D. H. Lawrence

Nastassia Hancharova Psychoanalytic analysis on " Second Best " by D.H. Lawrence. "Second Best" is a short story written by an English novelist, short-story writer, poet, critic, playwright and essayist - David Herbert Lawrence. His major religion was the belief in the unique value of each individual, in the sacredness of sexual life and the primacy of the deepest emotions.

St. Mawr (written 1924, published 1925) is usually addressed in terms of Lawrence’s encounters with otherness and difference, as well as his broader critique of industrialisation. This article argues for the significance of popular culture in the novella to show how it also participates in the discussion of issues – around the self, culture and society – usually associated with Lawrence’s final period in Europe. By offering a new reading of the Devil’s Chair scene, that explores the importance of a “new dance tune” (SM 75) and extends arguments about Rico as “representative of modern civilized ‘life’” and its damaging effects, I examine how Lawrence critiques popular art, music and film as limiting peoples’ capacities for independent thought. St. Mawr thus anticipates Lawrence’s claims about the effects of mass culture in Pornography and Obscenity (1929) and his exploration of the modern “psychological condition” in his 1927 ‘Review of The Social Basis of Consciousness, by Trigant Burrow’ (IR 332).

We often think of Mrs Dalloway or A Portrait of the Artist as a Young Man as difficult books, originally published in small print runs for a handful of readers. But from the mid-1920s, these texts and others were available in cheap format across Europe. Uniform series of reprints such as the Travellers’ Library, the Phoenix Library, Tauchnitz and Albatross sold modernism to a wide audience – thus transforming a little-read “highbrow” movement into a popular phenomenon. The expansion of the readership for modernism was not only vertical (from “high” to “low”) but also spatial – since publishers' series were distributed within and outside metropolitan centres in Britain, continental Europe and elsewhere. Many non-English native speakers discovered texts by Joyce, Woolf and others in the original language – a fact that has rarely been mentioned in histories of modernism. Drawing on extensive archival work supported by grants from the Andrew W. Mellon foundation, the Harry Ransom Center and the Humboldt foundation, Cheap Modernism sheds new light on the complex relationship between modernism and the marketplace. It will be of particular interest to students of modernism and book history – and to all those who want to learn how the new literature became a global commercial hit.

"Twilight in Italy" demonstrates Lawrence’s subversive use of literary form and his challenging vision, proving that geography is able to shape and/or reshape personal identity. It is in this very special volume that Lawrence forges a highly original narrative formula, one worthy of critical attention given that it “cuts across literary genres",  bringing together narrative, essay and poetry while depicting inward images, which we may call “selfscapes” full of warmth and colour.
There is an autobiographical impulse in all of Lawrence’s writings. However, "Twilight in Italy" lacks the intimate, domestic details that prevail in "Sea and Sardinia". Much more reflexive and philosophical, Lawrence’s quest for transcendence and tranquillity is an account of his ongoing preoccupation with whatever might lie beyond the visible. His stylistic powers are at their best in this lamento on the ubi sunt theme, albeit one that is oriented not towards the past but towards the future.

Abstract
THE FIGURE OF MlEDEA IN MEDIEVAL LITERATURE:
A THEMATIC METAMORPHOSIS

by

Joel N. Feimer

Adviser : Professor Frederick Goldin

The figure of Medea has undergone many thematic transformations since
its first appearance in the epic poems and dramas of ancient Greece.
In Hesiod, Medea is a type of fairy tale princess. In Euripides, she
is a vengeful woman whose wrath inspires the greatest of enormities,
the slaughter of her own children. Apollonius portrays a young Medea
struggling valiantly, but fruitlessly against a divinely inspired
passion. The Latin poets and philosophers depict Medea as titanic,
frightening, often a criminal . In Ovid ' s Metamorphoses, Medea degenerates
into a blind, destructive force. In the twelfth century Roman
de Troie , Medea undergoes a remarkable trans formation when she is
placed in the context of fin' amour. Here, she is a positive, life sustaining
figure motivated to perform helpful deeds by her noble passion.
In medieval literature, the fortunes of the figure of Medea
follow the writer's attitude toward secular love . When the medieval
poet approves of fin' amour, Medea is portrayed positively. However,
when secular passion is denigrated in favor of divine love, Medea
is characterized as a type of willful, destructive woman, at the
mercy of her unrestrained lust. In the French prose versions of
the Roman de Troie, Guido delle Colonne's Historia Destructionis
Troiae, and Boccaccio's De Mulieribus Claris , such a negative Medea
may be found . However, in Chaucer 's Legend of Good Women and Gower's
Confessio Amantis, Medea is portrayed as a saint of secular love for
her unstinting fidelity to Jason. At the hands of Chaucer and Gower,
Medea receives her most radical transformation, sanctification in
the context of fin ' arnour.

The Journal of Literatue and Science, of which I am editor, published its latest issue (5.2) at the end of 2012. It includes a special issue on nature and the long nineteenth century, and a roundtable discussion on historicism  with leading scholars in the field: John Holmes, Leah Knight, Peter Middleton, Sally Shuttleworth and Michael Whitworth. There are also reviews of recent journal articles (the JLS is the only journal to review journal articles rather than books). The JLS is committed to open access for academic work and is therefore freely available from the journal website at: http://literatureandscience.research.glam.ac.uk/journal/home. The entire issue is posted here for reading and downloading. Individual articles can be obtained on the journal website.

2013. "La era del vacío. Ensayos sobre el individualismo contemporáneo" de Gilles Lipovetsky se publicó en 1983. Se trataba de una colección de textos que se remontaban hasta 1979 y que articulaban una misma idea: el capitalismo moderno había provocado una complicada ruptura en el mundo occidental y había conducido a una sociedad individualista, risueña, cool, respetuosa de las diferencias e irrespetuosa de las jerarquías, ávida de identidad, apática y narcisista, escéptica de los grandes relatos y de los corsés ideológicos, emancipada de los centros y de las represiones, desenfadada, irónica, nostálgica, consumista, ligera, en fin, posmoderna. El optimismo de Lipovetsky resultaba desmedido e hipnótico; era irresistible.

La sociedad capitalista occidental ―parecía decir― se había transformado en la aldea de los Pitufos. La personas eran simultáneamente iguales y diferentes (Pitufo Poeta, Pitufo Gruñón, Pitufo Goloso, Pitufo Genio, Pitufo Fortachón...); remarcaban su universalidad al expresar su individualidad y confirmaban su individualidad al reconocerse como sujetos universales. Y al final del día todos cantaban y bailaban alegres por el bosque. Si el embajador de la modernidad era Conan el Destructor, el representante de la posmodernidad era Forrest Gump.

El libro fue un éxito inmediato y Lipovetsky no se detuvo. Le siguieron dos trabajos que completaron su trilogía: "El imperio de lo efímero", de 1987, y "El crepúsculo del deber", de 1992. Muchas observaciones de Lipovetsky se convirtieron en sentido común, en prácticas mundanas desapercibidas, pero con el siglo XXI se produjo un cambio de época: ya no se celebraba la indiferencia y la liviandad aunque la indiferencia y la liviandad siguieran siendo las pasiones que gobernaban. "La era del vacío" se volvió un libro de lectura culposa; pocos se atrevían a admitir con qué fruición lo habían leído y saqueado. Lipovetsky se cruzó de brazos. Dijo que el concepto de “posmodernidad” era falso, un invento. Propuso uno nuevo: “Hipermodernidad”. Pero los enterados pudieron estar seguros de que contemplaban un entierro antes que un nacimiento.

This complete publication is posted on Academia.Edu courtesy of Living Time™ Media International until 31st December 2019. This anthology of stories includes ten unabridged tales based around the themes of Love and Immortality. The ten authors featuring in this collection are: Leonid Andreyev, Guy de Maupassant, Lafcadio Hearn, Nathaniel Hawthorne, Count Leo Tolstoy, D.H. Lawrence, Edgar Allan Poe, O. Henry, Honoré de Balzac and Edouard d'Araille. The stories attempt to cover many aspects of love: the romantic, the playful, the erotic, the platonic, the bestial, the religious and the eternal - though this list may not be complete. It is an eclectic gathering of stories and it is unlikely that any one reader will be equally interested in all of its stories. This publication is introduced by a brief introduction by Alderson Smith, Head of Publishing for LTMI™. This book will no longer be available to download in its complete form after 31st December 2019 but a sampler version of it will then be available.

It is perhaps the physical imbalance between men and women that injects a truth that men are more compatible with other men in love, since they share the same masculine drive for sex. Birkin’s desire for Gerald is justified considering Lawrence’s portrayal of the female stereotype, ‘so horrible and clutching, she had such lust for possession, a greed of self-importance in love.’ (Women in Love, Lawrence: 1998: 844). There is a real breakthrough in terms of male compatibility as Birkin ‘proposes to Gerald that they should wear a Blutbrudershaft. He makes the proposal when he realises that he must face ‘the problem of love and eternal conjunction between two men’, and when he first admits to himself that ‘to love a man purely and fully’ has been ‘a necessity inside him all his life’. (Daleski, 1969: 161). The ‘necessity’ that Birkin feels implies that his love for Gerald cannot be ignored. What these two men achieve in this ‘eternal conjunction’ is a love that exceeds expectations; goes beyond the conventions of marriage, and focuses on a mutual respect and intellectual connection that survives.

Ivy Litvinov, the wife of the Soviet ambassador to Washington during World War II, visited Stanford to look at the D.H. Lawrence correspondence in the University Archives in 1943. She was staying at the Fairmont Hotel in San Francisco. With great trepidation, she then  took the dangerous trip back to Moscow to join her husband Maxim Litvinov. After the war she was able to publish an article about her encounter with Lawrence before her marriage. How she and her husband managed to survive in the Stalin era remains a mystery.

The first and fifth sections of the essay ("Jacob's Dream" and "Surplus: The Case of Kalganov") are the revised versions of the paper—Michal Oklot: “Drugoi: Petr Fomich Kalganov"—presented at the American Association for Advancement of Slavic Studies Annual National Convention. Philadelphia, PA. 2008, November 20-23.

Trauma theory, especially associated with the works of Cathy Caruth and Judith Lewis Herman, is expressed by Sigmund Freud especially in his works Studies in Hysteria, Beyond the Pleasure Principle and Moses and Monotheism. According to him, trauma is the result of fright which is different from fear and dread. It is different because they both anticipate the danger, but fright is an abrupt experience. The repetitive feature of this unexpected fright is important as well. In this respect, the main problem is actually readaptation to life aftermath of the traumatic event. Otto Rank, a beloved student of Freud, takes this theory a step further and develops the Trauma of Birth theory, in which all the important points in the life of individual are directly associated with birth and father is of secondary importance. Incorporating these theories, D. H. Lawrence's Sons and Lovers has sparkling characters like Gertrude, William and Paul each of whom experiences traumatic events. In this study, it is aimed to display and to examine the tragic but persevering efforts of the characters in the work to cope with the trauma in their own way.

Deleuze and Guattari’s conception of desire stands at the heart of their criticisms of psychoanalysis and the political program they develop in Anti-Oedipus. Although this notion is clearly divorced from a commonsense understanding in terms of wish, want, demand, etc., without these as touchstones not only is it difficult to conceive what they mean by desire but also desire’s political import. Despite the fact Deleuze and Guattari’s conception of desire is frequently referred to in secondary literature, it remains a stubbornly opaque notion.

Secondary works to date either largely dodge the issue, explaining “how the concept gets constructed and how it works” rather than “what desire means” (Holland 2005, 53), or explain Deleuze and Guattari’s conception of desire in polymorphous, early (Freudian) psychoanalytic terms, where the objects and aims of desire are variable. Although a conception of this type is by no means foreign to Deleuze and Guattari’s view, alone it fails to capture sufficiently what they mean by desire.

To better understand this notion my paper focuses on two claims Deleuze and Guattari make regarding the nature of desire in Anti-Oedipus. First, there is nothing specifically psychical about desire. Second, desire and labor are the same in nature while occupying different regimes. I argue these claims open onto two conceptions of desire, implying different understandings of the relationship between mind and body and supporting different understandings of the relationship between individuals and community. I show not only that these two conceptions of desire imply fundamentally different conceptions of philosophical anthropology – i.e., accounts of human nature – but also that each supports a different understanding of the nature of political activity.

The relation between feminism and psychoanalysis began with Kate Millett's Sexual Politics which critiques Freud for his conviction in the inequality of sexes, his practice of sexualizing human relationships and his style of explaining aberrations in terms of complexes and envies. The feminist critique of Freud is continued in The Madwoman in the Attic: the Woman Writer and the Nineteenth-Century Literary Imagination by Sandra M. Gilbert and Susan Gubar who locate the concept of social castration in the novels of nineteenth century women writers. By social castration, they mean lack of social power for women. They argue that these female writers identified themselves with the characters they detest. A combination of feminism and psychoanalysis is explored in Jacqueline Rose's work The Haunting of Sylvia Plath. Feminist exploration of Lacanian psychoanalysis began with Feminine Sexuality co-edited by Juliette Mitchell and Jacqueline Rose. They argue that subjectivity is assigned to a child at the moment of symbolic castration, the division between the Self and the other. It follows therefore that gendered subjectivity is constituted through castration with the phallus as the transcendental signifier, enabling the division. Mitchell and Rose argue that psychoanalysis offers feminism a theory of gendered subjectivity: a concept of the subject's resistance to rigid gender identities. In Sexuality in the Field of Vision, Rose emphasizes the unstable nature of gender identity and argues that femininity is neither simply achieved nor is ever complete. Both Mitchell and Rose focus on Lacanian re-reading of Freud where penis envy is referred not to the male sex organ, but to its symbolic and cultural meaning: the authority and power associated with the masculine. Lacan's term phallus symbolizes the privileges, power and authority entitled by the male in a patriarchal society.

Ever since its early modern inception as a literary genre unto its own, the fairy tale has frequently provided authors with a textual space in which to reflect on the nature, status and function of their own writing and that of literature in general. At the same time, it has served as an ideal laboratory for exploring and experimenting with the boundaries of literary convention and propriety. While scholarship pertaining to these phenomena has focused primarily on the fairy-tale adaptations and deconstructions of postmodern(ist) writers, this essay collection adopts a more diachronic approach. It offers fairy-tale scholars and students a series of theoretical and literary-historical expositions, as well as case studies on English, French, German, Swedish, Danish, and Romanian texts from the seventeenth to the twenty-first century, by authors as diverse as Marie-Catherine dAulnoy, Rikki Ducornet, Hans Christian Andersen and Robert Coover.

In the wake of Bertrand Russell’s contention that Lawrence’s ‘mystical philosophy of “blood”’ led ‘straight to Auschwitz’, academics have been dutifully unearthing evidence of latent, cryptic or proto-fascist ideas in his work. Several scholars have chased up Russell’s suspicion that Lawrence somehow ‘imbibed prematurely the ideas afterwards developed by Hitler and Mussolini’ from Frieda and her circle of German intellectuals, and much energy has been expended on drawing dubious parallels between völkisch ideologues, such as Oswald Spengler, Alfred Rosenberg and Houston Chamberlain, and the work of Lawrence. In this article, I problematize some of the thinking that has led to his work being characterized as fascist, for this often involves a logic of contamination, whereby if Hitler read Nietzsche and Lawrence read Nietzsche, Lawrence becomes tarred with the fascist brush. This logic of contamination, I argue, is not only present in the work of the scholars who have highlighted völkisch elements in his thinking, it is also present in the Frankfurt School, which conceived of fascism as a disease, whose ideological symptoms spread and reproduced like a virus, infecting the body politic. I reveal that the Frankfurt School was in fact ‘infected’ by one of the völkisch thinkers who allegedly influenced Lawrence, and which led, by the logic of contamination, to his work being represented as fascist.

The Phantom of the Ego is the first comparative study that shows how the modernist account of the unconscious anticipates contemporary discoveries about the importance of mimesis in the formation of subjectivity. Rather than beginning with Sigmund Freud as the father of modernism, Nidesh Lawtoo starts with Friedrich Nietzsche’s antimetaphysical diagnostic of the ego, his realization that mimetic reflexes—from sympathy to hypnosis, to contagion, to crowd behavior—move the soul, and his insistence that psychology informs philosophical reflection. Through a transdisciplinary, comparative reading of landmark modernist authors like Nietzsche, Joseph Conrad, D. H. Lawrence, and Georges Bataille, Lawtoo shows that, before being a timely empirical discovery, the “mimetic unconscious” emerged from an untimely current in literary and philosophical modernism. This book traces the psychological, ethical, political, and cultural implications of the realization that the modern ego is born out of the spirit of imitation; it is thus, strictly speaking, not an ego, but what Nietzsche calls, “a phantom of the ego.” The Phantom of the Ego opens up a Nietzschean back door to the unconscious that has mimesis rather than dreams as its via regia, and argues that the modernist account of the “mimetic unconscious” makes our understanding of the psyche new.

http://msupress.org/book/book/?id=50-1D0-26A1#.VJgqGcAAA
https://www.forewordreviews.com/reviews/phantom-of-the-ego/

Exchanges between Literature and Science from the 1800s to the 2000s: Converging Realms. Ed. by Márcia Lemos and Miguel Ramalhete Gomes. Newcastle upon Tyne: Cambridge Scholars Publishing, 2017, 136-154.


This article investigates the concept of ectogenesis or extracorporeal gestation and the debate that accrued around it in Britain in the 1920s and 1930s, especially as it was discussed in the “Today and Tomorrow” series of books and the circle of intellectuals associated with it. I will look in particular at British geneticist J. B. S. Haldane’s Daedalus, or Science and the Future (1923), which launched the series, Anthony Ludovici’s Lysistrata, or Woman’s Future and Future Woman (1924) and Vera Brittain’s Halcyon, or the Future of Monogamy (1929).
I will also briefly examine some contemporary fictional depictions of ectogenesis, which were clearly influenced by the books mentioned above, and which directly intervened in the debate around the development of fetuses in artificial wombs. Although Aldous Huxley’s Brave New World (1932) was the most famous fictional rendition of the notion of extra-uterine gestation there were many other, less well-known texts. Victorian Journalist Fred T. Jane’s “The Incubated Girl” (1896) is an earlier example as is Charlotte Haldane’s Man’s World (1926), a novel that also discusses the concept of ectogenesis. Rebecca West’s “Man and Religion” (1932), in turn, ends with a version of a sex-role reversal society, brought about by a number of scientific discoveries that have provided women with great physical vigour, a longer life span and allowed gestation to take place outside the womb. Neil Bell’s The Seventh Bowl (1934) also toys with the idea of ectogenesis while in August Anson’s When Woman Reigns (1938), another sex-role reversal utopia where women rule the world, ectogenesis has played a fundamental role in bringing about this dominance. All of these texts can be seen as centrally engaged in a critical dialogue with some of the books of the “Today and Tomorrow” series.
While ectogenesis stands at the root of a fantasy which could be equated with masculine womb envy, the dream of becoming a male mother and thus dispensing almost totally with women, for women, on the other hand, extra-uterine pregnancy, combined with cloning techniques, could constitute an enabling vision of autonomy from the male, but also a potentially threatening one, as Ludovici propounds. I propose thus to examine some of the vexed issues surrounding the fantasy of extra-uterine gestation.

This article presents Jacques Derrida’s reading of D. H. Lawrence’s poem, ‘Snake’. The question guiding the reading of this particular poem concerns the extent to which our ethical responsibility (as hosts) extends to non-human animals as well. Derrida analyses this poem under the burden of Levinas’s uncomfortable hesitation to grant animals a ‘face’, and therefore to make humans ethically responsible towards them. In Derrida’s reading of the poem, hospitality ceases to fall under the condition that the other must be a human. In the unexpected encounter between the man-narrator and a snake in the poem, hospitality blurs the boundaries allowing the Other to appear in non-anthropocentric terms, claiming a place within the human ethical responsibility. If ‘hospitality’ means the crossing of boundaries, then it requires allowing the other of the human, the animal, to cross the boundary traditionally fixed between the two, yet without having to prove first that the animal is ‘like the human’, namely without assimilating the otherness of the animal into the human. Hospitality renegotiates the issue of crossing the limits-boundaries between species.

The fundamental purpose of Britain was to control his colonies in the Middle East and protect his interests in the regions at the end of the 19th and the beginning of the 20th centuries. Thus, all knowledge production activity was valuable. The legitimate ground of the imperialist policies was formed by the knowledge production through which political and economic policies emerged. The salient channels of knowledge production became the societies and the institutions conducting archaeological, historical, and ethnographic studies and the agents were the providers of information flow related to the Middle East. One of the agents with this mission was Mary Sykes, who was one of the signatories of the Sykes- Picot Agreement. Thus, research will focus on Mark Sykes’s travel, in which he visited Ankara and Inebolu in 1905, as a reflection of Britain’s imperialist policy. His categorization of people was the projection of Western superiority in the orientalist context. In addition, Sykes exposed his political and anthropological observations in the scope of intelligence gathering. He also reveals his thoughts on Anglo-Ottoman relations. Thus, this study will examine the knowledge production of Britain in the Middle East over the travel of Mark Sykes and reveal the significance of anthropological inspections and socio-economic developments in Britain's orientalist and imperialist context.

Di lì a poco, migliaia di occhi avidi si chinarono sui buchi degli stereoscopi come sugli abbaini dell’infinito. L’amore dell’osceno, naturalmente vivo nel cuore dell’uomo quanto l’amore di sé, non lasciò sfuggire un’occasione così bella per soddisfarsi. E non si dica che i ragazzi di ritorno dalla scuola fossero i soli a godere di quelle porcherie; esse furono la frenesia della società...