著者

糸多 郁子

出版者

THE D. H. LAWRENCE SOCIETY OF JAPAN

雑誌

D・H・ロレンス研究 (ISSN:13422405)

巻号頁・発行日

vol.1999, no.9, pp.3-16, 1999-03-25 (Released:2009-08-21)

参考文献数

36

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The period when D.H. Lawrence produced his works saw the great expansion of the literary market. The change in the market turned books into commodities which were enjoyed not only by an intellectual minority but also by mass people. And the vast consumption of literary works caused the appearance of the dichotomy between serious literature and popular literature.The dichotomy, however, originated from the discussions about mass culture among intellectuals who were afraid of the political advance of the working-class and the lower-middle-class people. In the theories mass society was regarded as a deteriorated society, and mass culture its symbol.Lawrence, after the middle of 1915, began to despise mass culture and consider himself a writer for an intellectual minority, but his chronic poverty sometimes forced him to try to become a popular writer. The fact that the elements of popular literature can be discovered in his works indicates that the dichotomy must be called into question, and that his works should be studied in the broader cultural context which comprehends both elite culture and mass culture.

著者

海老根 宏

出版者

THE D. H. LAWRENCE SOCIETY OF JAPAN

雑誌

D・H・ロレンス研究 (ISSN:13422405)

巻号頁・発行日

vol.2000, no.10, pp.42-59, 2000-03-25 (Released:2009-08-21)

著者

鳥飼 真人

出版者

THE D. H. LAWRENCE SOCIETY OF JAPAN

雑誌

D・H・ロレンス研究 (ISSN:13422405)

巻号頁・発行日

vol.2006, no.16, pp.3-15, 2006-03-15 (Released:2009-08-21)

参考文献数

21

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The question of whether Lawrence's metaphysics can be found in his early novels is still a matter of controversy. The aim of this paper is to clarify the first development of Lawrence's metaphysics in his early works, The White Peacock and Sons and Lovers.The important point to note is that both the protagonists of these two novels, Cyril and Paul, execute paintings of Nethermere. This might suggest that Paul's painting is a repetition of Cyril's. However, their paintings are not the same. While Cyril's painting is a mere representation, Paul's is a repetition incorporating difference, which, as Gilles Deleuze says, is the antithesis of representation or“repetition of the Same.”Taking these points as a basis, this paper shows. that this difference is the metaphysical difference offered in Lawrence's work. Thus the world of representation that has been presented up to that point in Sons and Lovers is overturned by Paul's painting, which conceals difference under its repetition.