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Informationen zum Autor Ashton Nichols is Associate Professor of English at Dickinson College in Pennsylvania. Klappentext In the winter of 1798-99, shut up in the freezing German town of Goslar, William Wordsworth began producing a series of lyrical fragments that appeared first in letters written to Coleridge and emerged eventually as source texts for The Prelude . These lyrics are revolutionary because they construct a new version of the autobiographical 'I'. The Revolutionary 'I' explores the numerous voices of the poetic speaker 'Wordsworth' and their relationship to the historical figure who shared the same name. Zusammenfassung In the winter of 1798-99! shut up in the freezing German town of Goslar! William Wordsworth began producing a series of lyrical fragments that appeared first in letters written to Coleridge and emerged eventually as source texts for The Prelude . Inhaltsverzeichnis Preface: The Prelude as Prologue Silencing the (Other) Self: Wordsworth as 'Wordsworth!' in 'There was a boy' The Politics of Self Presentation: Wordsworth as Revolutionary Actor in a Literary Drama Sounds into Speech: The Two-Part Prelude of 1799 as Dialogic Dramatic Monologue Coleridge as Catalyst to Autobiography: The Wordsworthian Self as Therapeutic Gift, 1804-1805 Dialogizing Dorothy: Voicing the Feminine as Spousal Sister in The Prelude Colonizing Consciousness: Culture as Identity in Wordsworth's Prelude and Walcott's Another Life Endnotes Bibliography Index
List of contents
Preface: The Prelude as Prologue Silencing the (Other) Self: Wordsworth as 'Wordsworth!' in 'There was a boy' The Politics of Self Presentation: Wordsworth as Revolutionary Actor in a Literary Drama Sounds into Speech: The Two-Part Prelude of 1799 as Dialogic Dramatic Monologue Coleridge as Catalyst to Autobiography: The Wordsworthian Self as Therapeutic Gift, 1804-1805 Dialogizing Dorothy: Voicing the Feminine as Spousal Sister in The Prelude Colonizing Consciousness: Culture as Identity in Wordsworth's Prelude and Walcott's Another Life Endnotes Bibliography Index
Report
Ashton Nichols's The Revolutionary 'I ' trawls through versions of The Prelude up to and including the 1805 text in search of a fundamental Wordsworthian orgininality, which he believes is a generative source of most subsequent imaginative literature in English...he believes that Prelude breaks new autobiographical ground with its presentation of the I as a dramatized cultural self rather merely a mimetic revelation of identity.' - James Treadwell, The Wordsworth Circle
