글로버메뉴 바로가기 본문 바로가기 하단메뉴 바로가기

논문검색은 역시 페이퍼서치

D. H. 로렌스 연구검색

D. H. Lawrence Studies


  • - 주제 : 어문학분야 > 영문학
  • - 성격 : 학술지
  • - 간기: 반년간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1226-4318
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 24권 2호 (2016)

D. H. 로렌스의 「달아난 수탉」에서 부활에 대한 존재론적 연구

김영호 ( Young-ho Kim )
7,500
초록보기
The aim of this paper is to examine the ontological meaning of the resurrection in the flesh in “The Escaped Cock”. In a letter Lawrence says that the resurrection in the flesh is “far more marvelous than any salvation or heaven”. Likewise, the man who died fully recovers his body by fundamentally “forgetting” the sacred(transcendental) mission. For Spinoza “the immanence is not immanence to substance; rather substance and modes are in immanence.” The univocal being must be formed in the intensive life, whose “becoming active is the cretion of a new body” in the plane of immanence. The fact that “God is the immanent, not the transitive, causes of all things” means all beings is univocal. The God as immanent cause is Nature as a creative force, “God or Nature.” Nature is not a form or fixed plane, but “the process of establishing relations” for all beings on the earth. So all is becoming in this plane of Nature. In this regard, it is possible for a religious knowledge to affirm “a life” ontologically. Spinoza`s third kind of knowledge is to achieve the God`s knowledge by experiencing with others in the Nature. All things are singular and that for Lawrence, “All is God” is to express the nature is god, so all beings are always creative and becoming, especially through relatedness with others; living or unliving, that is, rocks, flowers, animals, and humans. In immanence, God is Nature, which is a plane becoming a life in various way, a becoming of life. In this novella, the cock as a phallic symbol of the man who died represents the life of intensity like an animal vigor which is “a desire for pure relationships and living truth.” Animal sensibility is to affirm active force, “unconscious instincts” and desires in a positive sense. The man who died with this animal vigor recovers the whole of vitality of his body after entering into the sexual relation with the Priestess of Isis. The fact that “the sun is a great source of blood-vitality” as a symbol functions “his initial painful awakening to his eventual redemptive sexual relationship with the priestess of the pagan goddess Isis,” which is “an erotic realization of transpersonal energies that obliterates personal love.” As a result, the event the man who died experiences is that “I am God” in nature, a sort of beatitude, which affirms only univocial ontology that expresses a becoming-imperceptible in a zone of immanence. In short, the resurrection in the flesh is an act of becoming only in the earth. It is the ontology of the man who died who can affirm flesh entirely with intensities of affects.

“이루 말할 수 없는, 경이로운 친밀감”의 이면― D. H. 로렌스의 「눈 먼 남자」

윤영필 ( Young-phil Yoon )
한국로렌스학회|D. H. 로렌스 연구  24권 2호, 2016 pp. 37-58 ( 총 22 pages)
6,200
초록보기
“The Blind Man” is a story about the marital life of a blind man named Maurice, who was awakened to a new, powerful mode of consciousness by his loss of sight, and his wife Isabel. It is also about the relationship between him and her intimate friend Bertie who, with his deep aversion to physical contact, lives solely from mental or visual consciousness. The conspicuous contrast between the two men and the impressive concluding scene in which the blind man dramatically overwhelms the other drew most of the readers` attention away from the former, to the latter relationship, not unfrequently leading to the view that this tale is an unfiltered projection of Lawrence`s well-known idea of the superiority of blood consciousness over mental consciousness. In spite of the apparent simplicity, however, this work is full of rich complexity and deep suggestiveness that comes from the dextrous use of the point of view, subtle characterization of Isabel, and the gradual revealing of her marital life. Focusing on the pivotal figure, Isabel, who functions as the central consciousness, this paper probes into the elusive reality of her marital life which constitutes an integral part of the tale. It brings to light the complicated nature of her psyche which is split between the desire to seek a richer life with her husband and the inimical mental traits typical of modern woman. Also it clarifies that the marital relation between her and Maurice, which, owing to his new way of consciousness, had a year-long period of wonderful intimacy and fecundity before it reached its present crisis, had been long undermined by her possessiveness and stubborn will to isolated connubial happiness. In the light of this, it will further examine the relationship between Maurice and Bertie and the implications of the concluding scene.

로렌스의 시에 나타난 예언적 비전

전영옥 ( Youngok Jeon )
한국로렌스학회|D. H. 로렌스 연구  24권 2호, 2016 pp. 59-75 ( 총 17 pages)
5,700
초록보기
D. H. Lawrence`s prophetic vision is concerned with his esthetics. Lawrence asserts that the essential quality of poetry is to make a new effort of attention and discover a new world within the known world. In this phrase, “new effort of attention” and “discover a new world” are very important phrases. The effort of attention is to open passively and humbly to the divine in natural objects and to balance the two principle modes of consciousness, “blood self” and “nerve-brain self.” Lawrence thinks that the effort of attention can make readers recover whole consciousness and live whole life harmonized with the universe. It is a poetic healing for readers to live in life-in death without their own life force. Lawrence shows that to recover our new whole consciousness, our old self which is obsessed by light, brain, reason, spirit should be passed away. The trial is very hard for human, but through the effort attaining to it we may heal our unbalanced consciousness and live whole life in the world.

청각, 촉각, 이교도 감성: 『귀향』의 유스테시아와 『무지개』의 어슐라

최나영 ( Rayoung Choi )
한국로렌스학회|D. H. 로렌스 연구  24권 2호, 2016 pp. 77-99 ( 총 23 pages)
6,300
초록보기
The Return of the Native(1878), has the characteristics of Modernism, unlike other writers of realism in the Victorian period. In Thomas Hardy`s most writings, the pagan ceremonies, the belief in superstitions, and the mythical motifs are seen to be prevalent. Hardy raised his skepticism about Western civilizations which had taken a deep hold upon the reason and Christianity. He believed that Christianity at that time contributed not only to building the self-deceptive Victorian culture, but to functioning quietly and secretly on a measure exclusively for the bourgeoisie. Through using the sense of hearing instead of that of sight, Hardy attempted to recover the natural bond with man and the universe. D. H. Lawrence`s novel, The Rainbow(1915), on the other hand, was stigmatized as part of the obscene literature and was stipulated to dispose the rest of his books by law. The naked pursuit of sex in the novel drew unwelcome attention and became an object under censorship in the society. While Hardy showed his anti-victorian spirits through the representation of the pagan cultures and traditional superstitions around the English country, in particular, Wessex, Lawrence launched a frontal attack on the society by foregrounding the problems of the institutionalized religion and the modernized human-beings against the life-force. Hardy`s and Lawrence`s two respective female characters, Eustacia and Ursula, had different values from the women in general at the time, in that they voluntarily found their own love and life following their instinctive sensual senses. This paper illuminates how the modern society has degenerated and dismissed human senses and the life of religion as simple empirical tools in Hardy`s and Lawrence`s novels. By bringing attention to the significance of the senses, especially the sense of hearing and touching against that of sight, it tries to show how tragic the institutionalized religion and human-beings which have lost their own vitality can be.

길 잃은 “여자들을 위한” 이야기: The Lost Girl

최선령 ( Sun Ryoung Choi )
한국로렌스학회|D. H. 로렌스 연구  24권 2호, 2016 pp. 101-116 ( 총 16 pages)
5,600
초록보기
This paper aims to analyse the way the narrator`s view of modern women`s social work negatively affects the consistency and wholeness of the narrative, in D. H. Lawrence`s The Lost Girl. Many critics have considered The Lost Girl as an unsuccessful novel, generally arguing that it lacks a consistency between the English and the Italian parts of the novel. Basically agreeing with them, this paper focuses on the problem of inconsistency in the characterization of Alvina, the heroine of this novel. It arises from the discrepancy between the Alvina as represented by the narrative itself and the Alvina conducted by the interfering narrator. Unlike Ursula Brangwen in The Rainbow and Women in Love who has a depth of insight and feeling, Alvina should have been let to live an ordinary living as a rather common girl of declining mercantile class. However, as soon as she actually takes a nursing position, the narrator interferes and prematurely dismisses the episode and furthermore, makes a sweeping criticism of the common people and their way of life. The narrator`s criticism of modern mechanical work or modern women`s preoccupation with `social` work is acceptable and valid to some extent. Nevertheless, the narrator`s pertinacious denial and neglection of her commonness or her search for common career makes this novel unconvincing, and unpopular as well.
1