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Relevant bibliographies by topics / Women in love (Lawrence, D. H.)

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Academic literature on the topic 'Women in love (Lawrence, D. H.)'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Women in love (Lawrence, D. H.)"

1

Periyan, Natasha. "Women in Love and Education: D. H. Lawrence's Epistemological Critique." Modernist Cultures 14, no. 3 (August 2019): 357–74. http://dx.doi.org/10.3366/mod.2019.0260.

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On a plot level, D. H. Lawrence's Women in Love rejects the conformity of the classroom and the narrowness of intellectual knowledge, celebrating instead the realm of instincts and the senses. Like its teacher-author, though, the novel retains a pedagogic design; to lead the reader through the experience of the text's narrative confusions into an epistemological critique of the rationalised intellect and the male teachers who embody it. Attention to the poems and textbooks Lawrence was writing during the novel's gestation show that Lawrence's developing modernist style was an an alternative form of teaching ‘sense’ to his readers, in line with his wider conception of the educational qualities of art.

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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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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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Ameen, Hishryar Muhammed, and Khorsheed Mohammed Rasheed Ahmed. "Thematization of Power in D. H. Lawrence’s Women in Love with reference to Nietzsche’s - The Will to Power." European Scientific Journal, ESJ 12, no. 11 (April 27, 2016): 425. http://dx.doi.org/10.19044/esj.2016.v12n11p425.

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This paper gives a brief discussion on Nietzsche's - The Will to Power. It aims to thoroughly discuss how this theme has been reflected within the plot and characters of D. H. Lawrence novel Women in Love. This paper briefly talks about Nietzsche and his concept of The Will to Power, Nietzsche’s influence over Lawrence, the relationships between characters in Women in Love and their significances, and The Will to Power and conflicts for dominations. Subsequently, it focuses on the Will to Power between male and female. Also, it considers social status as a source of power and authority. Finally, this study concludes on the type of Will to Power that is mainly reflected in Women in Love.

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Birgy, Philippe. ""Snowed Up" : le topos montagnard dans Women in Love de D. H. Lawrence." Caliban, no. 23 (May 1, 2008): 191–99. http://dx.doi.org/10.4000/caliban.1260.

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Stelzig, Eugene. "Romantic Reinventions in D. H. Lawrence's "Women in Love"." Wordsworth Circle 44, no. 2-3 (March 2013): 93–97. http://dx.doi.org/10.1086/twc24044228.

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Wollaeger, Mark. "D. H. Lawrence and the Technological Image: Modernism, Reference, and Abstraction in Women in Love." English Language Notes 51, no. 1 (March 1, 2013): 75–92. http://dx.doi.org/10.1215/00138282-51.1.75.

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Janaki, Dr S., and Dr S. Sumathi. "An Ecocritical Reading of D. H. Lawrence’s Women in Love." IOSR Journal of Humanities and Social Science 22, no. 03 (March 2017): 125–28. http://dx.doi.org/10.9790/0837-220304125128.

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Gharib, Mohammad Hosein, and Ahmad Gholi. "Psychoanalytical Analysis of Gerald’s Three Coverts to Perpetrate Violence in D.H. Lawrence’s Women in Love." Journal of Language Teaching and Research 7, no. 6 (November 1, 2016): 1117. http://dx.doi.org/10.17507/jltr.0706.08.

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D. H. Lawrence is well known for creating psychologically deep characters. Since contemporaneous with Sigmund Freud, he has been familiar with his groundbreaking theories about unconscious mind. Moreover, he utilizes them for creating his characters in his novels. For instance in his Women in Love, Freud’s impact on him is striking. Freud holds that human beings are primitive by nature and their primitive attitudes can emerge anytime. In this regard, this paper aims to draw on Freud’s idea of unconsciousness to analyze Gerald, one of main characters in the novel in question. To do so, it will primarily focus on his violence. According to Freud, human beings aspire for the violence in their unconsciousness; nonetheless, they cannot answer their psychological need easily because of social norms. However, from the view point of Freud, there are some coverts through which people can meet/justify their urge for violence. Thus, the present study endeavors to bring into light these coverts by focusing on the life of Gerald in D.H. Lawrence’s Women in Love.

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Kang, Sang-deok. "The Apocalyptic Vision in D. H. Lawrence’s in Women in Love." Studies in English Language & Literature 34, no. 2 (April 2008): 189–202. http://dx.doi.org/10.21559/aellk.2008.34.2.011.

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Dissertations / Theses on the topic "Women in love (Lawrence, D. H.)"

1

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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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 sexuelles
The 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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Svenson, Lembke Jenny. "Bodies of Water: The Question of Resisting or Yielding to the Active Unconsciousness in D. H. Lawrence’s Women in Love." Thesis, Stockholms universitet, Engelska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-113166.

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D. H. Lawrence believed the individual psyche to consist of two parts: the active unconsciousness and the mental consciousness. The active unconsciousness is a sort of life force within the individual, and one that allows the individual a true connection to the world. It is also closely related to the body, and sometimes called “blood-being” or “blood-consciousness.” The mental consciousness could be said to be the “intellect” in the individual psyche, dealing with abstractions and ideas. Lawrence insists that contemporary society’s prioritizing of the functions of the mental consciousness leads individuals to allow it too much influence over their life. This ultimately leads them to become dominating, willful and deadly. Lawrence’s 1920 novel Women in Love is an allegory of what Lawrence saw as the detrimental effect on individuals by the over-emphasis on rationality in contemporary society, and also of the struggle to find a way back to a more natural way of existing in the world. This essay argues that the processes of, and struggle between, the mental consciousness and active unconsciousness, are illustrated in images of water. Surface and merging imagery connotes denial of or loss of contact with the active unconsciousness, eventually leading the individual to seek death. Flood and submersion imagery connotes a possibility to find a way back to a life lived in and through the active unconsciousness. Fountain imagery and images of water connoting growth and openness connote the strong, creative life force inherent in the active unconsciousness. However, some water imagery in the novel also contradicts any notion of a stable balance—Lawrence universe is one where death and destruction is a necessary component of life and creativity.

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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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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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8

Driskill, Richard T. "Madonna, maiden and martyr : models of femininity in some early works of André Gide and D.H. Lawrence." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/14828.

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This dissertation studies certain similarities between some early Bildungsroman of D. H. Lawrence and André Gide. In Lawrence's Sons and Lovers and The Rainbow, and Gide's L'lmmoraliste and La Porte étroite, the authors explore the destructive effects of cultural "Icons", narrowly codified gender roles, upon sensitive young European women at the turn of the century. Through an intricate subtext of allusive imagery, postures, language, and "mythical" patterns, Lawrence and Gide imply that a patristic Christianity had somehow enlisted certain strains of Romance to fashion a pervasive cultural code that encouraged young women to be virginal, passive, and receptive to suffering. The young female protagonists look to their roles as Madonna, Maiden, and Martyr as an escape from a provincial world that offers little to their "over brimming" souls. Ironically, it is their Knight-Christs, the "mentors" who propose to teach them about the higher world, who imprison them further. Pretending to elevate them to the status of Spiritual Muse to inspire the male quest for selfhood, the lovers demand of their Madonna-Maidens a passivity whereby suffering is their only "heroic" act. Male-sculpted models of femininity, then, make it impossible for young women to pursue their own quests for the authentic "self". The final tragedy for the young women comes when their opposite numbers awaken from Romance's pregenital spring to what Lawrence calls "blood-consciousness". The Maidens' Knight-Christs now find restrictive their spiritual lovers and desire instead the initiation into the "flesh" preached by a new cultural code, that of Nietzsche et al. Lawrence's and Gide's young female characters, then, serve as exemplars of an entire generation of young women destroyed in this teleological shift to a new cultural ethos, one in which, suddenly, their "virtues" are judged vices, all they had been presented to them as "natural" is deemed "unnatural".

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Watson, Anna Elizabeth. "Music lessons and the construction of womanhood in English fiction, 1870-1914." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5479.

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This thesis explores the gendered symbolism of women's music lessons in English fiction, 1870-1914. I consider canonical and non-canonical fiction in the context of a wider discourse about music, gender and society. Traditionally, women's music lessons were a marker of upper- and middle-class respectability. Musical ‘accomplishment' was a means to differentiate women in the ‘marriage market', and the music lesson itself was seen to encode a dynamic of obedient submission to male authority as a ‘rehearsal' for married life. However, as the market for musical goods and services burgeoned, musical training also offered women the potential of an independent career. Close reading George Eliot's Daniel Deronda (1876) and Jessie Fothergill's The First Violin (1877), I discuss four young women who negotiate their marital and vocational choices through their interactions with powerful music teachers. Through the lens of the music lessons in Emma Marshall's Alma (1888) and Israel Zangwill's Merely Mary Ann (1893), I consider the issues of class, respectability and social emulation, paying particular attention to the relationship between aesthetic taste and moral values. I continue by considering George Du Maurier's Trilby (1894) alongside Elizabeth Godfrey's Cornish Diamonds (1895), texts in which female pupils exhibit genuine power, eventually eclipsing both their music teachers and the artist-suitors for whom they once modelled. My final chapter discusses three texts which problematize the power of women's musical performance through depicting female music pupils as ‘New Women' in conflict with the people around them: Sarah Grand's The Beth Book (1895), D. H. Lawrence's The Trespasser (1912) and Compton Mackenzie's Sinister Street (1913). I conclude by looking forward to representations of women's music lessons in the modernist period and beyond, with a reading of Katherine Mansfield's ‘The Wind Blows' (1920) as well as Rebecca West's The Fountain Overflows (1956).

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Tan, Teresa, and 談玉儀. "The Color Paradigm in D. H. Lawrence: Painterly Symbolism in Women in Love." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/83959032996358550717.

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碩士
淡江大學
西洋語文研究所
88
The “analogy of forms” method of interpretation has contributed tremendously to academic studies of matters linguistic and the pictorial. D. H. Lawrence especially invites the ‘analogy of forms’ interpretation because his novels overtly concern themselves with aesthetic currents and arguments. Women in Love, the author’s novel most strongly influenced by modern art, throws much light on Lawrence’s aesthetic development, which begins with color-oriented Impressionism, vibrant Post-Impressionism, subjective Expressionism, sensual Primitivism, and ends up with dynamic Futurism. Readers of Lawrence frequently observe that certain color patterns in Women in Love are prominently connected with the inner struggles of the protagonists. Thus, I have attempted to analyze in detail the six major characters in terms of their “color personalities” and show how each “color character” has been painted with a striking contrast between his or her dominant and complementary hues. Such comparison clarifies Lawrence’s consciously symbolic use of color to delineate and give depth to his main characters. With a view to enhancing a visual reading of the novel, I have also placed central emphases on character-portraits by relating them to Lawrence’s great interests in modern arts: Minimalist carvings, Picasso reproductions, Futurist paintings, industrial friezes, Dalcroze’s eurythmic dance, and Primitive African figurines. These African statuettes reflect Lawrence’s philosophical meditation on what he believed were two modes of being: the North-European “white” ethos, as seen in Gerald’s “ice-destructive knowledge,” and the “black” African ethos of dark sensuality, as manifested by the African statuettes. Neither is a healthy culture, for Lawrence is anxious for “an equilibrium, a pure balance of two single beings─as the stars balance each other.” I have tried to show how Lawrence’s painstaking use of color symbolism, and his great concern for modernist art, have been major forces in shaping and giving depth to Women in Love.

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Books on the topic "Women in love (Lawrence, D. H.)"

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D.H. Lawrence's The rainbow and Women in love: A critical study. New York: Peter Lang, 2005.

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D. H. Lawrence: Myth and metaphysic in The rainbow and Women in love. Ann Arbor, MI: UMI Research Press, 1988.

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D.H. Lawrence on screen: Re-visioning prose style in the films of The rocking-horse winner, Sons and lovers, and Women in love. New York: Peter Lang, 1999.

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Hirai, Masako. Sisters in literature: Female sexuality in Antigone, Middlemarch, Howards End, and Women in love. Basingstoke [England]: Macmillan Press, 1998.

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D. H. Lawrence and Frieda: A portrait of love and loyalty. London: André Deutsch, 2008.

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Love and death in Lawrence and Foucault. New York: Peter Lang, 2008.

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Destinies of splendor: Sexual attraction in D.H. Lawrence. New York: Peter Lang, 2009.

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Hardy, Robert. Men's yearning anger toward women in the writings of D. H. Lawrence, Dion Fortune, and Ted Hughes: The battle between Jehovah and the Great Goddess. Lewiston: Edwin Mellen Press, 2015.

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Lawrence's leadership politics and the turn against women. Berkeley: University of California Press, 1986.

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D.H. Lawrence and survival: Darwinism in the fiction of the transitional period. Montreal: McGill-Queen's University Press, 2003.

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Book chapters on the topic "Women in love (Lawrence, D. H.)"

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Kelsey, Nigel. "Women in Love." In D. H. Lawrence: Sexual Crisis, 141–80. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21749-6_5.

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DiBattista, Maria. "4. Women in Love: D. H. Lawrence’s Judgment Book." In D. H. Lawrence, edited by Phillip L. Marcus, 67–90. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501741135-005.

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Wexler, Joyce Piell. "D. H. Lawrence: Women in Love." In A Companion to Modernist Literature and Culture, 393–401. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996331.ch44.

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Schmidt, Johann N. "Lawrence, D. H.: Women in Love." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8945-1.

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MacKillop, Ian. "Women in Love, Class War and School Inspectors." In D. H. Lawrence: New Studies, 46–58. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18695-2_4.

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Messenger, Nigel. "Women in Love (1920)." In How to Study a D. H. Lawrence Novel, 78–104. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-09125-6_5.

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Donaldson, George. "Unestablished Balance in Women in Love." In D. H. Lawrence in Italy and England, 52–76. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1007/978-1-349-27073-6_4.

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Roberts, Neil. "Lawrence’s Tragic Lovers:The Story and the Tale in Women in Love." In D. H. Lawrence: New Studies, 34–45. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18695-2_3.

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Mensch, Barabara. "Authoritarian, Totalitarian and Utopian Elements in Women in Love." In D. H. Lawrence and the Authoritarian Personality, 71–118. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-12455-8_4.

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Becket, Fiona. "‘The Tension of Opposites’: The Oxymoronic Mode of Women in Love." In D. H. Lawrence The Thinker as Poet, 145–89. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230378995_7.

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