Kubla Khan a Supernatural Poem

8401 Words34 Pages
| AbstractThis essay discusses the question of the transforming creative self and the aesthetics of becoming in Samuel Taylor Coleridge 's 'Kubla Khan ' and 'Dejection: An Ode ', by reassessing certain strands of Romantic visionary criticism and Deconstruction, which are two major critical positions in the reading and interpreting of Romantic poetry. The poetics of becoming and the creative process place the self in Coleridge 's aesthetic and spiritual idealism in what I have called a constructive deferral, since none of his poetic texts demonstrates the totality of experience or the impossibility of conceptual and theoretical discourse.The aesthetic and spiritual advancement of the self delineates the self as conscious,…show more content…
His texts are partial representations of his longings and as such not enclosed and finite entities. His philosophy of self shows it as dynamic, and his psycho-aesthetic treatment of this subject provides evidence for progress rather than stasis or fixity.The term Deconstruction is a postmodern or post-structural [6] coinage, which has broken new ground on the problems pertaining to theoretical and practical criticism in literature. It is quite a difficult and complex term to define, but there are a number of distinctive characteristics attributed to it. From the writings of its exponents like Jacques Derrida, Paul de Man and Hillis Miller, [7] Deconstruction is seen as a radicalised form of postmodern or poststructuralist discourse on philosophy, linguistics and literature. Deconstruction is clearly at odds with Western idealism and logic; epistemologically, it is opposed to logocentric knowledge, and theologically, it is opposed to belief, faith, and spirituality. Yet, given that Deconstruction 's basic premise is the subversion of or aversion to these, it is ironical that it is impossible to extricate itself completely from them.The roots of Deconstruction can be traced in the German idealist philosophy and Romanticism. It is rhetorically oriented and contemplates knowledge and meaning as representations that are unavoidably enmeshed in the heterodox and contradictory
Open Document