Lawrence and Cosmopolitanism
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Though critical of cosmopolitan culture and politics, Lawrence was a cosmopolitan, ideologically and practically. Both his criticism of and commitment to cosmopolitanism are involved with his profound concern in being and power. This fact sets him apart from most other proponents of a universal humanity and social order―the ancient Stoics, Kant, post-Kantian universalists (defenders of a cosmopolitan nation, global constitutionalism, or a world republic), post-identitarians, and advocates of what may be called rooted cosmopolitanism. Until 1920, Lawrence’s engagement with cosmopolitanism is largely negative. It takes the form of the desire, in Ursula in The Rainbow or Gudrun in Women in Love, for example, to escape from Home, provincial life, nationality, or the ontological “prison” of the old self. From 1921 onward, he becomes more positive and imaginative in envisioning a wholly connected world, adopting the image of the tree (Movements in European History and The Plumed Serpent) or alternatively that of current or power (Kangaroo). The latter analogy reminds us of Spinoza, whose late works provide an anti-Hobbesian politics of power in which the natural right of each individual is nontransferable. For both Spinoza and Lawrence, the real foundation of a state or a nation is the determinate power, or pouvoir, of the people, and everyone counts in the formation and change of a community of power, whether local, national, or global.
Abstract
Though critical of cosmopolitan culture and politics, Lawrence was a cosmopolitan, ideologically and practically. Both his criticism of and commitment to cosmopolitanism are involved with his profound concern in being and power. This fact sets him apart from most other proponents of a universal humanity and social order―the ancient Stoics, Kant, post-Kantian universalists (defenders of a cosmopolitan nation, global constitutionalism, or a world republic), post-identitarians, and advocates of what may be called rooted cosmopolitanism. Until 1920, Lawrence’s engagement with cosmopolitanism is largely negative. It takes the form of the desire, in Ursula in The Rainbow or Gudrun in Women in Love, for example, to escape from Home, provincial life, nationality, or the ontological “prison” of the old self. From 1921 onward, he becomes more positive and imaginative in envisioning a wholly connected world, adopting the image of the tree (Movements in European History and The Plumed Serpent) or alternatively that of current or power (Kangaroo). The latter analogy reminds us of Spinoza, whose late works provide an anti-Hobbesian politics of power in which the natural right of each individual is nontransferable. For both Spinoza and Lawrence, the real foundation of a state or a nation is the determinate power, or pouvoir, of the people, and everyone counts in the formation and change of a community of power, whether local, national, or global.
참고문헌 (34)
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