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Journal articles on the topic 'Rainbow (Lawrence, D. H.)'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

Yamboliev, Irena. "D. H. Lawrence’s Stained Glass." Twentieth-Century Literature 67, no. 1 (March 1, 2021): 1–30. http://dx.doi.org/10.1215/0041462x-8912247.

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This essay reveals the unexpected yet profound ways stained glass contributes to the representational logic of Lawrence’s fiction, especially his early story “A Fragment of Stained Glass” (1908) and The Rainbow (1915). Lawrence develops a prose style that mimics stained glass’s visual aesthetic—its juxtaposition of translucent, glowing color with opaque line that holds and tempers it—and its power to shape psychological interiors by shaping exterior surroundings. Especially in narrating moments when a character struggles to comprehend her relationship to another person or to the external world, Lawrence’s prose converts stained glass’s organizing principles into syntax, foregrounding the contrasts and overlaps between nouns and adjectives, independent and dependent clauses, and words’ multiple repetitions. In doing so, he formalizes a conceptual parallel: the non-verbal medium’s filtering of white light into netted color is repeated when a writer filters the raw materials of sensory perception into hierarchies we think of as central to the novel—character’s primacy over setting, or representation’s primacy over elaboration. In undoing such hierarchies, Lawrence takes to their logical endpoints late nineteenth-century debates about decorative aesthetics, foregrounding the plastic arts’ emphasis on the expressive power of patterning over depiction.

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2

Markova, E. A. "“Underground Love”: D. H. Lawrence and “Notes from the Underground” by F. M. Dostoevsky." Nauchnyy Dialog, no. 2 (February 28, 2020): 238–50. http://dx.doi.org/10.24224/2227-1295-2020-2-238-250.

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The reception of the novel by F. M. Dostoevsky “Notes from the Underground” in the works and correspondence of D. H. Lawrence is analyzed in the article. The novelty of the study is in the fact that the influence of this story on Lawrence’s prose is being studied for the first time. Particular attention is paid to Lawrence’s letters to the translator S. S. Kotelyansky, with whom the English writer shared his impressions of reading the works of Russian classics, especially Dostoevsky, as well as to one of the letters addressed to the writer G. Campbell, which contains the only direct reference to “Notes from the Underground” in Lawrence. This letter reveals an individual interpretation of the story by Lawrence. It is proved that this interpretation turns out to be close to the reading of the Notes by L. Shestov. The question is raised about the existing parallels between the text of Dostoevsky and the novels of D. G. Lawrence (“Women in Love”, “The Lost Girl”, “Rainbow” and “Aaron’s Rod”). The similarity is seen in the peculiar interpretation of the Underground concept by Lawrence. It is shown that the image of the Underground in the works of the English writer (usually expressed by the words “underworld”, “subterranean”) is always somehow connected with the irrational principle and is involved in the formation of Lawrence sensualism.

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3

Acheson, James. "Schopenhauer, Nietzsche and D. H. Lawrence’s Women in Love." Journal of European Studies 50, no. 1 (February 26, 2020): 7–16. http://dx.doi.org/10.1177/0047244119892871.

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D. H. Lawrence began to read Schopenhauer and Nietzsche while a student at Nottingham University College. The influence of the two philosophers on his early short stories and his novels from The White Peacock (1911) through to The Rainbow (1915) has been considered at length in books and essays on Lawrence. There has been little discussion to date, though, of the presence of Schopenhauer and Nietzsche in Women in Love (1920). The unmistakably Nietzschean term Wille zur Macht (will to power) appears in the novel and has attracted some critical comment, but there is no equally obvious reference to Schopenhauer, and discussion of Schopenhauer’s influence has been accordingly slight. Lawrence believed, however, that every novel should have a ‘background metaphysic’, and careful examination of Women in Love reveals that its metaphysic, or ‘theory of being’, derives from a combination of Schopenhauer’s and Nietzsche’s philosophical theories.

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4

Selby, Keith. "D. H. Lawrence's the Rainbow." Explicator 46, no. 1 (October 1987): 41–43. http://dx.doi.org/10.1080/00144940.1987.9935277.

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5

Gurung, Gol Man. "Performing Gender: Female Masculinity in D. H. Lawrence’s The Rainbow." Molung Educational Frontier 10 (December 31, 2020): 27–39. http://dx.doi.org/10.3126/mef.v10i0.34055.

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This paper analyses Ursula, the female protagonist of D. H. Lawrence’s the novel The Rainbow, who reflects her masculinity. Many feminist critics have perceived this novel as man-centered. In response to this analysis of the novel, the paper tries to look at the novel from the perspective of Judith Halberstam’s theoretical concept of female masculinity, especially Ursula as a masculine woman who acts like a man. Female masculinity is not an identity but a site for identification where different identities can flourish, but masculine women possess confidence, assertiveness, and independence. Lawrence gives justice to women’s role by presenting Ursula as a new woman who seeks her individual identity in the traditional world. Through the reading of the novel as its theoretical tool, the research concludes that females can be as males and males can be like females. She acts like a man and that means she has masculine qualities. The novelist portrays Ursula as a woman with masculinity because she can flourish different identities of her life. She plays the role of an independent woman, a liberated woman, a Lesbian woman, and a new woman, etc. She behaves like a tomboy who refuses to accept the Victorian conventions of society. So, she is a masculine woman rather than a feminine woman. This paper emphasizes how a woman can perform like a man; this suggests masculinity is not the private property of a male; it is a social position that can be practiced in an individual way.

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6

Fernandes, Bruna Renata Rocha, and Carlos Augusto Viana da Silva. "The Rainbow e a tradução de D. H. Lawrence Para as Telas." Revista FSA 15, no. 2 (March 1, 2018): 141–55. http://dx.doi.org/10.12819/2018.15.2.8.

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7

Kim, Sung Ryol. "D. H. Lawrence’s The Rainbow : The Struggle for Intimacy." British and American Language and Literature Association of Korea 122 (September 23, 2016): 67–84. http://dx.doi.org/10.21297/ballak.2016.122.67.

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8

Verleun, Jan. "The inadequate male in D. H. Lawrence's The Rainbow." Neophilologus 72, no. 1 (January 1988): 116–35. http://dx.doi.org/10.1007/bf00396072.

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9

Oh, Eunyoung. "The Universe-Nature-Man Continuum Presented in D. H. Lawrence’s Essays and The Rainbow." Comparative Study of World Literature 62 (March 30, 2018): 215–36. http://dx.doi.org/10.33078/cowol62.10.

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10

KANGYONGKI. "The Problematics of Intrinsic Self in D. H. Lawrence’s The Rainbow." English21 32, no. 2 (June 2019): 5–23. http://dx.doi.org/10.35771/engdoi.2019.32.2.001.

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11

Doherty, Gerald. "Violent Immolations: Species Discourse, Sacrifice, and the Lure of Transcendence in D. H. Lawrence's The Rainbow." MFS Modern Fiction Studies 57, no. 1 (2011): 47–74. http://dx.doi.org/10.1353/mfs.2011.0035.

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12

Manicom, David. "An Approach to the Imagery: A Study of Selected Biblical Analogues in D. H. Lawrence’s The Rainbow." ESC: English Studies in Canada 11, no. 4 (1985): 474–83. http://dx.doi.org/10.1353/esc.1985.0057.

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13

A. Ayuk., Athanasius. "Identity and Dissent in James Joyce’s A Portrait of the Artist as a Youngman and D. H. Lawrence’s The Rainbow." International Journal of English Literature and Social Sciences 6, no. 1 (2021): 163–76. http://dx.doi.org/10.22161/ijels.61.19.

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14

Zangenehpour, Fereshteh. "Sexual Politics Revised: A Feminist Re-Reading of D. H. Lawrence’s The Rainbow and Women in Love." Nordic Journal of English Studies 19, no. 5 (December 19, 2020): 181. http://dx.doi.org/10.35360/njes.620.

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15

Pittock, M. "D. H. Lawrence: Dramatist?" Cambridge Quarterly 43, no. 3 (September 1, 2014): 256–72. http://dx.doi.org/10.1093/camqtly/bfu021.

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16

Steinberg, Erwin Ray. "D. H. Lawrence: Mythographer." Journal of Modern Literature 25, no. 1 (2001): 91–108. http://dx.doi.org/10.1353/jml.2001.0016.

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17

Leys, Simon. "L'Australie de D. H. Lawrence." Commentaire Numéro63, no. 3 (1993): 545. http://dx.doi.org/10.3917/comm.063.0545.

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18

Stevens, H. "D. H. Lawrence Letter-Writer." Cambridge Quarterly 35, no. 1 (January 1, 2006): 82–88. http://dx.doi.org/10.1093/camqtly/bfj005.

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19

Pittock, M. "D. H. Lawrence: A Comment." Cambridge Quarterly 41, no. 2 (June 1, 2012): 262–64. http://dx.doi.org/10.1093/camqtly/bfs017.

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20

Young, D. B. "D. H. Lawrence and Taos." Tuberculosis 81, no. 3 (June 2001): 189–90. http://dx.doi.org/10.1054/tube.2001.0292.

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21

Ellis, David. "Snobbery and D. H. Lawrence." Essays in Criticism 67, no. 4 (October 2017): 392–409. http://dx.doi.org/10.1093/escrit/cgx021.

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22

Banerjee, A. "D. H. Lawrence as Poet." Sewanee Review 122, no. 1 (2014): 149–53. http://dx.doi.org/10.1353/sew.2014.0019.

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23

Kinkead-Weekes, Mark. "D. H. Lawrence and the Dance." Dance Research: The Journal of the Society for Dance Research 10, no. 1 (1992): 59. http://dx.doi.org/10.2307/1290699.

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24

Rooks, Pamela A. "D. H. LAwrence and Michael Polanyi." Tradition and Discovery: The Polanyi Society Periodical 15, no. 2 (1987): 20–26. http://dx.doi.org/10.5840/traddisc1987/19891527.

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25

Bragan, Kenneth. "D. H. Lawrence and Self-Psychology." Australian & New Zealand Journal of Psychiatry 20, no. 1 (March 1986): 56–62. http://dx.doi.org/10.3109/00048678609158865.

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The work and life of D. H. Lawrence is examined as an example of Kohut's notion of the anticipatory function of art and as providing a rich source of material for examination of the respective importance in personality development of Oedipal conflict and the pre-Oedipal establishment of a sense of self. The importance of self-psychology as an expansion of psychoanalysis is noted and some of the ways Lawrence anticipated this development are described. It is also suggested that Lawrence provides convincing confirmation of a self-psychology view of creative drive, and a thesis is briefly expounded that in his major novels he was pursuing his own self-healing.

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26

Bell, Michael, Dennis Jackson, and Fleda Brown Jackson. "Critical Essays on D. H. Lawrence." Modern Language Review 86, no. 3 (July 1991): 686. http://dx.doi.org/10.2307/3731037.

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27

Daly, Macdonald, and Anne Fernihough. "D. H. Lawrence: Aesthetics and Ideology." Yearbook of English Studies 25 (1995): 317. http://dx.doi.org/10.2307/3508900.

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28

Journet, Debra, and Keith Sagar. "D. H. Lawrence: Life into Art." South Atlantic Review 51, no. 4 (November 1986): 159. http://dx.doi.org/10.2307/3199776.

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29

Cram, D. "D. H. Lawrence as Verse Translator." Cambridge Quarterly 30, no. 2 (June 1, 2001): 133–50. http://dx.doi.org/10.1093/camqtly/30.2.133.

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30

Davis, Robert Murray, and Keith Sagar. "D. H. Lawrence: Life into Art." World Literature Today 60, no. 3 (1986): 474. http://dx.doi.org/10.2307/40142307.

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31

Balbert, Peter. "D. H. Lawrence: Aesthetics and Ideology." MFS Modern Fiction Studies 40, no. 4 (1994): 888–91. http://dx.doi.org/10.1353/mfs.1994.0021.

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32

HARRISON, ANDREW, and RICHARD HIBBITT. "D. H. LAWRENCE AND THOMAS MANN." Notes and Queries 43, no. 4 (December 1, 1996): 443—a—443. http://dx.doi.org/10.1093/nq/43-4-443a.

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33

HARRISON, ANDREW, and RICHARD HIBBITT. "D. H. LAWRENCE AND THOMAS MANN." Notes and Queries 43, no. 4 (1996): 443—a—443. http://dx.doi.org/10.1093/nq/43.4.443-a.

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34

Hoddinott, Alison. "Charlotte Brontë and D. H. Lawrence." Brontë Studies 27, no. 1 (March 2002): 1–14. http://dx.doi.org/10.1179/bst.2002.27.1.1.

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35

Bell, Michael, Peter Balbert, Phillip L. Marcus, Michael Squires, Dennis Jackson, Anthony Burgess, D. H. Lawrence, Sheila MacLeod, D. H. Lawrence, and Bruce Steele. "D. H. Lawrence: A Centenary Consideration." Modern Language Review 84, no. 1 (January 1989): 146. http://dx.doi.org/10.2307/3731976.

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36

Asher, Kenneth. "Nietzsche, D. H. Lawrence and irrationalism." Neophilologus 69, no. 1 (January 1985): 1–16. http://dx.doi.org/10.1007/bf00556858.

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37

Storch, Margaret, and Earl G. Ingersoll. "D. H. Lawrence: Desire and Narrative." Modern Language Review 98, no. 3 (July 2003): 703. http://dx.doi.org/10.2307/3738312.

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38

Savel'eva, Inna Gennadievna. "D. H. LAWRENCE, LAWRENCE DURRELL & JOHN FOWLES: BRITISH ISLOMANIA." Philological Sciences. Issues of Theory and Practice, no. 7-2 (July 2018): 259–62. http://dx.doi.org/10.30853/filnauki.2018-7-2.9.

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39

Michelucci, Stefania. "D. H. Lawrence’s Etruscan Seduction." Etruscan Studies 22, no. 1-2 (November 5, 2019): 95–108. http://dx.doi.org/10.1515/etst-2018-0030.

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Abstract Sketches of Etruscan Places is especially important among D. H. Lawrence’s later works not only because it is the work that completes the image of a restless, indefatigable traveler looking for a new gospel in old cultures and in faraway countries, but also because it offers stimulating and surprisingly modern reflections on the relationship between dominant and subordinate cultures.For centuries historians, archaeologists, linguists and scholars had tried to penetrate the mystery of the Etruscans in order to explain their origin, interpret their symbols and read their language. Lawrence attempted to give his own interpretation of that ancient mysterious world as he viewed the Etruscans as the symbol of a lost vitality. His interpretation of this lost civilization insists on the “manipulation of cultural heritage,” which anticipates ideas expressed by Ronald Barthes in Mythologies (1957). As a result, Lawrence undermines traditional views of Etruscan civilization as vassal to Greek and Roman civilization and defends its individuality. Finally, Lawrence anticipates post-colonial ideas by deconstructing the centrality of the Western historical and cultural system of values and reconstructing, although partially, the non-canonical multiplicity of ethnic separateness.

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40

Langell Miliaras, Barbara. "D. H. Lawrence’s Apocalyptic Anger." Études Lawrenciennes, no. 43 (April 15, 2012): 71–87. http://dx.doi.org/10.4000/lawrence.87.

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41

Weinstein, Sharon, and Daniel J. Schneider. "D. H. Lawrence: The Artist as Psychologist." Rocky Mountain Review of Language and Literature 39, no. 4 (1985): 296. http://dx.doi.org/10.2307/1347483.

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42

ELLIS, D. "D. H. Lawrence and the Female Body." Essays in Criticism XLVI, no. 2 (April 1, 1996): 136–52. http://dx.doi.org/10.1093/eic/xlvi.2.136.

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43

Martin, Kirsty. "D. H. Lawrence, Katherine Mansfield and Happiness." Katherine Mansfield Studies 2, no. 1 (October 2010): 87–99. http://dx.doi.org/10.3366/kms.2010.0008.

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44

Schneider, Daniel J., and James C. Cowan. "D. H. Lawrence and the Trembling Balance." Modern Language Review 87, no. 4 (October 1992): 957. http://dx.doi.org/10.2307/3731468.

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45

Bell, Michael, Robert B. Partlow, Gavriel Ben-Ephraim, and Philip Hobsbaum. "D. H. Lawrence: The Man Who Lived." Yearbook of English Studies 15 (1985): 342. http://dx.doi.org/10.2307/3508622.

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46

Pereira, Armando. "D. H. Lawrence. México, la utopía imposible." Literatura Mexicana 24, no. 1 (2013): 65–90. http://dx.doi.org/10.1016/s0188-2546(13)71739-2.

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47

Schneider, Daniel J. "Alternatives to Logocentrism in D. H. Lawrence." South Atlantic Review 51, no. 2 (May 1986): 35. http://dx.doi.org/10.2307/3199347.

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48

Cushman, Keith. "Mr Noon. D. H. Lawrence , Lindeth Vasey." Papers of the Bibliographical Society of America 80, no. 2 (June 1986): 265–68. http://dx.doi.org/10.1086/pbsa.80.2.24303979.

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49

Cushman, Keith. "D. H. Lawrence and Tradition. Jeffrey Meyers." Modern Philology 85, no. 2 (November 1987): 223–24. http://dx.doi.org/10.1086/391627.

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50

Ellis, D. "D. H. Lawrence and the female body." Essays in Criticism 46, no. 2 (April 1, 1996): 136–52. http://dx.doi.org/10.1093/eic/46.2.136.

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