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• W268754493 abstract "This essay takes as its starting place the relation between Matthew Arnold's rejection of desire as a fit subject for and a set of references to and the pregnant body that support, undermine, and expose the limits of Arnoldian cultural and aesthetic ideology. On the one hand, Arnold positions himself against feelings of contradiction, and irritation, and impatience, all expressions of irresolvable desire, and in the process constructs a poetics that, while insisting on the centrality of as an implement of cultural development and social change, removes from any trace of political agency; the figure of the poet as autonomous creative agent is replaced by a poetry that only acts insofar as it relies parasitically on criticism. On the other hand, Arnold also praises for its pregnancy and for its ability to contain criticism's ideas within its attractive forms. This pregnant poem, however, necessitates a primarily transparent theory of language and form; what might be called the poem's surface is secondary to the poem's ideological function, a function, once again, that originates not in the poet, but in the critic. Furthermore, this poem is paradoxically imagined as an inviolable sealed sphere, which suggests a body that is not productive, but rather statically suspended in a state of perpetual pregnancy. As the pure bride of criticism, poems can only repeat, never create. future of the pregnant poem is simply more pregnancy. The future of is immense indeed. If, however, Arnold seems to imagine and thus as something kept forever in the realm of pure potential, other moments in his work suggest that he was also perhaps anxiously aware of poetic language's capacity to generate meaning at the level of its surfaces, its capacity to produce an excess that his criticism could not in fact contain. In readings of the famous Wragg moment in The Function of Criticism and of the figure of Callicles in Empedocles on Etna I trace examples of this excess. In these moments of verbal play, what we might call the poetic function itself evokes the limits of Arnold's poetics of pregnancy, as well as suggesting the limits of his more politically focused valuations of containment. Through the figures of Cailicles, the anarchic poet of sensation, and Wragg, the nominal metonymy for disruptive desire, Arnold inadvertently suggests that poetic language, as an embodiment of the ongoing chain of desires, tends to reassert itself against attempts to contain it. ********** This essay takes as its starting place the relation between Matthew Arnold's rejection of desire as a fit subject for and a set of references to and the pregnant body that support, undermine, and expose the limits of Arnoldian cultural and aesthetic ideology. On the one hand, Arnold positions himself against feelings of contradiction, and irritation, and impatience, all expressions of irresolvable desire, and in the process constructs a poetics that, while insisting on the centrality of as an implement of cultural development and social change, removes from any trace of political agency; the figure of the poet as autonomous creative agent is replaced by a poetry that only acts insofar as it relies parasitically on criticism. On the other hand, Arnold also praises for its pregnancy and for its ability to contain criticism's ideas within its attractive forms. This pregnant poem, however, necessitates a transparent theory of language and form; what might be called the poem's surface is secondary to the poem's ideological function, a function, once again, that originates not in the poet, but in the critic. Furthermore, this poem is paradoxically imagined as an inviolable sealed sphere, which suggests a body that is not productive, but rather statically suspended in a state of perpetual pregnancy. As the pure bride of criticism, poems can only repeat, never create. …" @default.
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• W268754493 date "2007-03-22" @default.
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• W268754493 title "Matthew Arnold's Pregnancy" @default.
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