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Much of my argument rests on the assumption that for Coleridge, the poet, not only through his poetry, but also by virtue of his status as a creator of literature, who wields and controls the power of the imagination, can ameliorate the minds of others through his visions. The dissertation suggests that the voices informed by the anxiety of reception and the anxiety of unfulfilled potential co-exist in Coleridges prose and are supplemented, without being fully supplanted, by a third: the uncertainty of a voice which takes its substance from the subtly modulated regime of a bipartite imagination (primary and secondary) that constitutes itself in the space between the conscious and the unconscious. The gesture of adopting this voice involves subduing the fear that idiosyncratic images can lead to miscommunication, or downright failure of communication; it also involves leaving the safe waters of representational coincidence. It is by adopting this uncertain voice that Coleridge manages to assume the posture of a poet-educator, whose authority, paradoxically, rests on the partial denial of his authority.
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