@article{oai:nagoya.repo.nii.ac.jp:00028152,
 author = {Koguchi, Ichiro},
 journal = {IVY},
 month = {Nov},
 note = {Literary text cannot deal directly, with materiality because it is based on linguistic signs comprising semiotic differences. Influenced by Saussurean linguistics and semiotics, modern literary criticism has also tended to show intra-textual inclinations. However, the emergence of ecocriticism has changed this situation. Aware of the damage to the natural environment's physical reality, ecocriticism concerns itself with the materiality of external nature in textual representation. Following this recent critical development, the current study investigates how William Wordsworth's poetry engages in nature's materiality. The theoretical grounds used here are those proposed by Steven Vogel and Kate Rigby. Vogel categorises modern thinking on nature into four types: "nature as origin," "the critique of nature," "nature as difference" (i.e. "nature as the other"), and "nature and practice." The first category involves the Rousseauian idea of nature as an organic unity, and the second deconstructively critiques the naivety of the first. Vogel's third category defines nature as unrepresentable otherness that is normally concealed under cognitive frameworks. Then, in her interpretive work on modern art, Rigby also turns to nature's otherness, observing intimations of nature's materiality in the form of such otherness. The concept of nature's material otherness, as theorised by Vogel and Rigby, helps to unfold fresh aspects of Wordsworth's nature poetry. For instance, nature as the material other is suggested in Wordsworth's "There was a boy…."In this poem, the boy's failure in harmonious interaction with wild owls discloses an unfamiliar aspect of nature characterised by otherness and physical depth. Similarly, nature's physicality and otherness are dealt with in the poem ''A slumber did my spirit seal." When the hold of the cognitive framework weakens in the transition from the poem's first stanza to the second, nature's material aspect--"rocks and stones and trees"--emerges. Contrary to the benevolence normally expected from Wordsworth's nature poetry, nature here resides in an alien dimension indifferent to human affairs. Such material otherness is included in the revelatory structure of the lyric, "a narrow girdle of rough stones and crags." This complex verse initially provides a glimpse of nature permeated by the blessings of divinity and then refers to the working of human imagination. However, like the two poems above, these cognitive schemes fall short of functioning properly, and in place of a spiritually beneficent organic whole, "dead unfeeling'' nature appears. In reference to the views of Vogel and Rigby, this recognition is equivalent to intimation of nature's material otherness. Usually such otherness is imperceptible in Wordsworth because it is repressed by interpretive frameworks that tend to express the auspicious side of the human experience of nature. However, in ''A narrow girdle," otherness momentarily comes into view through accidental cracks in the frameworks. In this sense, the poem is an important text that gives witness to the material otherness of Wordsworthian nature unfolding itself. As mentioned, Vogel’s categorisation has a fourth type, "nature and practice." The current article concludes by suggesting this concept's interpretive potential for future studies of Wordsworth., This is a revised version of my paper read at the 54th conference of the Society of English Literature and Linguistics, Nagoya University, at the Graduate School of Letters, Nagoya University, 18 April 2015.},
 pages = {27--51},
 title = {Shadow of the Non-Corresponding Other: "Material Nature" in Wordsworth's Poetry},
 volume = {48},
 year = {2015}
}