D. H. 로렌스와 성, 도덕적 포르노그래피와 사랑 복음의 경계
D. H. Lawrence and Sex, on the Borderline Between Moral Pornography and Testament of Love
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D. H. Lawrence and his works have been both famouly and notoriously the icons of sex throughout the twentieth centrty. While some have argued his profane works might “deprave and corrupt” the potential readers, others advocate him as “the priest of love.” The controversy climaxed when the publication of his last novel Lady Chatterley’s Lover was open to public debate and legal judgement in 1960. Since the Chatterley Trial, sex seems no longer something to indulge in secret: sex won the moral battel. However, in the age of excess, free expression of sex seems no longer shoking or amusing, needless to say educational. Ironiclly, sex is lost by virtue of its excess; and it is rightly to say that the war on sex and morality has not ended yet, and the necessity of obscenity still remains. This essay expolres Lawrence’s so-called “obscene” works including novels, essays and paintings, which were produced in his late years to “startle” the readers and audiences in his time. As Michael Bell puts it, he was “a great enough novelist to precipitate, as well as mitigate, the fragmenting of the genre even as he used it.” And likewise he is a great enough artist who triggers as well as deconstructs sex even as he represents it. In his works, sex is not a subject to think but to feel, therefore represented only by performitivity (to “fuck” in his words); others are mere simulacra, forms of pornography. However, his aesthetics of sex bequeaths an unresolved controversy whether he is a sexist pornographer or a sex revolutionist. To answer this question, it may be useful to examine Lawrence’s daring attempt vis-à-vis a French pornographer Marguis the Sade. Both presented unique ways to rescue sex from the male-doninated society and demonstrated unheard-of gender norms by recreating the meaning of “fuck” which signifies the termbling borderline between moral pornography and holy testament of love.
Abstract
D. H. Lawrence and his works have been both famouly and notoriously the icons of sex throughout the twentieth centrty. While some have argued his profane works might “deprave and corrupt” the potential readers, others advocate him as “the priest of love.” The controversy climaxed when the publication of his last novel Lady Chatterley’s Lover was open to public debate and legal judgement in 1960. Since the Chatterley Trial, sex seems no longer something to indulge in secret: sex won the moral battel. However, in the age of excess, free expression of sex seems no longer shoking or amusing, needless to say educational. Ironiclly, sex is lost by virtue of its excess; and it is rightly to say that the war on sex and morality has not ended yet, and the necessity of obscenity still remains. This essay expolres Lawrence’s so-called “obscene” works including novels, essays and paintings, which were produced in his late years to “startle” the readers and audiences in his time. As Michael Bell puts it, he was “a great enough novelist to precipitate, as well as mitigate, the fragmenting of the genre even as he used it.” And likewise he is a great enough artist who triggers as well as deconstructs sex even as he represents it. In his works, sex is not a subject to think but to feel, therefore represented only by performitivity (to “fuck” in his words); others are mere simulacra, forms of pornography. However, his aesthetics of sex bequeaths an unresolved controversy whether he is a sexist pornographer or a sex revolutionist. To answer this question, it may be useful to examine Lawrence’s daring attempt vis-à-vis a French pornographer Marguis the Sade. Both presented unique ways to rescue sex from the male-doninated society and demonstrated unheard-of gender norms by recreating the meaning of “fuck” which signifies the termbling borderline between moral pornography and holy testament of love.
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