1965), Penguin
- Miller, J. Hillis, "Poets of Reality: Six Twentieth-century Writers" (1965), Harvard UP
- Novak, Barbara, "Nature and Culture: American Landscape and Painting, 1825-1875" (1980), Oxford UP
- Pease, Donald, "Sublime Politics, in The American Sublime" (1986), State U of New York P
- Rzepka, Charles J., "The Self as Mind: Vision and Identity in Wordsworth, Coleridge, and Keats" (1986), Harvard UP
- Stevens, Wallace, "The Collected Poems of Wallace Stevens" (1954), Knopf
- Weiskel, Thomas, "The Romantic Sublime: Studies in the Structure and Psychology of Transcendence" (1976), Johns Hopkins UP
- Wilson, Rob, "American Sublime" (1991), Wisconsin UP
- Zizek, Slavoj, "The Sublime Object of Ideology" (1989), Verso