Logocentricity or Difference :: essays research papers

In some(prenominal) academic and scientific investigations there are three stages of development. The first involves the acknowledgement of the candid or phenomenon under investigation. The hour involves establishing a theory or hypothesis to explain the nature and characteristics of whatever is to be investigated. In the third gear phase the investigator seeks to apply theory to some procedure of analysis, by chance in the form of a practical application of knowledge to a range of tasks. What is the "subject" of the present study? It is not some clearly defined topic such as the behaviour of a authorized kind of animal or the molecular structure of certain chemicals. The subject is a verbal phenomenon, or - to be very cautious - a possible verbal phenomenon. Do the titles of poems by Goethe and the German Romantics in which the battle cry "Wandrer" occurs and do occurrences of the verb "to wander" in position poetry reflect the self resembling(pr enominal) phenomenon? By way of an analogy with a court case, I entrust call a number of witnesses and first among them, translators who rendered the German "Wand(e)rer" in the titles of German poetic works as "Wanderer" in side. In circumstance William of Norwichs translation of Goethes "Der Wandrer" actually exerted a demonstrable influence on William Wordsworth, bear upon his use of the word "Wanderer" in his own poetry. "Wanderers Night-Songs" demonstrates that for Longfellow the English word "Wanderer" Henry Wadsworth Longfellows rendition of the title "Wandrers Nachtlied" as captured better than every other the sum total effect of the word "Wand(e)rer" in Goethes poem. To the second class of witness belong critics who apply the word "Wanderer" or a form of verb "to wander" to their critical evaluations, evidently locating the same nexus of themes and problems whether they are writing about German or English poetry. Two critics have in my view already identified the phenomenon with which I am concerned - Professor L. A.Willoughby in his discussions of Goethes poetry and Geoffrey H. Hartman in his discussions of English romanticism. Their conclusions overlap when they refer to the main protagonist in Goethes Faust drama as a "Wanderer". I see my task in incorporate and correlating their arguments and insights, and to do this with any degree of objectivity I discuss at some length J. Tynjanovs theories concerning "the Word" in poetry. I also flack to avoid any monocausal explanation of the phenomenon identified by myself and others (though my perception of the electron orbit of this phenomenon is wider than in the case of the two scholars I have mentioned).