D. &. Bonnecase and M. Porée, Lyrical Ballads de Wordsworth et Coleridge. La différence en partage, PUF and CNED, 2011.
URL : https://hal.archives-ouvertes.fr/hal-01071257

A. Bennett, Wordsworth Writing, 2007.

J. Derrida, T. J. De-la-géométrie, P. Derrida, . De-la-littérature-française, . Gallimard et al., IntroductionLa double séanceLa langue n'appartient pas, his La dissémination, pp.861-862, 1962.

T. Dutoit, Upearthing the Field of English Studies: Jacques Derrida's Discourse of Pensées, European Journal of English Studies, vol.63, pp.125-142, 2002.

S. Mallarmé, Les mots anglais, Oeuvres complètes, p.1877, 1948.

S. M. Parrish, Dramatic Technique in the Lyrical Ballads, PMLA, vol.74, issue.1, pp.85-97, 1954.
DOI : 10.2307/460389

P. D. Sheats, The Making of Wordsworth's Poetry, pp.1785-1798, 1973.

S. J. Wolfson, Formal Charges. The Shaping of Poetry in British Romanticism Palo Alto, The Questioning Presence. Wordsworth, Keats, and the Interrogative Mode in Romantic Poetry, 1986.

W. Wordsworth, The Prelude. The Four Texts, 1798.

W. Wordsworth and . Coleridge, The ???Lyrical Ballads???, 1991.
DOI : 10.1017/CBO9781107705753.015

D. Bonnecase and M. Porée, Lyrical Ballads de Wordsworth et Coleridge. La différence en partage (Paris: PUF and CNED, 2011), subsequent quotations from it indicated by DP plus page number
URL : https://hal.archives-ouvertes.fr/hal-01071257

W. Wordsworth, M. The-prelude-stephen, and . Parrish, For full reference, see bibliography. 3 This poem is strangely uncommented upon by numerous specialists of Wordsworth Andrew Bennett does not mention it, and neither do Susan J. Wolfson (in either her The Questioning Presence. Wordsworth, Keats, and the Interrogative Mode in Romantic Poetry or Formal Charges. The Shaping of Poetry in British Romanticism), Paul D. Sheats in "The Lyrical BalladsDramatic Technique in the Lyrical Ballads 4 Quotations from Lyrical Ballads are referenced according to William Wordsworth and Samuel Taylor Coleridge, Lyrical Ballads, the 1798 edition used. See bibliography. All references to this collection will give line numbers of poems under study, and, when a new poem is introduced, his openly Derridean Wordsworth Writing, p.134, 1805.

W. Reading, of the poetic possibilities of a reading that explores the mimesis involved in words miming words (such as ore, or, oar, etc.) is indebted to Jacques Derrida's pathbreaking essayLa double séance," devoted to Mallarmé's work Mimique and of which Derrida writes for example

O. Le-signifiant and . Distribué, éclatant, en pièces rondes de toutes tailles 320, n. 54. OrOr, est-ce un mot ou plusieurs mots? Le linguiste dira peut-être --et le philosophe --que chaque fois, le sens et lq fonction étant autres, nous devons lire un mot différent. Et pourtant cette diversité se croise et repasse par un simulacre d'identité dont il faut bien rendre compte. Ce qui circule ainsi, pour n'être pas une famille de synonyme, est-ce le masque simple d'une homonymie, J. Derrida, p.377

M. Porée, commenting upon this paper, reminds me of different British pronunciations of the /or/ " phoneme " or " morpheme, " and that they would include words like " awe This potential dissemination, the potency of this kind of dispersal or flying apart of the text, might be the condition of possibility of memory, and the core of a mental prospect

J. Derrida, as attested by the same OED (from the year 1652) 15 "Nor less I deem that there are powers,/ Which of themselves our minds impress,/ That we can feed this mind of ours Think you, mid all this might sum/ Of things for ever speaking,/ That nothing of itself will come,/ But we must still be seeking?" (ll. 21-28, p. 148). The "impress" here lets us hear the "imprest" (l. 1) of "Lines written near Richmond, upon the Thames, at Evening 16 The moral of Wordsworth writing poems about mad mothers, idiot boys, little girls who seem to deny death or little boys who lie, sexual deviants, convicts, the homeless or the excluded, feeble elderly people (in short, all of the poems he writes in Lyrical Ballads), inserted next to his inscription poems (the "Lines..." poems) about a poetic persona, is that poetry needs to think society not from the supposed normal rational adult, but rather as a whole encompassing the so-called abnormal, and deconstructing the opposition normal/ abnormal. Its aim is to "retrouve[r] la valeur poétique de la passivité Wordsworth's project is to counter social projects that imagine society based on the "normal" adult: Dans l'horizon de cette conscience de co-humanité, c'est l'humanité 'normale et adulte' qui est 'privilégiée' à la fois 'comme horizon de l'humanité et comme communauté de langage, 14 In an obscure form Le thème de la normalité adulte qui occupait de plus en plus de place dans les analyses husserliennes, est ici traité comme allant de soi. [?] Dans La crise de l'humanité européene, le phénomène de crise est présenté comme une 'maladie' de la société et de la culture européennes, maladie qui n'est pas 'naturelle' et ne relève pas de 'quelque art naturel de guérir