The Representation of Hampstead and Spatial Dialogism in D. H. Lawrence’s “The Last Laugh”
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
Set in Hampstead in North London, “The Last Laugh” is a story which deals with the idea of physical and psychological transformation facilitated by a transcendent experience that leads into a newfound understanding of the self. The representation of Hampstead as a spatial as well as spiritual gateway into this enlightened state of mind excites an analysis of the story within the framework of psychospatial theories. In the light of the spatial enunciations, this essay aims to discuss the ways in which Hampstead in the story is constructed as a mystical landscape, functioning as a liminal threshold existing between the drudgery of ordinary life and the mysterious revitalising spirit of nature. The subject of the story being related to the recurring and elusive presence of an eerie but riveting laughter, this essay engages with the possible underlying implications of this occult mystery in this particular geographical setting in order to examine the role of place as an agent of radical transformation. In doing so, this work seeks to situate “The Last Laugh” within a critical dialogue between Lawrence’s construction of Hampstead as an “uncanny” space, and the ways in which this transcendent and dream-like spatial imagery operating at the heart of polarised notions (i.e. fear/laughter, beautiful/grotesque, earthly/supernatural), can be viewed as a subtle trope that not only mirrors Lawrence’s conflicting reflections on London but also offers an aesthetic representation of a spatial dialogism between the literary and sociocultural enunciations of space.
Abstract
Set in Hampstead in North London, “The Last Laugh” is a story which deals with the idea of physical and psychological transformation facilitated by a transcendent experience that leads into a newfound understanding of the self. The representation of Hampstead as a spatial as well as spiritual gateway into this enlightened state of mind excites an analysis of the story within the framework of psychospatial theories. In the light of the spatial enunciations, this essay aims to discuss the ways in which Hampstead in the story is constructed as a mystical landscape, functioning as a liminal threshold existing between the drudgery of ordinary life and the mysterious revitalising spirit of nature. The subject of the story being related to the recurring and elusive presence of an eerie but riveting laughter, this essay engages with the possible underlying implications of this occult mystery in this particular geographical setting in order to examine the role of place as an agent of radical transformation. In doing so, this work seeks to situate “The Last Laugh” within a critical dialogue between Lawrence’s construction of Hampstead as an “uncanny” space, and the ways in which this transcendent and dream-like spatial imagery operating at the heart of polarised notions (i.e. fear/laughter, beautiful/grotesque, earthly/supernatural), can be viewed as a subtle trope that not only mirrors Lawrence’s conflicting reflections on London but also offers an aesthetic representation of a spatial dialogism between the literary and sociocultural enunciations of space.
참고문헌 (24)
- Bakhtin, Mikhail., "The Dialogic Imagination: Four Essays by M. M. Bakhtin" (1981), University of Texas Press
- Becket, Fiona., "The Complete Critical Guide to D. H. Lawrence" (2002), Routledge
- Birlik. Nurten., "“D. H. Lawrence’s “The Last Laugh,” the Story of a Compromise.” Lacan in Literature and Film", pp.67~78 (2015), Bethesda, Dublin, Palo Alto: Academica
- Brandão, Luis Alberto., "Chronotope", Theory, Culture & Society, 23(2–3), pp.133~134 (2006)
- Cresswell, T., "Place: A Short Introduction" (2004), Blackwell Publishing
- De Certeau, Michel., "The Practice of Everyday Life" (1985), University of California Press
- Foucault, Michel., "The Visual Culture Reader", pp.229~236 (1998), Routledge
- Hardy, Stephen., "Relations of Place: Aspects of Late 20th Century Fiction and Theory" (2008), Masarykova univerzita v Brně
- Hetherington, Kevin., "The Badlands of Modernity: Heterotopia and Social Ordering" (1997), Routledge
- Hollington, Michael., "Lawrentian Gothic and ‘The Uncanny.’", Anglophonia, 2004, pp.15, 171~184
- Johnson, Peter., "Unravelling Foucault’s Different Spaces", History of the Human Sciences, 19(4), pp.75~90 (2006)
- Lawrence, D. H., "Selected Essays", pp.123~125 (1969), Penguin
- Lawrence, D. H., "The Woman Who Rode Away and Other Stories", pp.131~147 (1950), Penguin
- Lawrence, D. H., "The Letters of D. H. Lawrence" (2002), Cambridge University Press
- Lawrence, D. H., "Psychoanalysis and the Unconscious and Fantasia of the Unconscious" (2004), Cambridge University Press
- Lawrence, D. H., "Studies in Classic American Literature" (2003), Cambridge University Press
- Lawrence, D. H., "The Woman Who Rode Away and Other Stories" (2002), Cambridge University Press
- Michelucci, Stefania., "Space and Place in the Works of D. H. Lawrence" (2002), McFarland & Company
- Poplawski, Paul., "D. H. Lawrence: A Reference Companion" (1996), Greenwood Press
- Radin, Paul, "The Trickster: A Study in American Indian Mythology" (1956), Routledge & K. Paul
- Ricketts, Mas Linscott., "The Encyclopaedia of Religion", pp.48~51 (1987), Macmillan
- Thacker, Andrew., "Moving Through Modernity: Space and Geography in Modernism" (2003), Manchester University Press
- Vermeulen, Timotheus., "Space is the Place", Profile, ~ (2015)
- Vice, Sue., "Introducing Bakhtin" (1997), Manchester University Press