D. H. Lawrence: Language and BeingCambridge University Press, 16 janv. 1992 - 246 pages D. H. Lawrence once wrote that 'we have no language for the feelings'. The remark testifies to the struggle in his novels to express his sophisticated understanding of the nature of being through the intransigent medium of language. Michael Bell argues that Lawrence's unfashionable status stems from a failure to perceive within his informal expression the nature and complexity of his ontological vision. He traces the evolution of the struggle for its articulation through the novels, and looks at the way in which Lawrence himself made it a conscious theme in his writing. Embracing in this argument Lawrence's failures as a writer, his rhetorical stridency and also his primitivist extremism, Michael Bell creates a powerful and fresh sense of his true importance as a novelist. |
Table des matières
Introduction | 1 |
Competing voices in the early novels | 13 |
The metaphysic of The Rainbow | 51 |
The worlds of Women in Love | 97 |
Aarons Rod and Kangaroo | 133 |
Sentimental primitivism in The Plumed Serpent | 165 |
Love and chatter in Lady Chatterleys Lover | 208 |
Conclusion | 226 |
Notes | 229 |
Autres éditions - Tout afficher
Expressions et termes fréquents
Aaron's Rod ambivalence artistic aspect authorial aware becomes Birkin Cassirer central characters complex conception concern consciousness contrast course culture Cyril D. H. Lawrence dramatic dramatised early Brangwens effect emotional episode essentially experience expression external F. R. Leavis fascism feeling fiction focused fundamental generalisation Gerald Gudrun Heidegger Hence human impersonal implication individual intuition Kangaroo Kate Kate's Lady Chatterley's Lover Lawrence's narrative meaning medium metaphysic mode modern Morel narrative language nature Nietzsche novel novelist ontological vision opening passage passion perception philosophical Plumed Serpent political precisely present primitive primitivist problem projection psyche psychic psychological question radical Rainbow and Women Ramón reader realist recognition relation relationship relative response rhetorical romantic seems self-conscious sense sensibility sexual significant Skrebensky social Somers Sons and Lovers specific speculative story structure struggle suggests symbolic thematic thematising theme tion truth underlying understanding Ursula voice White Peacock whole Women in Love words