Women in Love and Education: D. H. Lawrence's Epistemological Critique

2019 ◽  
Vol 14 (3) ◽  
pp. 357-374
Author(s):  
Natasha Periyan
Keyword(s):  
Alternative Form ◽  
Male Teachers ◽  
The Novel ◽  
The Senses ◽  
Intellectual Knowledge ◽  
Women In Love

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.

scholarly journals Kepribadian Tokoh Utama dalam Novel Negeri Para Bedebah Karya Tere Liye Kajian Psikoanalisis Carl Gustav Jung

2018 ◽  
Vol 2 (2) ◽  
pp. 157
Author(s):  
Renni Handayani Sembiring ◽  
Herlina Herlina ◽  
Siti Gomo Attas
Keyword(s):  
Content Analysis ◽  
Research Method ◽  
Personality Characteristic ◽  
Analysis Data ◽  
Personality Types ◽  
The Novel ◽  
Objective Reality ◽  
Subjective Meaning ◽  
Carl Gustav Jung ◽  
The Senses

This study aimed at finding out the main characters’ personality in the novel of Negeri Para Bedebah by Tere Liye based on Carl Gustav Jung’s psychoanalysis. The research method used qualitative with content analysis. Data were collected by inventorying Thomas's conversation based on Carl Gustav Jung's psychoanalytic personality characteristic. It consists of think extrovert, feels extrovert, sense extrovert, intuition extrovert, think introvert, feel introvert, sensitive introvert, and intuition introvert. The results revealed that the discovery of eight main characters’ personality. First, think extrovert is demonstrated by the ability of intellectual analysis of objective experience. Second, feel extrovert is found by responding emotionally to objective reality. Third, sense extrovert is the tendency of figures to analyze the situation. Fourth, intuition extrovert is seen by its character does not care about logic. Fifth, think introvert figure depiction looks inflexible, cold, judge, and cruel. Sixth, feel introvert showed by figures are selfish and unsympathetic. Seventh, sense introvert found the ability of the senses to give them subjective meaning. Eighth, intuition introvert is demonstrated by the figure closing in and keeping the distance from the others. In conclusion, the eight personality types can be found on the whole structure of an irregular novel story.

scholarly journals “Underground Love”: D. H. Lawrence and “Notes from the Underground” by F. M. Dostoevsky

2020 ◽  
pp. 238-250
Author(s):  
E. A. Markova
Keyword(s):  
Direct Reference ◽  
The Novel ◽  
First Time ◽  
Individual Interpretation ◽  
Women In Love

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.

Aimances in Rousseau: Julie or The New Heloise as Treatise on the Passions

2016 ◽  
Author(s):  
Étienne Balibar
Keyword(s):  
The Novel ◽  
The Senses ◽  
Second Degree

This chapter looks at how writing and theory are superimposed in Rosseau's novel, Julie or the New Heloise. Drawing upon two of Paul de Man's readings of the novel in his Allegories of Reading, the chapter embarks on a discussion regarding passion, which is generally considered to hold the philosophical key to the novel, by deriving from two assertions. The first is that that “passion is not something which, like the senses, belongs in proper to an entity or a subject but, like music, it is a system of relationships that exists only in the terms of this system;” it is a relational notion. De Man's second assertion defines the literary category of allegory as a “narrative of the second degree,” which includes the deconstruction of its own immediate, apparently realistic signification.

Gesamtkunstwerk

2020 ◽  
pp. 23-38
Author(s):  
Susan Reid
Keyword(s):  
Experimental Works ◽  
The Senses ◽  
Plumed Serpent ◽  
Women In Love

Lawrence’s engagement with a remarkable range of arts is demonstrated throughout this Companion; this chapter considers the extent to which he brought aspects of these various arts into play within single artworks, notably in Women in Love and The Plumed Serpent. The Gesamtkunstwerk (or total artwork) is usually associated with Wagner, whose influence disseminated through Nietzsche and the German Expressionists into a modernism that sought to engage all the senses at once. Yet, despite its totalising potential, the Gesamtkunstwerk consists of separate artistic media that struggle for coherence or supremacy, and thus it also works to fragment and loosen form, as illustrated by Lawrence’s most experimental works of the 1920s. This chapter considers Lawrence in the context of his German contemporaries ‒ Brecht, Kandinsky, Mann and Schoenberg ‒ and how the paradoxes inherent in the totalising and non-totalising potential of the Gesamtkunstwerk influenced his ambivalent attitudes to society as a form of brotherhood.

scholarly journals Schopenhauer, Nietzsche and D. H. Lawrence’s Women in Love

2020 ◽  
Vol 50 (1) ◽  
pp. 7-16
Author(s):  
James Acheson
Keyword(s):  
Short Stories ◽  
Critical Comment ◽  
Careful Examination ◽  
The Novel ◽  
Will To Power ◽  
University College ◽  
Women In Love

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.

Eighteenth-Century Sensibility and the Novel: The Senses in a Social Context

1995 ◽  
Vol 90 (1) ◽  
pp. 150
Author(s):  
John Mullan ◽  
Ann Jessie Van Sant
Keyword(s):  
Eighteenth Century ◽  
Social Context ◽  
The Novel ◽  
The Senses

Description, the Novel and the Senses

2006 ◽  
Vol 1 (1) ◽  
pp. 53-70 ◽  
Author(s):  
Ala Alryyes
Keyword(s):  
The Novel ◽  
The Senses

scholarly journals Types of Existence in the Romance Vilnius Poker by Ričardas Gavelis

2012 ◽  
Vol 22 (27) ◽  
pp. 180-189
Author(s):  
Lina Buividavičiūtė
Keyword(s):  
Human Being ◽  
The Novel ◽  
Main Character ◽  
Modern Conception ◽  
Theoretical Part ◽  
Authentic Existence ◽  
The World ◽  
The Senses ◽  
Homo Sovieticus

The reception of Ričardas Gavelis’s works still remains problematic. The conception of the author’s novels is controversial, balancing between theories of modernism and postmodernism. This article focuses on one of Gavelis’s most significant novels, Vilnius poker. The analysis is based on the assumption that the postmodern structure hides the modern conception of the novel. The aims of the article are to actualize a modernpostmodern poetics and to analyze the types of existence in the romance. The possibilities of an authentic existence are analyzed in contrast to the monological, postcolonialistic “broken human being”. The analysis of the concept of authentic being is based on the philosophies of Heidegger and Kierkegaard. The concepts of dialogical and monological being are based on the works of Bakhtin and Buber. The article is based on hermeneutic methodology and the theory of dialogue. The concept of authentic being is analyzed in the context of existentialism.In the theoretical part, the author describes the problems of authentic dialogical being in general, and analyses the context of existentialism and the differences between dialogue and monologue. In the first practical part, the types of the monological being in Vilnius poker are analyzed. In the second one, the concept of authentic being in Vilnius poker is analyzed.The article draws the following conclusions: the authentic being is dialogical, polyphonic, polemic; the non-authentic being is monologicalsolypsistic-not asking, not polemic, not questioning the secrets of being, and telling only one “truth.” The monological being of the novel Vilnius poker is typical of homo lituanicus and homo sovieticus existential characters. The authentic being characterizes the protagonist Vytautas Vargalys. The dialogism of true existence is expressed by rebellious, unmasking being, the polemic with himself, the gifts of the world (inner monologue), and the others (real dialogue). The authentic being of Vytautas Vargalys is created from the senses (smell), bodies (eroticism), speaking, and musical dialogues. Unfortunately, the main character is unable to fully express his authentic being: the monological atmosphere, broken identity, and non-telling language are the main impediments to living a true dialogical life.

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