Journal articles: 'Lady Chatterley's lover'

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Bradshaw, David. "Red Trousers: Lady Chatterley's Lover and John Hargrave." Essays in Criticism 55, no. 4 (2005): 352–73. http://dx.doi.org/10.1093/escrit/cgi026.

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Clarke, Bruce, Michael Squires, and Dennis Jackson. "D. H. Lawrence's Lady: A New Look at Lady Chatterley's Lover." South Atlantic Review 51, no. 1 (1986): 148. http://dx.doi.org/10.2307/3199570.

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RESINA, JOAN RAMON. "THE WORD AND THE DEED IN LADY CHATTERLEY'S LOVER." Forum for Modern Language Studies XXIII, no. 4 (1987): 351–65. http://dx.doi.org/10.1093/fmls/xxiii.4.351.

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Flores Santurio, Roberta, and Sabrina Siqueira. "CORPO, NATUREZA E REGENERAÇÃO EM O AMANTE DE LADY CHATTERLEY, DE D. H. LAWRENCE." Revista Crítica Cultural 19, no. 1 (2024): e18814. http://dx.doi.org/10.59306/rcc.v19e12024e18814.

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Defender of the body as the only human power capable of acting against social adversities, D. H. Lawrence was categorized throughout his work as “erotic”, especially in his most robust narrative, Lady Chatterley's Lover. However, the author's ambivalences are confusing due to the moralizing content present in the narrative. Despite the sex scenes, there is a pro-life message of union between lovers, and a belief in the life-death-life cycle of beings. Moreover, there is a social aspect along with psychological aspects of the characters. As we analyze in this work, the construction of a positive and affirmative image of the body and its relationship with nature is not new, but renewed by Lawrence in the 20th century which provides nature with broad meanings beyond representation. In this sense, we seek to trace the relationship between the novel Lady Chatterley's Lover and Spinoza's philosophy, Shakespeare's poetics and Bakhtin's study of the body and nature.

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Ni Made Sri Maheswari Paramitha and Komang Dian Puspita Candra. "Analysis of Politeness Maxims Found in Lady Chatterley’s Lover Movie." ELYSIAN JOURNAL : English Literature, Linguistics and Translation Studies 4, no. 3 (2024): 291–300. http://dx.doi.org/10.36733/elysian.v4i3.7449.

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Politeness has always been one of the primary linguistics issues. The objectives of this research were centered on identifying the varieties of politeness maxims utilized by characters in the 2022 adaptation of the film "Lady Chatterley's Lover." The primary focus of this inquiry was to examine the employed politeness maxims exclusively within the dialogues among the characters. The researcher detailed and assessed both the quantity and prevalence of distinct politeness maxims within the film. For analysis, a qualitative approach was employed, drawing on Leech's (1983) theory that delineates six categories of politeness maxims. The data were gathered through observational means from the British romantic movie titled "Lady Chatterley's Lover" released in 2022. The findings of this investigation exhibit the presence of six distinct classes of applied politeness maxims throughout the movie. The study's outcomes reveal a total of 48 instances categorized as follows: 12 instances of tact maxim, 10 instances of generosity maxim, 8 instances of approbation maxim, 5 instances of modesty maxim, 7 instances of agreement maxim, and 6 instances of sympathy maxim. The highest frequency was observed in the tact maxim category, with 12 instances, signifying its predominant utilization among the characters in the movie.

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Damljanović, Nataša. "Lady Chatterley, her Lover and their Room with a View: Modernist discourses on love and reality." Norma 26, no. 2 (2021): 269–78. http://dx.doi.org/10.5937/norma2102269d.

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The dawn of the 20th century in Britain witnessed changes in almost every aspect of women>s everyday lives. The emergence of the women's movement and a new generation of female professionals transformed the traditional patriarchal social structure. The present paper pursues two main goals. First, it shows how the novels Lady Chatterley's Lover and A Room with a View emerged from this social-historical moment in Britain. Since the novels depict the period before the Great War, they connect two periods in English history: Victorianism and Modernism, two different ways of living and two different approaches to moral principles. The protagonists of the novels, Connie, later lady Chatterley, and Lucy, personify the young and impressionable women of that era. Second, the focus is on the layers of interpretation/the codes of meaning that indicate the narrative interface: similarities in the novels' plots and their characters. They also reflect on the social divide that marked the period. The paper also shows that, according to the story, plot, and discourse of the novels, money and social status cannot substitute for the bindings of love.

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Trotter, David. "Techno-Primitivism: Á Propos of Lady Chatterley's Lover." Modernism/modernity 18, no. 1 (2011): 149–66. http://dx.doi.org/10.1353/mod.2011.0004.

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วิมลเกียรติขจร, ชาลินี. "การศึกษากลวิธีการแปลคำหยาบ "FUCK" กรณีศึกษา: ชูรักเลดี้แซดเดอร์เลย์ (Lady Chatterley's Lover) และ เทรนสปอตติ้ง (Trainspotting)". Journal of Letters 37, № 2 (2008): 109–49. http://dx.doi.org/10.58837/chula.jletters.37.2.4.

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S., Srinivetha. "Freud psychoanalytic view of constant Reid sex to self-conscious in D. H Lawrence's The Lady Chatterley's Lover." Freud psychoanalytic view of constant Reid sex to self-conscious in D. H Lawrence's The Lady Chatterley's Lover 9, no. 2 (2024): 11–16. https://doi.org/10.36993/ RJOE.2024.9.2.16.

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"The Lady Chatterley's Lover" provides a zenith in Lawrence's exploration of character psychology. Firstly, Lawrence is an insightful writer rather than a sexist. With a profound interest in psychological revelation, Lawrence strongly emphasizes depicting characters' irrational psychological activities to unveil the essence of human nature. His exploration goes beyond the surface, delving into the unconscious and unveiling new subtleties of psychological approaches. Constance Reid Chatterley's transformative psychological journey navigates love, passion, and societal constraints. In The Lady Chatterley's novel, men and women are two parts of human relationships. The novel's heroine, Constance, dares to achieve her life in a society full of morality and religious obstacles for women. Constance Reid is a woman who has intense self-consciousness and always hides her true colors under her submissive veil. Her husband and family abuse Constance. So, she struggles to complete life independently and eventually wins her success against society with her respective lady of the Tevershall village. She interchangeably had an affair with Oliver Mellor, Mellor's, and she feels intolerable in her life. She always acts under the veil of submission. She finds out that Michaelis cannot fulfill her sexual desire; he is similar to Clifford, and she wants to quit their relationship. Constance is the wife of an impotent husband; she cannot feel the warmth of her sex life, which is meaningless. Connie's repressed sexual desires led her to infidelity and an unhappy married life because her husband's disability suppressed her desires. Connie Reid's sexual affair with the lower-class servant and moral dilemma lead out of her superego.

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Bo, Ting. "An Analysis of Lady Chatterley's Lover from the Perspective of Ecofeminism." Theory and Practice in Language Studies 8, no. 10 (2018): 1361. http://dx.doi.org/10.17507/tpls.0810.15.

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Eco-feminism, as a new theoretical criticism of literature, combines the oppression and domination of women. There is a critical connection between woman and nature, originating from their shared history of oppression by a patriarchal Western society. The development of eco-feminism has significant influence on attitudes of human beings toward nature, especially the relationship between nature and woman. Lawrence is well-known for both his unique writing techniques and frank expression of sex. In Lady Chatterley's Lover, Lawrence shows his strong awareness of eco-feminism by exploring the relations between man and man, nature and man, nature and woman.

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Plotz, Judith. "Secret Garden II; or Lady Chatterley's Lover as Palimpsest." Children's Literature Association Quarterly 19, no. 1 (1994): 15–19. http://dx.doi.org/10.1353/chq.0.0891.

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ROODHOUSE, MARK. "Lady Chatterley and the Monk: Anglican Radicals and the Lady Chatterley Trial of 1960." Journal of Ecclesiastical History 59, no. 3 (2008): 475–500. http://dx.doi.org/10.1017/s0022046907002473.

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The trial of Penguin Books for publishing an unexpurgated edition of D. H. Lawrence's novel Lady Chatterley's lover is a symbolic episode in histories of 1960s Britain, used to illustrate changes in social attitudes. However, historians have not appreciated the impact of the trial on Anglican attitudes towards contemporary society. Using correspondence in the papers of the Mirfield father and literary critic Martin Jarrett-Kerr, this article reveals the tensions within a loose coalition of Anglican radicals just as their views began to receive attention in the media. Jarrett-Kerr and fellow liberal Anglo-Catholics found themselves in an uneasy alliance with Liberal Anglicans, whose views were conflated with those of the radicals.

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Neveux, Julie. "Le sens d'une forme : les noms en -ness dans Lady Chatterley's Lover." Études anglaises 57, no. 2 (2004): 158. http://dx.doi.org/10.3917/etan.572.0158.

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Plotz, Judith A. "Secret Garden II: Lady Chatterley's Lover as Palimpsest." Children's Literature Association Quarterly 1991, no. 1 (1991): 57. http://dx.doi.org/10.1353/chq.1991.0033.

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Chen, Yi. "Publishing in China in the Post-Mao Era: The Case of Lady Chatterley's Lover." Asian Survey 32, no. 6 (1992): 568–82. http://dx.doi.org/10.2307/2645161.

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Dawson, Paul. "Fictional Minds and Female Sexuality: The Consciousness Scene from Pamela to Lady Chatterley's Lover." ELH 86, no. 1 (2019): 161–88. http://dx.doi.org/10.1353/elh.2019.0006.

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Chen, Yi. "Publishing in China in the Post-Mao Era: The Case of Lady Chatterley's Lover." Asian Survey 32, no. 6 (1992): 568–82. http://dx.doi.org/10.1525/as.1992.32.6.00p01806.

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Kang, Chuanmei, and Xianyou Wu. "The Transitivity System and Thematic Meaning: A Feminist-stylistics Approach to Lawrence's Lady Chatterley's Lover." Theory and Practice in Language Studies 5, no. 6 (2015): 1200. http://dx.doi.org/10.17507/tpls.0506.11.

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Ganglani, Poonam M. "Piecing Together the Lady Chatterley Puzzle: an Uncensored Investigation." New Theatre Quarterly 26, no. 1 (2010): 71–76. http://dx.doi.org/10.1017/s0266464x10000072.

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In this article, Poonam M. Ganglani investigates how the preserved manuscripts in the Lord Chamberlain's archives of John Hart's stage version of Lady Chatterley's Lover in 1961 reflect the social and theatrical landscape of the times. The notion of the Lord Chamberlain as a custodian of morals, the dangerous power attributed to stage semiotics, and the response to sexual impropriety on stage are among the areas discussed. The Lord Chamberlain's correspondence files offer the only significant glimpse into this theatrical adaptation of Lawrence's novel, as into other unpublished plays of the time; this article also investigates the ways in which the Lord Chamberlain's archives in the British Library, London, serve as a unique and valuable tool for the post-war British theatre historiographer in research related to such unpublished plays. Poonam M. Ganglani is a postgraduate under the Mundus Masters ‘Crossways in European Humanities’ international study programme, having studied in three European universities over two years: the Université de Perpignan Via Domitia in France, the University of Sheffield in England, and the Università degli studi di Bergamo in Italy.

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Harrison, William M., and Jay A. Gertzman. "A Descriptive Bibliography of Lady Chatterley's Lover, with Essays toward a Publishing History of the Novel." Modern Language Studies 24, no. 3 (1994): 119. http://dx.doi.org/10.2307/3194854.

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Pattison, George. "Friedrich Schlegel's Lucinde: A Case Study in the Relation of Religion to Romanticism." Scottish Journal of Theology 38, no. 4 (1985): 545–64. http://dx.doi.org/10.1017/s0036930600030349.

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In 1799 a small book called Lucinde was published in Berlin. Written by the brilliant young literary critic Friedrich Schlegel it celebrated his (adulterous) affair with Dorothea Veit, daughter of the eminent Jewish philosopher Moses Mendelssohn. Though not widely read and still less widely understood the book provoked a considerable, and largely hostile, reaction among the reading public. It became to its generation what Lady Chatterley's Lover was to a more recent age: the quintessential embodiment of an obscene book. The author's mother gave utterance to the popular consensus when she wrote that ‘through his novel Fritz has shown himself to me as one who has no religion and no good principles’.

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Tall, Emily. "Behind the Scenes: How Ulysses Was Finally Published in the Soviet Union." Slavic Review 49, no. 2 (1990): 183–99. http://dx.doi.org/10.2307/2499479.

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Mikhail Gorbachev's policy of glasnost has resulted in an astounding flood of hitherto forbidden foreign classics. Aldous Huxley's Brave New World, George Orwell's 1984 and Animal Farm, Arthur Koestler's Darkness at Noon, Isaac Bashevis Singer's short stories, and James Joyce's Ulysses were all published during 1988-1989, and D. H. Lawrence's Lady Chatterley's Lover, Saul Bellow's Herzog, and the poetry of Ezra Pound, Chaim Nachum Bialik, and Czeslaw Milosz have all been promised for 1990.' It is as if permission were given, a list of forbidden books were consulted, translations were commissioned, and the books were published. In the case of Joyce, for example, Gorbachev came to power in 1985 and Ulysses was published in 1989. Surely, it would seem, the Russian Ulysses was a child of glasnost.

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Milyukov, M. N. "“LADY CHATTERLEY'S LOVER”: THE SYMBOLIC IMAGE OF FLOWER IN THE CONTEXT OF D. LAWRENCE'S PHILOSOPHICAL AND AESTHETIC CONCEPT." KAZAN LINGUISTIC JOURNAL 7, no. 3 (2024): 300–311. http://dx.doi.org/10.26907/2658-3321.2024.7.3.300-311.

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Journet, Debra. "Patrick White and D. H. Lawrence: Sexuality and the Wilderness in a "Fringe of Leaves" and "Lady Chatterley's Lover"." South Central Review 5, no. 2 (1988): 62. http://dx.doi.org/10.2307/3189571.

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Strevens, Adam. "Literature, morality and the adversarial principle: The 'Fleshly School of Poetry' quarrel and the trial of Lady Chatterley's Lover." Critical Quarterly 43, no. 4 (2001): 31–41. http://dx.doi.org/10.1111/1467-8705.00386.

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Dr.P.Pallavan. "Dichotomy Between Reason and Emotion in Human Relationships with Reference to D.H. Lawrence's Novel Lady Chatterley's Lover: A Study of human minds." Dichotomy Between Reason and Emotion in Human Relationships with Reference to D.H. Lawrence's Novel Lady Chatterley's Lover: A Study of human minds 8, no. 3 (2024): 190–93. https://doi.org/10.36993/ RJOE.2023.8.3.193.

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This paper is aimed at easing theuneasiness of the tension prevails in thepresent Life situation. As it was rightlypointed out that the study of literature itselfis the study of life and its principles,manners and values. The main reason forhuman tension is not understanding the"Differences" and "Dichotomies" whichprevails among all human beings. The studyof literature may enhance the understandingof the differences and it will help us to leada successful life. This particular paper triesto unearth the root causes of problems inhuman relations. The need of the hour hereis understanding the differences and adopt itto the life principles.

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Meyers, Jeffrey. "D. H. Lawrence's "Lady": A New Look at "Lady Chatterley's Lover, and: The Letters of D. H. Lawrence. Volume 3: October 1916-June 1921 (review)." MFS Modern Fiction Studies 31, no. 2 (1985): 357–61. http://dx.doi.org/10.1353/mfs.0.0180.

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Kurraz, Abdullah. "Artistic Narrative Structure of Ihsan Abdel Quduos and D. H. Lawrence's Novels: A Stylistic Comparative Sketch." International Journal of Linguistics, Literature and Translation 5, no. 3 (2022): 48–57. http://dx.doi.org/10.32996/ijllt.2022.5.3.6.

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This paper explores the artistic structures, aesthetics, and thematics in the literary works of Ihsan Abd Al-Quduos (the Arab writer) and D. H. Lawrence (the English writer) in terms of the narrative style, language, dialogue, settings, and characters through a textual analysis in the light of the premises of the narrative aesthetics, comparative assumptions and aesthetic intertextualities. Comparatively, the paper sheds light on the aspects of artistic aesthetics of structure and style between the two writers, basically the treatment of women, clarifying their narrative experiences. Therefore, this paper adopts the descriptive and analytical critical theory to explore similarities and dissimilarities in the aesthetics, style, and language of both writers' selected texts. The results of this paper textually reveal both authors' awareness of the nature of the fictional discourse as linguistic creativity and special artistic composition. Also, both novelists show some similarities and differences in narrative content, style, structure and themes, each according to his realistic experience as a result of the relationship with the surrounding environment and the cultural background. So, the two writers are very careful with all their art and creativity to endow their novels with aesthetics of expression and their structural and semantic spaces. The paper explores such issues in their selected narratives, which include Ihsan's Sleepless, The Dead End, A Nose and three Eyes, and Don't Turn off the Sun. Lawrence's novels include Sons and Lovers, Women in Love, The Lost Girl, Aaron's Rod, and Lady Chatterley's Lover.

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Полубиченко, Л. В. "Linguotoxicology through the prism of artistic translation." Cherepovets State University Bulletin, no. 1(118) (February 17, 2024): 123–42. http://dx.doi.org/10.23859/1994-0637-2024-1-118-9.

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Лингвотоксикология как часть эколингвистики занимается выявлением и описанием разнообразных элементов, загрязняющих литературный язык. В художественной литературе, однако, элементы такого рода выполняют ряд важных художественных функций, в связи с чем целью проведенного исследования было определить, применимо ли понятие лингвотоксичности к художественному дискурсу. Слова, которые принято считать токсичными (коллоквиализмы, сленгизмы, вульгаризмы, жаргонизмы, обсценизмы и иная субстандартная лексика), рассматриваются в статье как социокультурные знаки и средство создания ярких художественных образов в ряде классических англоязычных произведений, прошедших через стадию цензурных запретов из-за своей токсичности – в романе Д. Г. Лоуренса “Lady Chatterley’s Lover”, повести Дж. Д. Сэлинджера “The Catcher in the Rye”, а также в рассказах представителей контркультурной литературы. Методами функционально ориентированной сопоставительной стилистики английские субстандартные лексемы сопоставляются с их эквивалентами в разных переводах рассматриваемых литературных произведений на русский язык, а также со словарными определениями и содержащимися в них стилистическими пометами. Новизну составляют сделанные выводы: 1) о неприменимости понятия лингвотоксичности к языку литературных произведений, где токсичность табуированной лексики нейтрализуется ее использованием в художественных целях; 2) о применимости понятия лингвотоксичности к языку переводов, не учитывающих культурных различий в отношении к субстандартной лексике в исходном и переводящем языках либо не различающих социолекты и стоящие за ними маргинальные субкультуры и тем самым грубо искажающих созданную писателем художественную картину мира. Linguotoxicology as a part of ecolinguistics deals with identification and description of various elements that pollute literary language. In fiction, however, elements of this kind fulfil a number of important artistic functions. Therefore, the aim of this study was to determine whether the concept of linguotoxicity is applicable to artistic discourse. The words that are usually considered toxic (colloquialisms, slang, vulgarisms, jargon, obscenities and other substandard vocabulary) are viewed in the article as socio-cultural markers and a means of creating vivid artistic images in a number of classical works of British and American literature that have undergone a stage of banning due to their “toxicity” (e.g. D. H. Lawrence's “Lady Chatterley's Lover”, J. D. Salinger's “The Catcher in the Rye”, works of counterculture writers). Using the methods of functionally oriented comparative stylistics, English substandard lexemes have been compared with their equivalents from different Russian translations of these literary works, as well as with dictionary definitions and stylistic labels contained in them. The novelty of the study consists in the following conclusions: 1) the inapplicability of the concept of linguotoxicity to the language of literary works where the toxicity of taboo vocabulary is neutralised by its use for artistic purposes; 2) the applicability of the concept of linguotoxicity to the language of translations if they do not take into account cultural differences in the perception of substandard vocabulary in the source and target languages or do not distinguish between sociolects and the marginalised subcultures behind them, thus grossly distorting the original writer's artistic worldview.

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ullah, Kifayat. "Lack of Tenderness: The Main Culprit for the Relationship between Husband and Wife in Lady Chatterley’s Lover." University of Chitral Journal of Linguistics and Literature 1, no. 1 (2018): 126–35. http://dx.doi.org/10.33195/uochjll/1/1/07/2017.

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This article presents the case of Chatterley and Clifford, the two main characters in Lady Chatterley’s Lover, to consider tenderness a basic working emotion to shape human relationship. The lack of tenderness causes emotional as well as physical distance in relation, especially that of male-female’s relation. The first part of the article reviews tenderness. The second part reviews how tenderness and lack of tenderness affects male-female relationship in the selected novel, Lady Chatterley’s Lover. On the basis of a careful analysis of Lady Chatterley’s Lover, the present writer tries to prove that the lack of tenderness is the main culprit for the broken relationship between husband and wife: a major one of the relations between man and woman in human society and mutual tenderness elicits people awakening to a new way of living in an exterior world that is uncracking after the long winter hibernation. Lawrence, through revelation of Connie’s gradual awakening from tenderness, has made his utmost effort to explore possible solutions to harmonious androgyny between men and women so as to revitalize the distorted human nature caused by the industrial civilization.

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Zhao, Yanyang. "Disability as Metaphor in Lady Chatterley’s Lover." International Journal of Education and Humanities 14, no. 2 (2024): 164–68. http://dx.doi.org/10.54097/bsvavc28.

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Lady Chatterley’s Lover is renowned for its depiction of the human longing for freedom and its critique of industrial civilization. As one of the significant metaphorical forms, the physical disability of the male protagonist Clifford Chatterley revealed social deficiencies in the depiction of the female protagonist’s pursuit of ideal sexual relationships through the use of multi-dimensional disability narratives. This essay examines the multiple metaphorical meanings of disability in British industrial society, contextualizing the novel within its social milieu. It is argued that Lawrence expresses his humanistic concerns through representations of the First World War, which dramatize the interconnected collision between various genders and classes. By tracing the anti-traditional narrative of disability identity, we can discern the protagonist’s personal trauma and struggle, the dissolution of the authority of the British aristocracy, and the alienation of human nature in the industrial society from physical, cultural, and social levels. This enables us to examine the humanistic care conveyed by this work.

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Wen, Ting. "Is Connie a New Woman on the Way to Happiness?—An Analysis of Connie in Lady Chatterley’s Lover from the Perspective of Feminism." Theory and Practice in Language Studies 9, no. 8 (2019): 1020. http://dx.doi.org/10.17507/tpls.0908.20.

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Lady Chatterley’s Love, the last novel written by David Herbert Lawrence, caused quite a series of controversy in the circle of literary critic and among the readers. The heroine in the novel, Connie, Lady Chatterley, is a key figure to be considered when we interpret this work thoroughly. Connie is still regarded as a brave woman at that time that defies the shackles of old ethics and seeks personal emancipation. Can Connie be counted as a real new woman? Why? This paper attempts to answer this question from the perspective of feminism.

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Ellis, David. "Buckley, W. K., Lady Chatterley's Lover: Loss and Hope. Pp. xiv + 121 (Twayne's Masterwork Studies). New York: Twayne; Toronto: Maxwell Macmillan Canada; New York, Oxford, Singapore, Sydney: Maxwell Macmillan International, 1993. $22.95." Notes and Queries 42, no. 1 (1995): 111–12. http://dx.doi.org/10.1093/notesj/42.1.111.

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Allan, Jonathan A. "Lady Chatterley’s Green World: A Frygian Reading of Lady Chatterley’s Lover." Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée 47, no. 2 (2020): 143–57. http://dx.doi.org/10.1353/crc.2020.0010.

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Kosareva, A. A. "Harlequinade Grotesque in D. H. Lawrence’s Novel ‘Lady Chatterley’s Lover’." Nauchnyi dialog 12, no. 6 (2023): 228–44. http://dx.doi.org/10.24224/2227-1295-2023-12-6-228-244.

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The article is devoted to the interpretation of D. H. Lawrence’s novel ‘Lady Chatterley’s Lover’. The basis for reading the novel in a carnival key is provided by both the facts of Lawrence’s biography and the presence of carnival interpretations in his other works in recent decades. The study of the harlequinade imagery in the novel makes it possible to characterize the ‘Lawrentinian’ harlequinade grotesque and its role in reflecting the writer’s worldview. Through the analysis of the characters, the author establishes similarities between Mellors, Connie, and Clifford with Harlequin, Columbine, and Pierrot. Allusions to popular pantomimes and farces of the 18th and 19th centuries, such as ‘Merry Sherwood, or Harlequin-Forrester’ (1795) by O’Keeffe and ‘Pierrot Fumiste’ (1882) by Laforgue, are identified. In addition, a hypothesis is put forward regarding the reasons for the writer’s choice of specific names for his characters. In particular, a version is proposed according to which the character Clifford Chatterley owes his name to Clifford Essex — the most popular performer of the Pierrot role in England at the beginning of the 20th century. The author argues that in the novel, Lawrence reproduces the plot and composition of English pantomime in order to contrast buffoonish laughter with the grim aspects of England’s reality in the 1920s.

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WANG, Dong. "Research on the Theme of Creativity in D. H. Lawrence’s Works." Studies in Linguistics and Literature 8, no. 1 (2024): p186. http://dx.doi.org/10.22158/sll.v8n1p186.

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The theme of creativity is a common theme in D. H. Lawrence’s main novels, including Sons and Lovers, The Rainbow, Women in Love and Lady Chatterley’s Lover. Sons and Lovers remains blurry in the possibility of true creative fulfillment. In The Rainbow, Lawrence begins to ponder over creativity clearly. Lawrence’s Women in Love handles the theme of creativity in a more dismal and realistic way. The novel Lady Chatterley’s Lover does not directly portray the realistic societal level within the process of creativity. It only portrays creative self-renewal on a personal level. If seen as the sole means to creative fulfilment, the process of sextual exploration has its great limits.

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Dowden, Stephen D., and Agnes C. Mueller. "Language and Experience in Lady Chatterley’s Lover." Literary Imagination 18, no. 1 (2016): 26–43. https://doi.org/10.1353/lim.2016.a943550.

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Mews, Stuart. "The Trials of Lady Chatterley, the Modernist Bishop and the Victorian Archbishop: Clashes of Class, Culture and Generations." Studies in Church History 48 (2012): 449–64. http://dx.doi.org/10.1017/s0424208400001509.

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‘Now firmly established as a modernist novelist’, D. H. Lawrence (1885–1930) remains a controversial writer, especially for the ambiguity of his attitudes to fascism and feminism. This essay considers the role played by the then forty-one-year-old bishop of Woolwich, John Robinson, in offering evidence for the defence in the Old Bailey trial in 1960 which acquitted Penguin Books of obscenity in publishing Lawrence’s novel Lady Chatterley’s Lover. In taking part in the trial Robinson acquired notoriety (or credit). His public admiration for Lawrence’s writing placed him at odds with the two postwar archbishops, Geoffrey Fisher (Canterbury) and Cyril Garbett (York). In the words of Mark Roodhouse in a pioneering article, ‘for ecclesiastical historians the Lady Chatterley trial not only reveals changing social attitudes but also growing division within the Church of England between “two Christianities” over the way to respond to these changes’. Robinson did not receive further advancement in the Church.

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Kim, Kyunghyun. "Freedom: Lady Chatterley’s Lover and Zorba the Greek." British and American Language and Literature Association of Korea, no. 133 (June 30, 2019): 1–21. http://dx.doi.org/10.21297/ballak.2019.133.1.

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Pratiwi, Nidya, M. R. Nababan, and NFN Djatmika. "Keakuratan Terjemahan Gaya Bahasa pada Novel Lady Chatterley’s Lover." Ranah: Jurnal Kajian Bahasa 7, no. 2 (2018): 194. http://dx.doi.org/10.26499/rnh.v7i2.634.

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Keumhee Park. "D. H. Lawrence’s Lady Chatterley’s Lover: Connie’s Authoring Self." Jungang Journal of English Language and Literature 57, no. 1 (2015): 221–46. http://dx.doi.org/10.18853/jjell.2015.57.1.011.

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김경현. "Becoming Native of a Place in Lady Chatterley’s Lover." Studies in English Language & Literature 41, no. 4 (2015): 1–20. http://dx.doi.org/10.21559/aellk.2015.41.4.001.

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Mahmood, Elaf Tariq, and Hamdi Hameed Yousif. "D. H. Lawrence’s Lady Chatterley’s Lover: A Marxist Feminist Study." Journal of Tikrit University for Humanities 30, no. 5, 2 (2023): 1–20. http://dx.doi.org/10.25130/jtuh.30.5.2.2023.18.

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Lady Chatterley’s Lover narrates a story of the relationship between an upper class married woman, Constance, and a working class game keeper, Oliver Mellors . However, this paper draws on Marxist feminism that explains women’s status and oppression form the viewpoints of famous philosophers as Karl Marx and Friedrich Engles. In addition, it argues with the following questions: What are the class structures established in the text and what are the social binary oppositions between classes ? What groups control the economic means of production?

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Onyebuchi, Ile James. "Time and Temporalities in D.H. Lawrence’s Lady Chatterley’s Lover: An Intervention for the Hopeless Age." Nile Journal of English Studies 2, no. 2 (2016): 53. http://dx.doi.org/10.20321/nilejes.v2i2.72.

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<p>Ordinarily, a modernist work will be expected to be experimental in terms of structure and plotting; it will be expected to reject traditional values, favor order and knowable structures in seeking for truth and meaning on the one hand. On the other hand, it will be expected to subvert same –that is, order and knowable structures in seeking truth and meaning. In other words, it will be expected to regard truth and meaning as flux, inherently carrying the germ of post-modernism. While D.H. Lawrence’s Lady Chatterley’s Lover is not experimental in terms of plot –that is, it obeys the rules of order: the ideas in the text itself question tradition, and subvert known structures or truths. In a society where human beings have become slaves to the machine, where money and class or social status are the only reasons for living, where the fullness of living is hindered by metaphysically justified morality, an alternative reality becomes inevitable, a reality whose themes will speak to every epoch in the modern/post-modern age. Will then D.H. Lawrence’s Lady Chatterley’s Lover intervene for the Age? The objective of the paper was to find out to what extent Lady Chatterley’s Lover intervened for a Hopeless Age. Qualitative method was used all through.</p>

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范, 晓航. "An Analysis of Ecological Aesthetic Thoughts in Lady Chatterley’s Lover." World Literature Studies 05, no. 04 (2017): 130–35. http://dx.doi.org/10.12677/wls.2017.54019.

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Koger, Grove, and Larry Kincaid. "Censoring Lady Chatterley’s Lover: a case study and bibliographic guide." Reference Services Review 28, no. 2 (2000): 188–99. http://dx.doi.org/10.1108/00907320010326719.

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Zhu, Kun. "The Translation of Sex-related Content in Lady Chatterley’s Lover in China." Theory and Practice in Language Studies 10, no. 8 (2020): 933. http://dx.doi.org/10.17507/tpls.1008.11.

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This article discusses how sex-related content is rendered in two Chinese translations of D. H. Lawrence’s Lady Chatterley’s Lover: Rao Shuyi (1936) and Zhao Susu (2004). It is found that Rao’s translation features explicitness, flexibility and Europeanization, while Zhao’s translation features conservativeness and domestication. And the observed features in the two translations regarding sex-related content are explained from perspectives of social and historical background, translation purpose and intended readership, and patronage.

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Joengmeen Gye. "Disability and Male Sexuality: Focusing on Clifford in Lady Chatterley’s Lover." English21 31, no. 4 (2018): 5–21. http://dx.doi.org/10.35771/engdoi.2018.31.4.001.

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Kadiyski, Evgеniy, and Zlatka Taneva. "VULGARITY AND BEAUTY IN THE EXPRESSION OF FEMALE SEXUALITY IN LITERATURE AT DIFFERENT TIMES." Knowledge International Journal 34, no. 6 (2019): 1677–82. http://dx.doi.org/10.35120/kij34061677k.

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In most scientific papers, female sexuality is represented from the point of view of physiology. In "History of Sexuality", Michel Foucault introduces the term "superknowledge of sexuality," stating that this notion "is not developed at the level of the individual, but at the level of culture and society." According to Foucault, the knowledge of contemporary society of sexuality coexists with the inability to realize our own sexuality. Knowledge of sexuality is rather theoretical, philosophical, analytical, but not personal.We will explore the nuances of female sexuality in the works of classics, as well as in some modern works. Even in the biblical scripture of the creation of the woman and of the original sin, Eve is present, tempting and challenging. She provokes Adam to pick up the forbidden fruit. She is chosen to commit the Fall. She gives in to the temptation. She persuades Adam to taste the fruit of the tree.How does a woman express her sexuality, is she equal in dignity to a man, is only she subject to sin, is she submissive to the man, is not she stronger than him with her emotionality?We will look for answers to these questions in Otto Weinginger's "Gender and Character", who tragically interrupted his life at the age of 23. His different views on the character of the woman, the absolute superiority of the man, her role as a pimp, are later developed or refuted in various literary and scientific works.Female sexuality is expressed in a different way. A woman is fragile, timid, even innocent in the literary works of the Marquis de Sade, but her fate is fatal. Seduction through sincerity and repentance, through obedience and the power of emotions - all this leads to a fatalism so beautifully reproduced in the feminine images of the Marquis de Sade.In the originally forbidden novel "Lady Chatterley's Lover", D. Lawrence presents a new world of love and freedom. Here, female sexuality is in conflict with the irresistible desire to break the constraints of society at that time. Society is vulgar to the open expression of female sexuality and despises the woman's desire to devote herself entirely. In the novel, sexuality is not ostentatious but interwoven with romanticism and dedication. Lawrence sharpened the contrast between the cynicism of modern thinking and the spontaneity of love. The year is 1928, the novel is like a bang.In the fifties of the last century, appeared Vladimir Nabokov`s Lolita. The novel scandalizes with its sophisticated perversity, but that is only at first glance. Nabokov is fascinated by the idea of love, love as madness, as self-forgetting, as obsession. Sexuality is devastating, the little "nymphet" is charming, dangerously seductive and insidious. Sometimes Lolita in her newly awakened sexuality is even vulgar.At a later stage, P. Modiano envelops sexuality in mystery. The character of “Villa Triste” sinks into a mysterious veil, the memories come back, everything is like in a fog, like in a slow-motion. Yvonne is vulnerable and confused, delightful in her disdain for the others, only a few steps away from the audience, a slight smile, and the magic is here. No action is required from her, only a perfect gait, a casual head, a dreamy look, and all are captivated. Beauty and perfection. The woman conquers only with her presence. Sexuality consists in the challenging smile, in the dance of the golden-red hair. Discretion and mystery. Eroticism.We finish with the novel by P. Buvivalda "Bonita Avenue". Characters are bright, memorable, non-standard. We are entering the depths of sexuality, with its cynical manifestations, but described gently and intriguingly.

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Lee,Ok. "Lady Chatterley’s Lover: The Reception of an Organic Connection and a Rebirth." New Korean Journal of English Lnaguage & Literature 56, no. 1 (2014): 83–104. http://dx.doi.org/10.25151/nkje.2014.56.1.005.

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Journal articles on the topic 'Lady Chatterley's lover'

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