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Journal articles on the topic 'Women in love (Lawrence)'

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Published: 4 June 2021
Last updated: 10 February 2022

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1

Macadré, Brigitte. "The Illogical Logic of Emotion in Women in Love." Études Lawrenciennes, no. 42 (June 15, 2011): 187–204. http://dx.doi.org/10.4000/lawrence.126.

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2

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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3

Feyel, Juliette. "Twilight of the Aristocrats: Foreign Words in Women in Love." Études Lawrenciennes, no. 44 (December 1, 2013): 205–26. http://dx.doi.org/10.4000/lawrence.198.

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4

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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5

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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6

Latham, Monica. "On the Rocks: Women (and Men) in (and out of) Love." Études Lawrenciennes, no. 42 (June 15, 2011): 281–317. http://dx.doi.org/10.4000/lawrence.134.

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7

Brault-Dreux, Elise. "Laughter and Mockery in Women in Love: Heterogeneous Symptoms of Discontent." Études Lawrenciennes, no. 45 (December 15, 2014): 57–76. http://dx.doi.org/10.4000/lawrence.208.

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8

Roussenova, Stefana. "Lawrence’s “Art Speech” and the Malady of Civilization in Women in Love." Études Lawrenciennes, no. 45 (December 15, 2014): 95–106. http://dx.doi.org/10.4000/lawrence.216.

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9

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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10

La Cassagnère, Mathilde. "The Death Instinct and the Recovery of Psychical Integrity in the Bestiary of Women in Love." Études Lawrenciennes, no. 45 (December 15, 2014): 77–94. http://dx.doi.org/10.4000/lawrence.218.

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11

Behnaz, Abed, and Shahabi Hassan. "D.H. LAWRENCE’S SONS AND LOVERS AND WOMEN IN LOVE: AN ERIKSONIAN PSYCHOANALYTIC READING." Malaysian Journal of Languages and Linguistics (MJLL) 6, no. 2 (November 20, 2017): 107–13. http://dx.doi.org/10.24200/mjll.vol6iss2pp107-113.

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In the study, the researcher investigates the role of parents in children’s mental maturity. As a result, lack of rationality of parents in dealing with children will have detrimental effect on their future. Erikson explored the evolution of the superego and distinguished it among infant mortality, adolescent ideology, and adult ethics. His work, which has enriched formal Psychoanalysis, had enormous impact on the clinical area and had wide application in child psychology, education, psychotherapy, and marriage counseling. Since Lawrence’s works provide feasible texture for Psychoanalytic criticism, the two given novels are studied here on the light of Erikson’s theory. In the Study, a new understanding of modernity comes in through the study of D.H. Lawrence’s two major effects. The thesis, in its five chapters, seeks to trace between D.H. Lawrence’s work and Erik Eriksonian psychosocial analysis. It study is an attempt to cover Erikson’s Psychosocial theory, notably the notion of epigenetic theory and then apply it to the reading of two novels by DH. Lawrence (Sons in Lovers 1994 and Women in Love 1921). Erikson’s theory posits that every human being passes through several distinct and qualitatively different stages in life, from birth to death. The notion of identity preoccupied Erikson’s mind more than any other issues in psychology.
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12

Grimes, Linda S. "Lawrence's Women in Love." Explicator 46, no. 2 (January 1988): 24–27. http://dx.doi.org/10.1080/00144940.1988.9935299.

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13

Nataliia, Bazylevych. "FIGURATIVE COMPONENT OF THE CONCEPT OF WOMAN IN THE NOVEL «WOMEN IN LOVE» BY D. L. LAWRENCE." Scientific Bulletin of Kherson State University. Series Linguistics, no. 36 (September 25, 2019): 11–13. http://dx.doi.org/10.32999/ksu2413-3337/2019-36-2.

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14

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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15

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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16

INGERSOLL, EARL. "LAWRENCE IN THE TYROL: Psychic Geography in women in Love and Mr Noon." Forum for Modern Language Studies XXVI, no. 1 (1990): 1–12. http://dx.doi.org/10.1093/fmls/xxvi.1.1.

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17

Kalangutkar alias Wader, Neha Minesh. "Analysing Lawrence and the theme of gender and sexuality in Women in Love." International Journal of Scientific and Research Publications (IJSRP) 9, no. 7 (July 18, 2019): p91107. http://dx.doi.org/10.29322/ijsrp.9.07.2019.p91107.

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18

Verjus, Anne. "Une société sans pères peut-elle être féministe ?" French Historical Studies 42, no. 3 (August 1, 2019): 359–89. http://dx.doi.org/10.1215/00161071-7558292.

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PrécisL'empire des Nairs, publié en 1793, imagine une société dans laquelle mariage et paternité ont été abolis. L'amour et la sexualité y sont libres pour les deux sexes. Les femmes sont payées par l'Etat pour s'occuper des enfants. Les hommes, libérés de toute responsabilité paternelle, placent leur énergie au service de la science ou de la guerre. Lawrence, l'auteur de cette utopie qui connaît de multiples éditions en allemand, anglais et français, se réclame du féminisme. Mais une société qui charge exclusivement les femmes du soin des enfants peut-elle être considérée comme féministe ? Promouvoir l'amour libre, à une époque où l'on ne maîtrise pas la contraception, n'est-il pas une vision androcentrée de l'égalité des sexes ? On répond à ces questions en comparant les propositions de Lawrence avec la législation française et les romans féministes anglais sur le mariage et la paternité dans l'espace transnational de la cause des femmes des années 1790.The Empire of the Nairs, first published in 1793, imagines a society in which marriage and paternity would be abolished. Love and sexuality would be free for both sexes. Girls and boys would receive the same education. Mothers, not fathers, would give their name to children. Women would be paid by the state for taking care of children, while daughters and sons would inherit from the maternal lineage. Fathers, by contrast, having no familial obligations, would reserve their sexual energy for love, genius, or war. Lawrence, the English author of this utopia, considered himself a feminist. But how can a society that places the entire burden of raising children on women be feminist? Wasn't advocating free love, in a time with no contraception, an androcentric point of view? Only by examining the way French legislators and English feminist novelists during the 1790s thought about marriage and paternity can we answer these questions.
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19

Devdiuk, I. V. "THE EXISTENTIAL OF LOVE IN THE NOVELS “THE ILLNESS” BY Y. PLUZHNYK AND “WOMEN IN LOVE” BY D.H. LAWRENCE." Тrаnscarpathian Philological Studies 10, no. 2 (2019): 157–62. http://dx.doi.org/10.32782/tps2663-4880/2019.10-2.30.

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20

Vautherin, Béatrice. "Les structures avec inversion dans Women in Love de D.H. Lawrence et sa traduction française." Palimpsestes, no. 5 (January 1, 1991): 37–49. http://dx.doi.org/10.4000/palimpsestes.614.

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21

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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22

Bo, Ting. "An Analysis of Lady Chatterley's Lover from the Perspective of Ecofeminism." Theory and Practice in Language Studies 8, no. 10 (October 1, 2018): 1361. http://dx.doi.org/10.17507/tpls.0810.15.

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Eco-feminism, as a new theoretical criticism of literature, combines the oppression and domination of women. There is a critical connection between woman and nature, originating from their shared history of oppression by a patriarchal Western society. The development of eco-feminism has significant influence on attitudes of human beings toward nature, especially the relationship between nature and woman. Lawrence is well-known for both his unique writing techniques and frank expression of sex. In Lady Chatterley's Lover, Lawrence shows his strong awareness of eco-feminism by exploring the relations between man and man, nature and man, nature and woman.
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23

Bell, Michael. "Towards a Definition of the ‘long modernist novel’." Modernist Cultures 10, no. 3 (November 2015): 282–98. http://dx.doi.org/10.3366/mod.2015.0115.

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This paper considers a number of long fictions from the modernist period to see how far their length serves specifically modernist concerns, especially temporality and history. Various extended narratives suit modernist aesthetic mythopoeia for which Nietzsche's essay on The Advantages and Disadvantages of History for Life provides a philosophical articulation. Joyce's Ulysses, Proust's A la recherche, and Mann's Joseph and his Brothers (along with Lawrence's The Rainbow and Women in Love) are the principal works compared and contrasted. But there are authors who stand apart from these encompassing, if not to say masterful, mythopoeic visions. Musil's unfinished Man without Qualities resists the modes of resolution which in several of the former instances have a strongly masculinist inflection. So too, to a significant extent, does Lawrence with his strongly feminine sensibility. Above all, Virginia Woolf and Dorothy Richardson, while engaging with similar concerns, constitute a critical outside to the mythopoeic grouping.
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24

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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25

Watson, G. "D H Lawrence (in Women in Love) on the desire for difference and 'the Facism in us all'." Cambridge Quarterly 26, no. 2 (February 1, 1997): 140–54. http://dx.doi.org/10.1093/camqtly/26.2.140.

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26

Watson, G. "D. H. Lawrence (in Women in Love) on the Desire for Difference and 'the Facism in US All'." Cambridge Quarterly XXVI, no. 2 (February 1, 1997): 140–54. http://dx.doi.org/10.1093/camqtly/xxvi.2.140.

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27

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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28

Wen, Ting. "Is Connie a New Woman on the Way to Happiness?—An Analysis of Connie in Lady Chatterley’s Lover from the Perspective of Feminism." Theory and Practice in Language Studies 9, no. 8 (August 1, 2019): 1020. http://dx.doi.org/10.17507/tpls.0908.20.

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Lady Chatterley’s Love, the last novel written by David Herbert Lawrence, caused quite a series of controversy in the circle of literary critic and among the readers. The heroine in the novel, Connie, Lady Chatterley, is a key figure to be considered when we interpret this work thoroughly. Connie is still regarded as a brave woman at that time that defies the shackles of old ethics and seeks personal emancipation. Can Connie be counted as a real new woman? Why? This paper attempts to answer this question from the perspective of feminism.
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29

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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30

Constantine, D. "DAVID ELLIS (ed.), D. H. Lawrence's Women in Love: A Casebook." Notes and Queries 57, no. 1 (January 28, 2010): 148–49. http://dx.doi.org/10.1093/notesj/gjp238.

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31

Kern, Stephen. "Modernist Ambivalence about Christianity." Renascence 73, no. 1 (2021): 57–75. http://dx.doi.org/10.5840/renascence20217315.

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Kern argues that the responses of Friedrich Nietzsche, James Joyce, André Gide, D. H. Lawrence, and Martin Heidegger to Christianity made up a Weberian ideal type. Accordingly: They all were raised as Christians but lost their faith when they began university studies. They all criticized the impact that they believed the anti-sexual Christian morality, with its emphasis on sin, had had, or threatened to have, on their love life. For that reason they were militantly anti-Christian but also ambivalent about Christianity. They worked to replace the loss of Christian unity with non-Christian unifying projects in literature and philosophy. Virginia Woolf, who was raised as an atheist, conformed to many of these elements of the ideal type but added another in criticizing the fragmenting patriarchal society that supported the dominant patriarchal Church of England. She envisioned new man-womanly and woman-manly types who could cultivate their understanding and love for one another in less polarizing and more humanizing ways.
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32

Kadiyski, Evgеniy, and Zlatka Taneva. "VULGARITY AND BEAUTY IN THE EXPRESSION OF FEMALE SEXUALITY IN LITERATURE AT DIFFERENT TIMES." Knowledge International Journal 34, no. 6 (October 4, 2019): 1677–82. http://dx.doi.org/10.35120/kij34061677k.

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In most scientific papers, female sexuality is represented from the point of view of physiology. In "History of Sexuality", Michel Foucault introduces the term "superknowledge of sexuality," stating that this notion "is not developed at the level of the individual, but at the level of culture and society." According to Foucault, the knowledge of contemporary society of sexuality coexists with the inability to realize our own sexuality. Knowledge of sexuality is rather theoretical, philosophical, analytical, but not personal.We will explore the nuances of female sexuality in the works of classics, as well as in some modern works. Even in the biblical scripture of the creation of the woman and of the original sin, Eve is present, tempting and challenging. She provokes Adam to pick up the forbidden fruit. She is chosen to commit the Fall. She gives in to the temptation. She persuades Adam to taste the fruit of the tree.How does a woman express her sexuality, is she equal in dignity to a man, is only she subject to sin, is she submissive to the man, is not she stronger than him with her emotionality?We will look for answers to these questions in Otto Weinginger's "Gender and Character", who tragically interrupted his life at the age of 23. His different views on the character of the woman, the absolute superiority of the man, her role as a pimp, are later developed or refuted in various literary and scientific works.Female sexuality is expressed in a different way. A woman is fragile, timid, even innocent in the literary works of the Marquis de Sade, but her fate is fatal. Seduction through sincerity and repentance, through obedience and the power of emotions - all this leads to a fatalism so beautifully reproduced in the feminine images of the Marquis de Sade.In the originally forbidden novel "Lady Chatterley's Lover", D. Lawrence presents a new world of love and freedom. Here, female sexuality is in conflict with the irresistible desire to break the constraints of society at that time. Society is vulgar to the open expression of female sexuality and despises the woman's desire to devote herself entirely. In the novel, sexuality is not ostentatious but interwoven with romanticism and dedication. Lawrence sharpened the contrast between the cynicism of modern thinking and the spontaneity of love. The year is 1928, the novel is like a bang.In the fifties of the last century, appeared Vladimir Nabokov`s Lolita. The novel scandalizes with its sophisticated perversity, but that is only at first glance. Nabokov is fascinated by the idea of love, love as madness, as self-forgetting, as obsession. Sexuality is devastating, the little "nymphet" is charming, dangerously seductive and insidious. Sometimes Lolita in her newly awakened sexuality is even vulgar.At a later stage, P. Modiano envelops sexuality in mystery. The character of “Villa Triste” sinks into a mysterious veil, the memories come back, everything is like in a fog, like in a slow-motion. Yvonne is vulnerable and confused, delightful in her disdain for the others, only a few steps away from the audience, a slight smile, and the magic is here. No action is required from her, only a perfect gait, a casual head, a dreamy look, and all are captivated. Beauty and perfection. The woman conquers only with her presence. Sexuality consists in the challenging smile, in the dance of the golden-red hair. Discretion and mystery. Eroticism.We finish with the novel by P. Buvivalda "Bonita Avenue". Characters are bright, memorable, non-standard. We are entering the depths of sexuality, with its cynical manifestations, but described gently and intriguingly.
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Brucker, Barbarab S. "Ganzheit im Selbst: Eine Analyse von D.H. Lawrences «Women in Love» nach C.G. Jung." Analytische Psychologie 21, no. 1 (1990): 17–51. http://dx.doi.org/10.1159/000471295.

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34

Neilson, Brett. "D. H. Lawrence's "Dark Page": Narrative Primitivism in Women in Love and The Plumed Serpent." Twentieth Century Literature 43, no. 3 (1997): 310. http://dx.doi.org/10.2307/441914.

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35

Soonhee Lim. "The Debates on Visual Arts as a Cultural Critique in D. H. Lawrence’s Women in Love." New Korean Journal of English Lnaguage & Literature 51, no. 2 (May 2009): 157–74. http://dx.doi.org/10.25151/nkje.2009.51.2.008.

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36

ullah, Kifayat. "Lack of Tenderness: The Main Culprit for the Relationship between Husband and Wife in Lady Chatterley’s Lover." University of Chitral Journal of Linguistics and Literature 1, no. 1 (March 3, 2018): 126–35. http://dx.doi.org/10.33195/uochjll/1/1/07/2017.

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This article presents the case of Chatterley and Clifford, the two main characters in Lady Chatterley’s Lover, to consider tenderness a basic working emotion to shape human relationship. The lack of tenderness causes emotional as well as physical distance in relation, especially that of male-female’s relation. The first part of the article reviews tenderness. The second part reviews how tenderness and lack of tenderness affects male-female relationship in the selected novel, Lady Chatterley’s Lover. On the basis of a careful analysis of Lady Chatterley’s Lover, the present writer tries to prove that the lack of tenderness is the main culprit for the broken relationship between husband and wife: a major one of the relations between man and woman in human society and mutual tenderness elicits people awakening to a new way of living in an exterior world that is uncracking after the long winter hibernation. Lawrence, through revelation of Connie’s gradual awakening from tenderness, has made his utmost effort to explore possible solutions to harmonious androgyny between men and women so as to revitalize the distorted human nature caused by the industrial civilization.
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37

Creighton, Matthew. "On the Pleromatic." Religion and the Arts 22, no. 3 (June 17, 2018): 294–315. http://dx.doi.org/10.1163/15685292-02203002.

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Abstract This essay meets at the crossroads of religion and literature, insofar as it concerns the extent to which fictional characters can articulate religious viewpoints. The subject here is D. H. Lawrence’s Women in Love with particular focus on the novel’s main character, Rupert Birkin. This essay argues that Birkin’s particular worldview, and the source of the strangeness with which it is encountered, is due to its location outside Judeo-Christian frameworks and inside a fundamentally “Gnostic” one. To prove this argument, I first adumbrate essential features of the Gnostic myth and then proceed to show how Birkin both reflects and departs from them.
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38

Rouhiainen, Tarja. "Free Indirect Discourse in the Translation into Finnish." Target. International Journal of Translation Studies 12, no. 1 (September 12, 2000): 109–26. http://dx.doi.org/10.1075/target.12.1.06rou.

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Abstract Free indirect discourse (FID) is a narrative technique which purports to convey a character’s mental language while maintaining third-person reference and past tense. This paper deals with the problems the use of FID may create for Finnish translators of English literary narratives. A comparative analysis of D.H. Lawrence’s Women in Love and its translation into Finnish shows that the translator’s treatment of the pronouns he/she may shift the viewpoint from the character’s consciousness to the narrator’s discourse. The article concludes with the question of what stylistic norms could explain the translator’s avoidance of the spoken-language simulation typical of the source text.
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Rosinberg, Erwin. "“After us, not out of us”: Wrestling with the Future in D. H. Lawrence’s Women in Love." MFS Modern Fiction Studies 59, no. 1 (2013): 1–25. http://dx.doi.org/10.1353/mfs.2013.0018.

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40

Devdiuk, Ivanna Vasylivna, and Svitlana I. Nisevych. "Women Artists in the British and Ukrainian Literature at the Turn of the 19th – 20th Century: D. H. Lawrence’s Women in Love and O. Kobylianska’s Valse Mélancolique." Journal of History Culture and Art Research 9, no. 3 (September 28, 2020): 226. http://dx.doi.org/10.7596/taksad.v9i3.2661.

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41

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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42

Neha, Neha. "The Image of Man’s Relationship to Other Man in D. H. Lawrence’s Novels ‘Woman In Love’ and ‘Aaron’s Rod." Indian Journal of Applied Research 3, no. 8 (October 1, 2011): 369–70. http://dx.doi.org/10.15373/2249555x/aug2013/119.

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STEVENS, HUGH. "Love and Hate in D. H. Lawrence." Men and Masculinities 4, no. 4 (April 2002): 334–45. http://dx.doi.org/10.1177/1097184x02004004003.

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Hoffpauir, Richard. "The Early Love Poetry of D. H. Lawrence." ESC: English Studies in Canada 14, no. 3 (1988): 326–42. http://dx.doi.org/10.1353/esc.1988.0049.

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Hobsbaum, Philip, D. H. Lawrence, David Farmer, Lindeth Vasey, John Worthen, Warren Roberts, James T. Boulton, Elizabeth Mansfield, and D. H. Lawrence. "Women in Love." Yearbook of English Studies 20 (1990): 333. http://dx.doi.org/10.2307/3507617.

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Crossley, C. T. "Women in Love." Women: A Cultural Review 18, no. 2 (August 2007): 226–28. http://dx.doi.org/10.1080/09574040701400395.

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Scher, Murray. "Women in Love." Psychotherapy Patient 3, no. 2 (June 11, 1987): 29–35. http://dx.doi.org/10.1300/j358v03n02_04.

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48

Miller, Nolan, D. H. Lawrence, David Farmer, Lindeth Vasey, and John Worthen. "Women in Love." Antioch Review 46, no. 1 (1988): 110. http://dx.doi.org/10.2307/4611843.

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Cushman, Keith. "The Poetic Voices of Love Poems and Others." Études Lawrenciennes, no. 44 (December 1, 2013): 61–76. http://dx.doi.org/10.4000/lawrence.187.

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Delfini, A. "Remaking Love: Undoing Women?" Telos 1988, no. 76 (July 1, 1988): 161–69. http://dx.doi.org/10.3817/0688076161.

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