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Louzir, Aïcha. "Une question de style : la métaphore corporelle dans The Rainbow de D. H. Lawrence et ses deux traductions françaises." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30056/document.
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Ce travail de recherche examine le style en traduction à travers le prisme de la métaphore corporelle dans le roman censuré The Rainbow (1915) de D.H. Lawrence et ses deux traductions françaises par Albine Loisy (1939) et Jacqueline Gouirand-Rousselon (2002). Notre réflexion s’inscrit dans la traductologie de corpus et adopte une approche descriptive grâce à une analyse qualitative et quantitative. Nous avons articulé notre travail autour de trois parties : en parcourant différents cadres théoriques allant d’Aristote jusqu’aux études plus récentes, nous avons tenté d’explorer la question relative à la nature de la métaphore et à ses fonctions. Cette première étape a confirmé notre point de vue selon lequel la métaphore est un support qui agence la pensée pour traduire une représentation particulière du monde. La métaphore est en effet un outil de communication redoutable. Nous avons, par la suite, exploré la notion de style en traductologie afin de tisser un lien entre la métaphore et le style dans l’écriture lawrencienne. Métaphoriser et traduire sont deux processus sensiblement proches qui tournent autour d’un point commun, celui du mouvement. L’analyse détaillée des 35 exemples extraits de The Rainbow et de leurs traductions en français nous a permis de détecter les convergences et les divergences au niveau du style et des représentations métaphoriques du corps. L’emploi récurrent de la métaphore chez Lawrence n’est pas anodin. Il s’agit d’un moyen pour conceptualiser la philosophie de l’auteur. Les traductrices ont dû surmonter au moins deux défis : préserver la charge métaphorique et opter pour un style qui reflète la complexité de l’écriture lawrencienne, tout en respectant les normes stylistiques de la langue française. Les écarts constatés au niveau des traductions ouvrent la voie à des interprétations qui pourraient prendre forme grâce à de futures retraductionsThe aim of this research, which draws on a descriptive approach to translation and uses a corpus-based methodology, is to explore D.H. Lawrence’s style through his use of body-related metaphors. I will focus on their stylistic particularities in order to examine the manner in which body metaphors were translated into French. The main argument of my study is that Lawrence’s metaphors are a relevant tool to highlight his vision of human relationship. This thesis falls into three parts: first of all, I explore different theoretical frameworks from Aristotle to more recent studies, notably those carried out by Lakoff and Johnson. This step confirms that metaphors are a relevant tool of communication that organises one’s thought in order to create a specific representation in a given situation. Secondly, in order to weave a link between metaphors and Lawrence’s writing in The Rainbow, I examine style in Translation Studies and beyond. Metaphorising and translating are two closely related processes that revolve around a common aspect, movement. Thirdly, I conduct a qualitative and quantitative analysis of 35 excerpts from the censored and the unabridged edition of The Rainbow (1915) with their French translations by Albine Loisy (1939) and Jacqueline Gouirand-Rousselon (2002) in order to highlight convergences and divergences in the style and metaphorical representations of the body. The recurring use of metaphor in The Rainbow is a means of conceptualising Lawrence’s vision of the world. Both translators had to overcome at least two challenges: to preserve the metaphorical images and to opt for a style that reflects the complexity of the Lawrencian writing, while respecting the stylistic norms of the French language. Differences in translations pave the way for new interpretations that could take shape through future retranslations
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Cherqaoui, Jaouad. "Le couple dans l'oeuvre de D. H. Lawrence : Union humaine, union mystique dans The Rainbow et Women in love." Université Marc Bloch (Strasbourg) (1971-2008), 1986. http://www.theses.fr/1986STR20018.
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GOUIRAND, ROUSSELON GOUIRAND JACQUELINE. "Aspects de la creation litteraire chez d. H. Lawrence. Analyse des avant-textes, de "the rainbow a women in love"." Montpellier 3, 1990. http://www.theses.fr/1990MON30045.
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L'attitude critique adoptee dans cette these - comparer le manuscrit de the rainbow et les deux manuscrits de women in love aux versions publiees de ces romans, permet d'apprehender le processus et l'orientation de la creation litteraire chez d. H lawrence. Ce travail se presente non comme une etude exhaustive des variantes, mais comme une analyse selective avec regroupement thematique. Centree sur women in love, cette etude integre ce qui, du premier roman, marque une difference de caractere general dans l'inspiration et affecte les personnages qui se retrouvent dans les deux oeuvres. La production de cette fiction - 1913-20 - marque un tournant dans la creation romanesque de d. H lawrence, qui subit des transformations considerables. S'il fait de la quete de la completude, le theme central de the rainbow qui consacre la suprematie du principe feminin, il exalte le principe masculin dans le second roman, en redonnant a l'homme l'initiative dans la rencontre sexuelle. Il met en oeuvre une nouvelle ethique des relations humaines qui se dessine nettement d'une version a l'autre de women in love. L'amour ainsi recycle, l'homme et la femme en retournant aux sources de la vie, accedent au salut et transcendent les distinctions sexuellesThe comparison of the mss of the rainbow and the typescripts of women in love with the published versions enables to apprehend the process of literary creation in d. H lawrence together with its orientation. This work does not consist in an exhaustive study of the variants but in a selective one, the main themes of the second novel being grouped together. Centered on women in love, this thesis integrates some elements of the first novel. The production of this fiction (1913-1920) is a turning point in lawrence's art and vision. In the rainbow, whose main theme is the quest for selthood, the feminine principle is exalted; in women in love, the masculine principle triumphs, man becomes woman's initiator : from the first version of this novel to the ultimate one, a new code of human relationships emerges. Love being thus recycled, man and woman, returning to the sources of life, experience salvation and transcend sexual distinctions
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Woolhead, Ben. "Between, beneath and beyond words : silences in D. H. Lawrence's The rainbow and Women in love." Thesis, University of Nottingham, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430268.
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Pinto, Bonifácio Moreira. "D. H. Lawrence." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106002.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1975.Made available in DSpace on 2013-12-05T18:49:04Z (GMT). No. of bitstreams: 1 321689.pdf: 4255727 bytes, checksum: 603375e61495187483acb9525d427d7a (MD5)
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Elliott, John. "D. H. Lawrence and narrative design /." St Andrews, 1991. http://hdl.handle.net/10023/141.
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Tartera, Nicole. "L'oeuvre américaine de D. H. Lawrence." Paris 3, 1988. http://www.theses.fr/1987PA030252.
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Les romans, nouvelles et essais constituant l'oeuvre americaine de d. H. Lawrence s'articulent selon une symbolique dualiste d'une grande richesse. Ces symboles inherents au paysage mental de l'ecrivain coincident egalement avec la mythologie mezzoamericaine. Le chaos, l'organisation du cosmos, la symbolique de l'etre humain, le mythe de la quete et de la regenerescence ainsi qu'un bestiaire important sont autant de symboles recurrents dans l'oeuvre americaine. L'ecriture prenant ses sources dans le contexte geographique et humain propre a l'amerique centrale, une lecture anthropologique permet d'en eclairer certains aspects qui ont pu paraitre obscurs dans un schema culturel europeen. L'anthropologie naissante a exerce une indeniable seduction sur lawrence. Son oeuvre decrit avant tout des lieux empreints de leurs particularites, ainsi que la vie et les coutumes d'etres humains aussi differents que les indiens, les metis, les espagnols etablis de longue date et les diverses communautes europeennes, nord-americaines qui ont trouve asile sur cette terre. Les indiens, qui vivent en etroite symbiose avec leur environnement, retiennent l'attention du poete. Leurs chants, leurs danses, certaines de leurs pratiques le captivent. Au terme d'un destin particulier, suivant le rythme de ses contradictions, lawrence a vecu en amerique centrale au contact des religions animistes des amerindiens une intense experience religieuse et humaine qui devait marquer son oeuvre du sceau de l'authenticiteThe american writings of d. H. Lawrence - novels, short-stories and essays - are conceived according to a dualistic symbolical system of great variety and great rich- ness. These symbols belong to the poet's own mental landscape but they are also part of the expression of central american indian mythology. Chaos, the way cosmos was created, man and his symbolism, the myth of quest and regeneration and also an im- portant bestiary are the most recurrent themes found in the lawrencian american writings. These writings have their roots in a geographical and human context spe- cific to central america, so that an anthropological reading can throw a certain light on some aspects of the works which had remained ignored through a western cultural way of apprehending them. Lawrence obviously showed a special interest in anthropology, a new-born science. His writings reflect the specificities of the american continent and the lives and customs of its inhabitants. Indians, mixed- blood people, spaniards, europeans, north-americans are depicted with an acute truth. Indians and their animistic religion impressed the poet. Their songs, dances, customs fascinated him. At the end of a very uncommon destiny, within the rhythm of his own contradictions, having lived in the vicinity of the indians, lawrence gained a religious and human experience which was to leave a definite stamp on his ameri- can writings
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Lakhdari-Benalioua, Fadila. "D. H. Lawrence, lecteur du "Golden bough"." Aix-Marseille 1, 1987. http://www.theses.fr/1987AIX10086.
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Apres une presentation generale de ces sciences nouvelles que sont l'ethnologie, l'anthropologie, l'ethnographie, une introduction a james george frazer et une mise en lumiere des aspects majeurs du golden bough, il s'agit d'etudier, par une analyse detaillee des oeuvres maitresses de lawrence, l'impact que la lecture du golden bough a pu avoir sur ce dernier. L'oeuvre de lawrence semble etre en effet l'une des plus representatives de l'influence frazerienne. Les mythes de base, les rites, les croyances, les legendes qui constituent l'armature du golden bough ont ete une source d'inspiration indeniable a l'elaboration de la vision imaginaire de d. H. Lawrence. Le mythe essentiel reste celui du "dieu qui meurt" dont les rituels de mort et de resurrection, celebres chaque annee et correspondant au rythme recurrent des saisons, mettent l'accent sur la conception cyclique de l'univers, sur l'interrelation de l'humain et du vegetal, deux aspects fondamentaux de la vision laurencienneA general introduction to such new fields as anthropology, ethnology and ethnography, to james george frazer and to the controlling ideas of the golden bough includes the preliminary aspects one needs to be familiar with before getting into a detailed discussion on the impact of the golden bough on d. H. Lawrence's selected works. Lawrence has certainly been very deeply affected by his reading of the golden bough. The basic myths, the rites, the legends, the customs and beliefs which constitute the framework of the golden bough have undoubtedly contributed to the shaping of lawrence's imaginative vision of the world. The most important myth is that of the dying and reviving god with its rituals of death and rebirth celebrated every year and closely related to the recurrent rhythm of the seasons. Such a myth, which emphasizes the cyclic conception of the universe and the interrelation of man and the world of nature will help lawrence illustrate his own vision of the world
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Macadre-Nguyen, Brigitte. "D. H. Lawrence, artiste et critique d'art." Reims, 1999. http://www.theses.fr/1999REIML013.
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Pour D. H. Lawrence, artiste caméléon aux multiples visages qui consacra sa vie a l'art et a la réflexion sur l'art, l'oeuvre d'art demeure la célébration sublime de la vie sous toutes ses facettes. Sa volonté de comprendre son art et celui des autres l'amène naturellement a la critique d'art - littéraire ou pictural - dont il renouvelle la dimension créatrice, notamment dans «Study of Thomas Hardy » et « Studies in classic american literature ». Essais critiques et oeuvres de fiction participent de la même quête - a savoir la recherche d'un équilibre de la tension entre les forces de vie et les forces de mort qui régissent l'univers dont l'artiste fait partie et dont le conflit s'incarne dans l'oeuvre d'art. Ses analyses critiques concrètes font apparaitre les impasses et les perspectives de l'art passé et contemporain - Cézanne, Van Gogh et les artistes étrusques, par exemple. Si Lawrence s'intéresse surtout à l'écriture et a la peinture dans ses réflexions sur l'art, il n'en demeure pas moins que le roman reste pour lui le lieu privilégié des interactions entre réflexion et production artistique: « Women in love » est l'exemple le plus convaincant d'un roman a la fois critique et objet d'art. C'est aussi une oeuvre limite qui amène Lawrence à revenir ensuite vers une forme romanesque plus traditionnelle comme celle de « Lady Chatterley's lover », et à se livrer a une « orgie » de peinture accomplie au seuil de la mort afin de « dire » ce que ses oeuvres écrites n'ont peut-être pas su faire entendre au lecteur.
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Khelifa, Mansour. "D. H. Lawrence et "l'expérience des limites"." Bordeaux 3, 2000. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=2000BOR30024.
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D. H. Lawrence fonde son art romanesque sur un constat dualiste flagrant. L'homme/la femme, le conscient / l'inconscient, le jour/la nuit, la vie / la mort, l'esprit / le corps, animus / anima, sont autant de poles opposes dans sa representation esthetique. Toutefois, sa conception dualiste n'eclaire pas tous les aspects de l'oeuvre. En effet une place importante y est consacree a la dynamique de l'inconscient qui est concu comme un creuset vers lequel tendent, et dans lequel, se resorbent ces realites conflictuelles. Car l'inconscient lawrencien signifie la source vitale de l'homme. Cette vision a pour objet de rehabiliter les richesses de l'inconscient humain par opposition au champ d'analyse freudienne plus axee sur les inhibitions et la censure. En cela, lawrence et jung se rejoignent tout a fait dans une sorte d'inconscient << collectif >> ou se realise l'integration des contraires. Par l'entremise d'une quete mystique et sensuelle, le personnage lawrencien, dechire entre le diktat de son mental et la paisible reconquete. De son corps, s'efforce de prendre conscience des limites de sa condition d'etre et tente de transcender ces memes limites en cherchant a << cosmiser >> sa place dans l'univers ; un univers etrange et merveilleux, a la limite de l'humain.
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Kauer, Ute. "Didaktische Intention und Romankonzeption bei D. H. Lawrence /." Heidelberg : Winter, 1993. http://catalogue.bnf.fr/ark:/12148/cb35617081t.
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Delage, Éliane. "L'interdit dans les romans de D. H. Lawrence." Paris 3, 1994. http://www.theses.fr/1994PA030184.
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Cette these analyse l'interdit dans les romans de d. H. Lawrence. La premiere partie est consacree a l'etude de la violence envers les animaux, puis, plus longuement, envers humains, au niveau moral puis au niveau physique, cette agressivite pouvant meme aller jusqu'au meurtre. Le deuxieme chapitre presente le theme de l'amour libre, avec le probleme du scandale, la tentation de s'aimer physiquement sans etre marie, et l'interdit transgresse qui mene soit a l'echec soit a l'epanouissement, selon les personnages. Le troisieme chapitre etudie l'adultere, theme present dans tous les romans de l'auteur. Comme pour l'amour libre, la tentation est forte et souvent rejetee, et, lorsque l'on y cede, le resultat en est la frustration ou l'accomplissement. Le quatrieme chapitre expose les relations incestueuses : l'amour fraternel excessif, les liens trop etroits entre colateraux, l'amour demesure entre pere et fille, puis, plus en detail, les relations oedipiennes, avec leurs consequences sur le couple. Le cinquieme et dernier chapitre s'interesse aux relations homosexuelles, d'abord entre femmes, de maniere vecue ou latente, puis entre hommes ou l'homosexualite n'est jamais evidente, mais souvent fortement suggeree. Dans cette partie, nous essayons de voir pourquoi certains ont pense que lawrence etait homosexuel, avant d'expliquer sa theorie de l'amour entre hommes et son ideal androgyneThis thesis analyses the forbidden universe of d. H. Lawrence's novels. The first part deals with the study of violence towards animals, then, more thoroughly, towards human beings, morally then physically ; this aggressiveness can even go as far as murder. The second chapter introduces the theme of free love, with the problem of scandal, the temptation of physical love outside marriage, and the transgression of this forbidden behaviour which leads either to failure or to fulfilment, depending on the characters. The third chapter studies adultery, a theme which appears in all the author's novels. As in the case of free love, there is a strong temptation which is often rejected, and when somebody gives in, the result is either frustration or accomplishment. The fourth chapter exposes the incestuous relationships : excessive fraternal love, too much closeness between relatives and between father and daughter, then, in more details, the oedipean relationships, with their consequences on the couples. The fifth and last chapter is about the homosexual relationships, first between women, latently or otherwise, then between the mean whose homosexuality is never obvious, but often strongly suggested. In this part, we examine why some people thought that lawrence was homosexual, leading us to his theory of love between men, and his androgynous ideal
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Lebreton, Mélanie. "Aporia in the work of D. H. Lawrence." Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30052.
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Ces recherches doctorales démontrent comment l’aporie et ses voix/voies plurielles minent l’œuvre Lawrencienne: romans, essais, poèmes ou encore tableaux. Malgré le désir du lecteur de donner une voix/voie singulière – ou interprétation – à l’œuvre de D. H. Lawrence, seule une herméneutique et une vérité plurielle viennent à notre rencontre, nous laissant ainsi soumis à une impasse insurmontable. Tout au long de ce chemin doctoral, nul n’est à l’abri des culs de sacs et des trébuchements. Ainsi, une aporie génétique tisse le tissu textuel des premières ébauches de D. H. Lawrence, et la souveraineté logocentrique et herméneutique de l’homme est renversée. La rature s’impose et l’œuvre de D. H. Lawrence nous rappelle que le logos, et l’Être, résistent, pour mieux inscrire l’aporie dans son corpus. Les limites du langage, de la religion, du savoir, et de la représentation artistique de la réalité résonne désormais avec une question qui demeure sans réponse et en suspensThis work of research aims at showing how aporia and its plural voices pervade D.H Lawrence’s work, be it through his novels, his essays, his poetry, or his paintings. Despite the reader’s desire to give one singular voice and meaning to D.H Lawrence’s work, plural meanings and multiples truths come our way, leaving us facing an uncrossable impasse. The road is paved with deadlocks and places to stumble upon. Indeed, genetic aporia weaves the very fabric of D.H. Lawrence’s first drafts and sketches, and the logocentric and hermeneutic sovereignty of man is put into question. In fact, we have to cross it out as Lawrence’s work reminds us that the logos, and Being, show some resistance, the result of which is to better inscribe aporia into his corpus. The limits of language, of religion, of knowledge, and of the artistic representation of reality resonate now with an everlasting and unanswered question
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Jansohn, Christa. "Zitat und Anspielung im Frühwerk von D. H. Lawrence /." Münster : Lit Verl, 1990. http://catalogue.bnf.fr/ark:/12148/cb35709548t.
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Rehan, Naveed. "Rationalism and D. H. Lawrence : a 21st century perspective." Thesis, Montana State University, 2004. http://etd.lib.montana.edu/etd/2004/rehan/RehanN04.pdf.
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Since the time of the Greek philosopher Plato, Western intellectuals have relied on logos or \"the word\" to make philosophical propositions about the world humans find themselves in. Logos or \"the word\" has generally been privileged over mythos or pathos, denoting emotion and feeling. This privileging has sometimes been challenged by intellectuals within the Western tradition. D. H. Lawrence was the most vocal and passionate writer to do so in modern times. This text traces the development of rationalism in the Western tradition and Lawrence\'s resistance to it. It also examines modern theoretical developments and notes their convergence with Lawrence\'s ideas. It concludes by claiming that the postmodern intellectual climate in the West tends towards a critique of rationalism, much like Lawrence.
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Crunfli, Édina Pereira. "D. H. Lawrence: sex for the anti-puritanical puritan." Florianópolis, SC, 2001. http://repositorio.ufsc.br/xmlui/handle/123456789/81889.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão.Made available in DSpace on 2012-10-19T08:52:51Z (GMT). No. of bitstreams: 0Bitstream added on 2014-09-25T21:44:13Z : No. of bitstreams: 1 177362.pdf: 1326944 bytes, checksum: 327a37e7895a3494cc39589d0584df7e (MD5)
D.H.Lawrence é uma figura central na ficção moderna inglesa, juntamente com James Joyce e Virginia Woolf. Sua ascensão à eminência crítica não ocorreu, porém, até muito após sua morte. Sempre polêmico durante toda a sua carreira, com suas inovações lingüísticas, sua afronta à ortodoxia cristã e sua exploração do sentido da paixão física, Lawrence angariou grande animosidade de editores e críticos, os quais não pouparam esforços em denegri-lo. Uma das "falhas" freqüentemente apontadas em seu trabalho era a falta de "competência técnica". É objeto deste estudo mostrar que o que foi outrora rotulado como "incompetência técnica" é precisamente uma técnica alternativa. Este trabalho pretende mostrar que o tratamento alternativo de ponto de vista de Lawrence, seu uso de vozes conflitantes e seu complexo tratamento de figuras de linguagem são os elementos que constroem sua técnica única e peculiar na produção do dramático.
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Brandão, Izabel. "Relations of dominance and equality in D. H. Lawrence." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106257.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1985.Made available in DSpace on 2013-12-05T19:53:42Z (GMT). No. of bitstreams: 1 321810.pdf: 7212040 bytes, checksum: 14acc941fe7fef9daf2f6df2c1a7e979 (MD5)
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Bouchouchi, Fella. "La perspective spenglerienne dans l'oeuvre de D. H. Lawrence." Paris 4, 2001. http://www.theses.fr/2001PA040080.
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L'historien allemand Oswald Spengler (1880-1936), auteur du 'Déclin de l'Occident' (1918-1922) et l'écrivain anglais D. H. Lawrence (1885-1930) étaient contemporains. Ils partageaient de nombreuses influences communes, notamment Héraclite, dont il ne subsiste que quelques 'Fragments', Joachim de Flore, auteur de 'L'Evangile éternel', Friedrich Nietzsche et Leo Frobenius qui devaient créer une communauté de pensée importante. Tous deux, comme toute la génération des auteurs modernistes, perçurent l'éclatement de la première guerre mondiale comme l'acmé d'un processus de décadence généralisée. Cet événement apocalyptique joua un rôle fondamental dans la vie et dans la production de D. H. Lawrence : la présence de ce thème dans son oeuvre, selon les genres et les périodes d'écriture, est obsessionnelle. La guerre qui sévit au niveau macrocosmique se reflète au niveau microcosmique dans les rapports entre les personnages, surtout dans 'The Rainbow' (1915) et dans 'Women in Love' (1920). D. H. Lawrence et Oswald Spengler,héritiers de Nietzsche, condamnèrent ce qui pour eux apparaissait comme les formes du déclin généralisé : l'idéal démocratique auquel ils préférèrent un régime autoritaire, l'idéal chrétien, l'omniprésence de l'argent et la société industrielle, vecteur d'aliénation de l'homme qui perd le contact avec l'univers pour se mécaniser, à l'image de la machine dont il est devenu l'esclave. Leur vision de l'histoire, marquée par l'omnipotence du destin, est essentiellement tragique : opposés à une perspective linéaire, et donc au mythe du progrès et du darwinisme, ils préférèrent un déroulement cyclique et favorisent la palingénésie. Le sentiment que la fin est proche hante leurs oeuvresOswald Spengler (1880-1936), the German author of 'Decline of the West' (1918-1922) and the English writer D. H. Lawrence (1885-1930) were contemporaries. .
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Bouche, Benjamin. "D. H Lawrence et la question de la pensée." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100098.
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D. H. Lawrence a été reconnu dès sa jeunesse comme un poète prometteur et un romancier exceptionnel. Il n’en a pas été de même de ses talents de penseur Comme il s’en plaint dans une lettre, à propos de l’avis de Lady Ottoline et Bertrand Russell sur ses idées : « They say I cannot think ». Pourtant Lawrence manifeste, très tôt, un goût pour la réflexion théorique, rédige de nombreux essais et inclut dans ses textes de fiction de longs passages spéculatifs. Qu’en est-il alors du penseur Lawrence ? Peut-on trouver, dans les « faiblesses » supposées de sa pensée, des questions à adresser aux discours philosophiques les plus légitimes ? Et si cette pensée, qui frôle l’espace philosophique tout en refusant scrupuleusement d’en être (Lawrence parle tout au plus de sa « philosophie », entre guillemets, ou de sa « pseudo-philosophie), permettait de mettre la pensée philosophique en question, dans certaines de ses évidences les plus inconscientes ? Est-ce que les discours philosophiques, si vigoureusement attachés à interroger, ne sont pas incapables de poser certaines questions concernant la pensée, si bien qu’il faudrait un passage par la « littérature » pour parvenir à les imaginer ? De ces voies transversales que la littérature permet de tracer en direction des discours philosophiques, nous retenons particulièrement trois choses : 1. Le rôle des processus émotionnels dans la pensée ; 2. L’importance de la « fonction poétique » du langage pour la pensée ; 3. La pluralisation de l’énonciation, rendue possible par des constructions énonciatives originalesFrom his early youth D. H. Lawrence was recognized as an outstanding writer. This was not however the case for his authority as a thinker. As he complains in a letter about Lady Ottoline and Bertrand Russell: "They say I cannot think". Lawrence did however demonstrate, from the beginning of his career as a writer, a taste for theoretical reflection. He was to write numerous essays and would insert long speculative passages into his fictional texts. How therefore are we to assess Lawrence as thinker? Can we find, in the supposed “weaknesses" of his thought, questions to be addressed to the canonical discourses of the philosophical order? Could it be the case that Lawrence’s thought, which borders on the territory of philosophy, even as the writer scrupulously refuses to be counted as a philosopher (in referring to his "philosophy", Lawrence resorts to deprecatory quotation marks or refers to “this pseudo-philosophy of mine”), might offer a perspective from which to question philosophy in its most ingrained evidence? Or indeed that philosophical discourse, so vigorously committed to the pursuit of questioning, might in its turn be incapable of asking certain questions concerning the procedures of thinking? The implication being that only the recourse to a more indirect path, by way of "literature", might enable us to ask certain decisive questions? The gain resulting from our venturing onto these byways, in our approach to the order of philosophical discourse, can be enumerated in terms of the three following guidelines: 1. The role of emotional processes in thought; 2. The importance of the “poetic function” of language for thought; 3. The pluralization of enunciation, made possible by the surprise of the enunciative constructions specific to literature or to the poetic
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Elliott, John. "D.H. Lawrence and narrative design." Thesis, University of St Andrews, 1990. http://hdl.handle.net/10023/141.
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Lawrence's work has almost invevitably been read as an aesthetic production whereby one must eventually agree or disagree with his vision of "reality". Those who assume a formalist standard of taste often find that Lawrence "loses control" of his material; those who offer ideological apologies for his work argue that disruptions in the aesthetic plane are representative of an exploratory genius, often seen as the outstanding characteristic of literary modernism. Both approaches, explicitly or otherwise , rely on the ultimate sanction of the achieved image, transmuted by the author always in control of his material. Yet anyone who reads Lawrence with an eye to to what the "tale" says in addition to what the "teller" claims discovers that Lawrence is not in full control of his material, thought it cannot simply be argued, on aesthetic or linguistic criteria, that he is out of control. Rather, there exists a "third" state whereby Lawrence both writes and is written, gives us a message with one hand, yet retracts, as it were, with the other. Because this double-move is preeminently suited to the language of fiction, and because it appears in Lawrence's fiction with the greatest versatility and incisiveness, this dissertation analyzes six of his novels for their rhetorical significance, understood as both an organization of tropes and figures and as a system of persuasive doctrine. A new definition for allegory is proposed, the introductions of thematic and structural "blanks" is examined, and a spread of narrative delays are identified and discussed, all concerned with the central problem of writing novels that direct themselves to the resurrection of a pre-linguistic universe, yet ironically depend more and more upon writing to bring this about. Ideas drawn from Continental philosophy and recent critical theory are incorporated for support and instruction. Attention is also focused on Lawrence's revision processes, often with specific emphasis on unpublished manuscript material.
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Pichardie, Jean-Paul. "D. H. Lawrence, la tentation utopique : de Rananim au "Serpent à plumes /." [Mont-Saint-Aignan] : Publications de l'Université de Rouen, 1988. http://catalogue.bnf.fr/ark:/12148/cb34959595k.
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Zaratsian, Christine. "Le phénix, mode essentiel de l'imaginaire chez D. H. Lawrence." Aix-Marseille 1, 1997. http://www.theses.fr/1997AIX10036.
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Cette these se propose d'etudier l'inscription litteraire du mythe - oiseau fabuleux qui meurt dans le feu et renait de ses cendres -, dans l'imaginaire de l'ecrivain britannique david herbert lawrence. Elle analyse d'abord le mythe dans une perspective emblematique et symbolique ; puis aborde, dans un deuxieme temps, l'aspect apocalyptique et prophetique de l'oeuvre du romancier (rejet du monde occidental, tentative de reconstruction utopique) ; et se concentre enfin sur les developpements alchimiques du mythe legendaire (rites de passage initiatiques, reintegration cosmique, illumination amoureuse) - le phenix etant, dans la tradition esoterique, l'aboutissement du grand oeuvre. Place sous l'eclairage mythique de l'oiseau de feu, l'univers lawrencien apparait en fait, comme la mise en forme artistique d'une pensee fortement mystique, comme un effort transcendant pour depasser les limites spatio-temporelles de l'humain, a travers l'angelisme et l'androgynie, et atteindre au divinThis is a study of the phoenix myth - the fabulous fire-bird that dies in flames and is born again from its own ashes -, in the imaginary world of the british writer david herbert lawrence. It first deals with the analysis of the myth from an emblematic and symbolic viewpoint ; it then concentrates, in a second part, on the apocalyptic and prophetic aspect of the writer's work (rejection of the western world, utopian reconstruction) ; lastly it focuses on the esoteric developments of the fabulous myth (rites of passage, cosmic oneness, erotic transmutation) - the phoenix being considered as the crowning of the alchemical quest, the philosopher's stone. In this mythical light, d. H. Lawrence's imaginary world appears as an artistic illustration of a highly mystical mode of thought, an effort to transcend humanity, through angelicism and androgyny, and achieve divinity
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ZANOR, FROMILLAGUES FLORENCE. "Le personnage masculin dans l'oeuvre romanesque de d. H. Lawrence." Montpellier 3, 1995. http://www.theses.fr/1995MON30001.
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L'analyse des personnages masculins de l'oeuvre romanesque de d. H. Lawrence consiste principalement en l'etude de leur inconscient et des pulsions qui s'y manifestent, ainsi que lawrence les presents dans les romans. Une mise en parallele avec sa philosophie permet de tester la validite des theories de lawrence par rapport a la reussite ou l'echec des personnages qui l'illustrent dans les romans. Lawrence condamne la conscience mentale, car elle empeche les instincts de s'exprimer, mais il reconnait le role essentiel qu'elle joue dans la capacite de l'homme a evoluer. Elle permet aussi a l'homme de retrouver ses desirs authentiques, travestis par des generations d'adhesion tacite aux coutumes (representees par les lois sociales). La quete de tous les heros consiste a creer ou epanouir leur identite grace a des relations avec autrui (la femme en particulier) et avec l'univers. Dans les premiers romans, c'est a travers la femme que le personnage masculin recherche une solution a toutes les questions qui le preocuppent, alors qu'ensuite, c'est en lui-meme ou dans l'univers qu'il decouvre la source de toute creativite. En se mettant a l'ecoute des forces cosmiques qui s'expriment a travers son etre, l'homme peut parvenir a creer un equilibre entre toutes les forces contraires qui animent l'homme (comme l'univers) et ainsi vivre en harmonie avec lui-meme et ce qui l'entoureThe study of the male characters in d. H. Lawrence's novels consists in analysing the characters' unconscious and their impulses as lawrence presents them in his novels. Comparing lawrence's philosophy with the characters in the novels who embody it allows to see whether his theories are valid or not -according to the characters' success or failure in the novel. Lawrence condemns mental consciousness because it restrains the instincts, but he recognizes that mental consciousness plays an essential role in man's ability to go on with living. It also allows man to find his real instincts again which have been deformed through generations of living by traditions (represented by social laws). All the heroes' quests consist in creating or developing the self through relationships (particularly with woemn) and contact with the universe. In his first novels, the male characters seek solutions to all the questions that bother him through women. Afterwards, he discovers the source of all creativity in himself or in the universe. If he listens to the cosmic forces that enter his body, man can create an equilibrium between all the dual forces which are in man (as in the universe) and so live in harmony with himself and his surrounding
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Katz-Roy, Ginette. "La transgression des frontières dans l'oeuvre de D. H. Lawrence." Paris 3, 1995. http://www.theses.fr/1995PA03A001.
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Buenaflor, Judith L. "Ursula Brangwen the lady of the dance /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1998. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 1998.Source: Masters Abstracts International, Volume: 45-06, page: 2842. Typescript. Abstract precedes thesis as preliminary leaves [1]-2. Includes bibliographical references (leaves 80-84).
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Nichols, Margaret K. "D. H. Lawrence and submerged cultures in Birds, beasts and flowers." Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/83.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
English Literature
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Akehurst, Andrew John. "Studies in the critical reputation of D H Lawrence 1925-1935." Thesis, University of Kent, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.236138.
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Graves, Paul James. "The Radical Empirical Modernism of Virginia Woolf and D. H. Lawrence." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37357.
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My dissertation argues that the writings of Virginia Woolf and D. H. Lawrence are animated by a shared belief that the way human beings experience and understand their worlds needs to be radically transformed. Their works expose how human experience is canalized by habits reinforced through education and custom, and they explore the ways people might overcome these limitations to expand the receptive possibilities of their experience, illustrating more fruitful ways their readers might engage their worlds. Their novels offer a radical recasting of the human subject and its situation in the environment, one that valorizes a turn away from the fixity of conceptual certainty and an embrace of experiences that trouble clean distinctions between the human being and its world. Reading through the lens of radical empiricism, this project makes the case that Woolf and Lawrence are together engaging in a similar project: they are working from a shared interest in intensive explorations of the seemingly ineffable qualities in concrete human experience and in bringing those accounts into language to suggest the relational constitution of the human being with other people and the environment. They are working experimentally to discern the extent to which the human being can know first-hand its place in the extensive world. In doing so, the authors come to understand such a human being differently, as simultaneously discrete and non-discrete. By examining the methodological and philosophical intersections of these two authors, this project serves as a first step in suggesting a radical empirical British modernism.
Woolf’s and Lawrence’s approaches to experience have philosophical implications that become more apparent when read in conjunction with William James’s philosophy of radical empiricism and the related philosophies of Henri Bergson and A. N. Whitehead. While “radical empiricist” is not a common moniker for these philosophers, my project makes the case for the consideration of several of their works as reflective of a line of confluent thought that illuminates the concerns of some modernist literature with developing a new understanding of the human situation through an inclusive attention to lived experience.
The project is organized into four chapters. In the first chapter, I establish the radical empirical philosophical situation of Woolf’s and Lawrence’s writing, revealing in their novels how the dispositions of the characters facilitate different worlds, and elaborating the attentive approaches that they valorize through their novels. In the second chapter, I explore their critiques of abstraction, elaborating their concern with fixed abstract forms while countering readings of their work as anti-intellectual or apophatically mystical. In the third chapter, I examine how in and through their novels they engage the difficulty of articulating preconceptual experience, and I explore how they productively use ambiguity towards this end. In the fourth and final chapter, I examine the relational situation of the human individual that their novels disclose and the sort of self-understanding that they champion through their work.
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Boldina, Alla. "Androgynous imagination of difference from William Blake and Elizabeth Barrett Browning to D. H. Lawrence and H. D." Saarbrücken VDM Verlag Dr. Müller, 2007. http://d-nb.info/988563428/04.
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Pichardie, Jean-Paul. "D. H. Lawrence : la tentation utopique de rananim au serpent à plumes." Paris 10, 1987. http://www.theses.fr/1987PA100114.
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DELASALLE, TRAEGER DOMINIQUE. "Effets de perspective dans les recits de voyage de d. H. Lawrence." Caen, 1986. http://www.theses.fr/1986CAEN1017.
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Etude des recits de voyage de d. H. Lawrence: crepuscule en italie, sardaigne et mediterranee, matinees mexicaines, promenades etrusques. Presentation de l'itineraire reel de lawrence. Analyse des differents points de vue adoptes pour les descriptions apercu des ouvertures sur d'autres lieux au cours des recits. Etude des diverses facons dont lawrence aborde le temps et l'histoire. Expose de la maniere dont un espace interieur est cree au coeur des recits grace a l'emploi de termes etrangers, d'italiques et de citations, grace au jeu entre recit primaire et recit secondaire et a l'utilisation de la recurrence sous diverses formes. Examen des perspectives dessinees par les comparaisons et metaphores contenues dans les recitsThe following travel-books have been examined: twilight in italy, sea and sardinia, mornings in mexico, etruscan places, first each in its turn as lawrence's real journeys were presented. Then, a more synthetical approach has been adopted to deal with the following points: analysis of the different points of view chosen by lawrence when describing; survey of the openings onto other places; study of the ways in which lawrence tackles the issues of time and history; account of how an inner space is created in the narrative thanks to the use of foreign terms, italics and quotations, to the play with primary and secondary levels of narration and to the use of several processes of recurrence; examination of the perspectives conjured up by the comparisons and metaphors one can find in the travel-books
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Modiano, Marko. "Domestic disharmony and industrialisation in D. H. Lawrence's early fiction /." Stockholm : Almqvist & Wiksell, 1987. http://catalogue.bnf.fr/ark:/12148/cb35506518t.
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Daly, Macdonald M. "D H Lawrence : politics, socialist critical reception and literary influence on proletarian novelists." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314899.
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Ng, Yee-ling. "Modern fiction and the creation of the new woman : Madame Bovary, Jude the obscure and Women in love /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2005970X.
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Bricout, Shirley. "L'itinéraire d'un prophète en fuite ou Le texte biblique et la réflexion politique dans "Aaron's Rod", "Kangaroo" et "The plumed serpent" de D. H. Lawrence." Montpellier : Presses universitaires de la Méditerranée, 2008. http://catalogue.bnf.fr/ark:/12148/cb414228681.
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Zheng, Hong. "D H Lawrence as a migrant and the sense of migration in his fiction." Thesis, University of Newcastle Upon Tyne, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531772.
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Cuny, Noëlle. "Les mutations du corps dans les romans de D. H. Lawrence : histoire et mystique." Paris 3, 2004. http://www.theses.fr/2004PA030088.
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Le corps humain, chez D. H. Lawrence, porte les symptômes d’une tension entre la nécessité historique (ce terme renvoyant ici à l’histoire humaine mais aussi naturelle), qui lui inflige des mutations souvent monstrueuses, et la foi en son propre sens immuable et inaliénable. Si les premiers romans de Lawrence sont une douloureuse prise de conscience des forces de la matière et de l’évolution, The Rainbow et Women in Love, plutôt que de tenter d’y résister, les transfigurent par l’art, le mythe, et l’inspiration mystique. Les romans d’après-guerre, eux, y opposent les armes de la satire, mais aussi du diagnostic et de l’expédient thérapeutique. Kangaroo et The Plumed Serpent prolongent cette exploration anatomique par un projet politique de réactivation du mystère du corps qui se mue bientôt en cruauté. Au fil des romans semble s’être installée une latence apocalyptique où désordre pathologique et mutation mystique coexistent et, parfois, se confondent dans les mêmes formes inattenduesThe human body, in D. H. Lawrence’s novels, bears the symptoms of a tension between historical necessity (by which is meant human as well as natural history), responsible for its sometimes monstrous mutations, and faith in its own immutable and inalienable structure and meaning. If Lawrence’s first novels show a painful awareness of the forces of matter and of evolution, The Rainbow and Women in Love, rather than attempting to resist those forces, transfigure them through art, myth and mystical inspiration. By contrast, the post-war novels counter history with satire, but also by means of diagnostic and therapeutic discourse. Kangaroo and The Plumed Serpent bring this anatomical exploration onto the political ground, seeking to re-activate the body’s mystery in the community, at the cost of cruelty. Novel after novel, there seems to have settled an apocalyptic suspense, where pathological disorder and mystical mutation coexist and—sometimes jointly—produce unexpected new forms
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Roux, Magali. "D. H. Lawrence et les cinq soleils : voyage d’un écrivain anglais en terres mexicaines." Toulouse 2, 2009. http://www.theses.fr/2009TOU20114.
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Cette thèse, conçue comme un voyage à travers l’œuvre de D. H. Lawrence, se propose de montrer la place des années « mexicaines » (celles passées au Nouveau-Mexique et au Mexique entre septembre 1922 et septembre 1925) dans le parcours de création de l’écrivain. En effet, les voyages et la dynamique de la quête informent la production artistique de Lawrence, qui, toute sa vie, n’a cessé de chercher le territoire idéal où une humanité régénérée pourrait, en contact avec le cosmos, échapper aux maux de l’ère industrielle et retrouver une relation authentique à l’autre. L’étape mexicaine a été particulièrement importante dans le parcours de sa pensée et de son écriture. Les civilisations indiennes d’Amérique, qui ont un autre mode de vie, une autre conception du temps et du rapport à la communauté et au divin, fascinent le créateur. Les rencontres et les expériences inédites de Lawrence en terres mexicaines stimulent son imagination et suscitent la production de nombreux textes, souvent déroutants. Pour en montrer l’originalité et la pertinence, ce travail les met en regard de trois autres types de sources : le reste de l’œuvre lawrencienne, antérieure et postérieure à la période mexicaine, les textes d’autres écrivains britanniques qui ont voyagé au Mexique, et les écrits d’auteurs mexicains. Grâce aux multiples voix et devenirs-autre qu’ils laissent s’exprimer, grâce aux diverses interprétations qu’ils permettent, les textes lawrenciens nous font voyager, au-delà des terres mexicaines, vers un autre univers, celui de tous les possibles, qui n’a de frontières que celles, ouvertes et mouvantes, de la création, voyage artistique et spirituelThis dissertation has been conceived as a way of travelling throughout D. H. Lawrence’s works and it tries to demonstrate the importance of the “Mexican” years (those spent in New Mexico and Mexico between September 1922 and September 1925) in the process of their creation. Indeed, Lawrence’s writings were shaped by the dynamics of his quest and his travelling around the world. All his life, he has been looking for the ideal place where regenerated human beings, in contact with the cosmos, could escape from the evils of the industrial age and rediscover an authentic relationship with the other. The Mexican period played a significant part in the evolution of Lawrence’s thinking and writing. Indians civilisations in America favour another way of life, another conception of time and of the relationship with the community and the divine, all of which fascinated the artist. The people he met and the things he experienced in Mexican lands stimulated his imagination and inspired many rather disconcerting texts. In order to show how original and relevant they are, this study compares them with three types of sources: the rest of Lawrence’s work – before and after the Mexican years –, other texts by British writers who also travelled to Mexico, and books by Mexican authors. Lawrence’s writing, which leaves a space to the expression of otherness and allows various interpretations, has the readers eventually travel further than the Mexican lands. It brings them towards another world where everything is possible, since its only borders are the shifting, open lines of creation – an artistic and spiritual journey
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Hester, Vicki M. (Vicki Martin). "D. H. Lawrence: Misogyny as Ideology in His Later Works of Fiction and Nonfiction." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500651/.
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Critics continue to debate Lawrence's attitude toward women: Some say Lawrence is a misogynist, some say he is an egalitarian, and others say he is ambivalent toward women. If Lawrence's works are divided into two chronological periods, before and after 1918, these differences of opinions begin to dissolve. Lawrence is fair in his treatment of women in the earlier works; however, in his later works Lawrence restricts women to what he calls the sensual realm, the realm of feelings and emotions. In addition, Lawrence denounces all women who assert individuality and self-responsibility. In the later works, Lawrence's ideology restricts the role of women and presents male supremacy as the natural and necessary order for human existence.
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Hosfeld, Elke [Verfasser]. "Endstation Mexiko : Rebellion und Regression im Werk von D. H. Lawrence / Elke Hosfeld (geb. Bähre)." Berlin : Freie Universität Berlin, 2010. http://d-nb.info/1024335054/34.
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Wright, Pamela. "A language of the body : images of disability in the works of D. H. Lawrence /." Online access for everyone, 2006. http://www.dissertations.wsu.edu/Dissertations/Fall2006/p_wright_011607.pdf.
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Sloan, Jacquelyn Le Gall. "Oppositional structure and design in D.H. Lawrence's culture critique : a feminist re-reading /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/9465.
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Caufield, Michael Dace. "Let there be life : notes toward a philosophy of art in the work of D.H. Lawrence and Wallace Stevens /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/9392.
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Mullen, T. "Brothers, fathers, lovers : the search for male friendship in the fiction of D.H. Lawrence." Thesis, University of Wales Trinity Saint David, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683170.
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Leone, Matthew J. (Matthew Joseph). "The shape of openness : Bakhtin, Lawrence, laughter." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39750.
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How is Bakhtin's conception of novelistic openness distinct from modernist-dialectical irresolution or open-endedness? Is Women in Love a Bakhtinian "open totality"? How is dialogic openness (as opposed to modernist indeterminacy) a "form-shaping ideology" of comic interrogation?This study tests whether dialogism illuminates the shape of openness in Lawrence. As philosophers of potentiality, both Bakhtin and Lawrence explore the dialogic "between" as a state of being and a condition of meaningful fiction. Dialogism informs Women in Love. It achieves a polyphonic openness which Lawrence in his later fictions cannot sustain. Subsequently, univocal, simplifying organizations supervene. Dialogic process collapses into a stenographic report upon a completed dialogue, over which the travel writer, the poet or the messianic martyr preside.
Nevertheless, the old openness can be discerned in the ambivalent laughter of The Captain's Doll, St. Mawr or "The Man Who Loved Islands." In these retrospective variations on earlier themes, laughing openness of vision takes new, "unfinalizable" shapes.
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Vacani, Wendy. "A sense of place and community in selected novels and travel writings of D.H. Lawrence." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/15154.
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In 1919 Lawrence left England to search for a better society; his novels and travel sketches (the latter are usually seen as peripheral to the novels) continually questioned the values of Western society. This study examines D.H. Lawrence's great 'English' novels in the light of their vivid portrayal of place and community. However, to procure a new emphasis the novels and travel writing are brought into close alignment, in order to examine the way in which the sorts of philosophical questions Lawrence was interested in - ideas on human character, marriage, social structures, God, time, and history - influence his portrayal of place and community across both these genres. Chapter I, on Sons and Lovers, emphasises the way social and historical factors can shape human relationships as powerfully as personal psychology. In Chapter II, on Twilight in Italy, discussion of the effect of place on human character is broadened into a consideration of the differences between the Italian and English psyche; the philosophical passages are read in the light of revisions made to the periodical version. Chapters III and IV, on The Rainbow and Women in Love, conscious of the critique of English society that Lawrence made in Twilight, recognise that although Lawrence is concerned to show the flow of individual being he is no less interested in the relationship between the self and society, and the clash between psychological needs and social structures like work, marriage and industrialisation. Chapter V, on Sea and Sardinia, examines Lawrence's realisation that the state of travel engages with the present and impacts on individual needs and identity. Chapter VI, on Mornings in Mexico, studies the way Lawrence transcended the journalism usual to the travel genre and maintained a deep spirituality as he pondered the attributes of a primitive society and its appropriateness to Western Society. Because travel writing is both reactive and subjective (a writer's reaction to a country is underpinned by the metatext of his own concerns), I ask if Lawrence's presentation of experience can be thought of as accurate or whether places and people are constructs of his imagination. Chapter VIII examines Lady Chatterley's Lover as Lawrence's attempt to bring together the attitudes to sex, class and education witnessed on his travels with an English setting; to envisage a way of living that would meet the deep-rooted needs of man. Chapter VIII, on Etruscan Places, shows Lawrence conscious of encountering the ultimate journey, death, and pays tribute to the fact that while the book searches for philosophical answers on how to die, it is at the same time a paean to life and the beauty of landscape.
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Tarrant-Hoskins, Nicola Anne. "KATHERINE MANSFIELD AMONG THE MODERNS: HER IMPACT ON VIRGINIA WOOLF, D. H. LAWRENCE, AND ALDOUS HUXLEY." UKnowledge, 2014. http://uknowledge.uky.edu/english_etds/17.
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Katherine Mansfield among the Moderns examines Katherine Mansfield’s relationship with three fellow writers: Virginia Woolf, D. H. Lawrence, and Aldous Huxley, and appraises her impact on their writing. Drawing on the literary and the personal relationships between the aforementioned, and on letters, diaries, and journals, this project traces Mansfield’s interactions with her contemporaries, providing a richer and more dynamic portrait of Mansfield’s place within modernism than usually recognized.
Hitherto, critical work has not scrutinized Mansfield in the manner I suggest: attending to representations of her as a character in other’s work, while analyzing the degree to which her influence on the aforementioned authors affected their writing and success. Albeit, her influence extends in vastly different ways, and is affected by gender and nationality. While Woolf’s early foray into Modernism is accelerated by Mansfield’s criticism of her work, several of Woolf’s texts – “Kew Gardens,” Jacob’s Room, and Mrs. Dalloway – are similar in certain respects to Mansfield’s work – “Bliss” and “The Garden Party.” A repudiation of Mansfield, personally, and a retelling of her work are seen in Lawrence’s The Lost Girl and Women in Love. Huxley’s Those Barren Leaves and Point Counter Point, contain characterizations of Mansfield that undermine her writing, and her person: both are affected by the mythical misrepresentation of Mansfield, created by Murry after her death, known as the “Cult of Mansfield.”
Using Life Writing, this study asserts that Mansfield had impact on the writing of Woolf, Lawrence, and Huxley. Taking into account the many issues that surround the recognition of this, among them: gender politics, colonialism, marginality by genre, and personal relations – these all, to varying degrees, prevented critics from acknowledging that a minor modernist author played a role in the undisputed success of three major authors of the twentieth century.
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Duerr, Stefanie Elizabeth. "Modernism and the Event: Lawrence, Lewis, and the Agency of the "Evental Subject"." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/41962.
Full textAbstract:
This dissertation examines D.H. Lawrence’s and Wyndham Lewis’s exploration of the
evental subject, and asks how their work might help us understand agency in a way that does not
discount powerful forms of socio-historical determinism. Examining a variety of their critical
and fictional writing from the first three decades of the twentieth century, I argue that Lawrence
and Lewis explore ways of thinking about the subject’s relationship to radical novelty without
occluding the constraining forces of mass culture. Challenging conventional modernist forms of
novelty which seek to except themselves from forces of historical and social determination, they
pursue a form of novelty that emerges from these forces, yet radically reconfigures the world that
history has produced. Similarly, even though the “evental subject” is conditioned by the forms of
relation encoded by society, its agency lies in the power to transfigure the modes of being that
have been normalized. The evental subject is not an autonomous source of agency that is
exempted from the social order, but derives its agency from reconceptualizing the nature of
social embeddedness—understanding social relations as unpredictably generative rather than
narrowly limiting. In this regard, the forms of subjectivity articulated by Lawrence and Lewis
substantially anticipate, and are illuminated by, Alain Badiou’s theory of the event. Chapter 1
argues that Lawrence’s Study of Thomas Hardy and Studies in Classic American Literature
approach the problem of the evental subject largely in terms of affect, understanding the subject
not as the preexistent and stable bearer of affective experience, but as the processual product of
mutually-constituting affective relationships. Chapter 2 examines Women in Love to find
Lawrence negotiating love as an affective site of radical subjective possibility that reconfigures
the cultural norms through which intimate relationships are coded and constrained. Chapter 3
turns to Lewis’s The Enemy to ask how his version of the evental subject largely inhabits the
tension between personality and selfhood, where the former suggests social performance and the
latter denotes an autonomous, ontological category. Contra the conventional turn to the
autonomous self as the source of agency, he seeks to understand the subject, and its agency, as
the product of social performance. Finally, Chapter 4 argues that Tarr articulates the possibilities
of a radically exteriorized understanding of personality; through Lewis’s ironic portrayal of the
ineluctable ways in which even the perception of choice is coded by the situation, he presents
fiction and authorship as the spaces in which to imagine an evental subject.
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Fleming, Fiona. "La figure de l’étranger dans l’œuvre de D. H. Lawrence : la puissance créatrice et transformatrice de l’étrange." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100083/document.
Full textAbstract:
S’inspirant des théories de « dégénérescence » avancées par Nordau et Spengler à la fin du XIXe et au début du XXe siècle, Lawrence pose l’hypothèse d’un déclin physique et moral des individus et des formes sociales collectives en Europe. Il se met donc en quête, à travers le voyage et sa narration, de possibilités de « régénération » que pourraient offrir les lieux et les cultures extra-européens. Ce faisant, il analyse la confrontation entre ses personnages voyageurs européens et l’altérité culturelle qu’ils découvrent, une altérité portée à la fois par les individus étrangers et les sociétés auxquelles ils appartiennent, les lieux et les forces sacrées qui peuplent ces derniers. Lawrence postule que la régénération, ou réanimation, du sujet européen dépend de la capacité du voyageur à se laisser altérer par la puissance étrangère. Chaque œuvre examine ainsi le processus d’altération que subit le sujet européen et qui dépend de divers facteurs, tels que la relation à la patrie, la finalité poursuivie à travers le voyage, la condition sociale, l’éducation, et le genre.L’œuvre lawrencienne s’intéresse en effet majoritairement à la réanimation du sujet féminin et la plupart de ses personnages voyageurs sont des voyageuses non-accompagnées, un choix singulier pour l’époque. Pourtant, Lawrence n’envisage pas d’auto-émancipation du sujet féminin, car sa réanimation n’est possible que grâce à la rencontre érotique avec un autre masculin, porteur d’un monde étranger.Lawrence expérimente toutefois avec diverses formes de régénération, individuelle et collective, politique et spirituelle, susceptibles de contribuer au renouveau de la civilisation occidentaleDrawing on Nordau and Spengler’s theories of “degeneration” in the late nineteenth and early twentieth centuries, Lawrence posits the idea of a physical and moral decline of both individuals and collective social forms in Europe. He therefore sets out, through his personal travels and travel narratives, on a quest for the “regenerative” possibilities which he believes non-European places and cultures may have to offer.His travel writings examine the encounter between his European characters and the cultural otherness they experience abroad in the form of foreign individuals and societies, places and the sacred powers that inhabit those places. Lawrence postulates that the “regeneration” or revitalisation of the European subject is determined by the traveller’s ability to let himself or herself be altered by the power of otherness. Each of his works thus analyses the process of alteration undergone by the European subject, which is affected by various factors such as the latter’s relationship to the home country and the end sought through travel, his social status, education and gender.Lawrence’s works are primarily concerned with the revitalisation of the female subject and most of his travelling characters are in fact unaccompanied female travellers – an uncommon choice at the time. Yet Lawrence does not contemplate the possibility of the female subject’s self-emancipation since her revitalisation can only be brought about by the erotic encounter with a male other endowed with the power of otherness.Lawrence nonetheless experiments with several types of regeneration – individual and collective, political and spiritual – which may contribute to the renewal of western civilisation
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Champinot, Yves. "D. H. Lawrence ou l'appel de la grand-route : du roman comme voyage aux romans du voyage." Paris 7, 1993. http://www.theses.fr/1993PA070041.
Full textAbstract:
Les romans de lawrence sont les etapes d'une quete de completude. Cette quete vise a redefinir l'etre et le genre romanesque. Selon lui, l'avenir de l'homme, tout comme le sort du heros, depend de son respect de la loi naturelle qui regit son etre, non par opposition aux lois humaines mais a la fois avec et contre notre civilisation. De sons and lovers a women in love, lawrence envisage l'avenir de l'homme dans le contexte social et historique de l'europe. Mais la grande guerre el la censure le convaincquent que son voyage "interieur" seul n'est pas la solution. Alors il parcourt le monde. Ses romans de l'apres-guerre s'inspirent tous du mythe americain de regeneration tel qu'il l'a observe chez fenimore cooper, hawthorne et melville. Ils ne traduisent pas une rupture. Au contraire, ils concluent une quete ou la completude est finalement celle du couple et son dernier roman un melange unique des genres europeens et americainsLawrence's novels are landmarks on a quest for completeness. This quest aims at redefining being and the novelistic genre. According to him, the future of man, like the fate of the hero, depends on his respect of the natural law which rules over his being, not as opposed to human laws but both with and against our civilisation. From sons and lovers to women in love, lawrence viewed the future of the novel within european tradition and the future of man within social and historical europe. But the great war and censorship convinced him that his "inner" voyage alone was no solution. So lawrence travelled over the world. His post-war novels are all inspired by the american myth of regeneration as the found it in the works of cooper, hawthorne and melville. They do not express a break in his work. On the contrary, they conclude a quest where completeness is finally that of the couple and his last novel constitutes an outstanding union of the american and the european genres