Affective Touches: Cézanne’s Tactile Apples and Lady Chatterley’s Lover
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This paper explores D. H. Lawrence’s imagination of affective touches between bodies. Engaging various forms of touch, Lawrence’s works present the opportunity to consider questions of touch and the tactile. The present discussion recognizes Lawrence as struggling to create a novel arousing tactile sensations. In keeping with this assumption, it examines how Lawrence unfolds his original imagination of bodily contacts between various forms of bodies, including the nonhuman and the human subjects through his texts. By focusing on Lawrence’s 1929 works, “Introduction to These Paintings” and Lady Chatterley’s Lover, this study argues that Lawrence’s texts address the significance of bodily contacts not simply between human lovers but between a work of art and a person. To demonstrate this argument, the first section examines why Paul Cézanne’s painted apples enchanted Lawrence: the apples seemed to Lawrence as solid and independent bodies arousing tactile feelings. The second section investigates Lawrence’s discontent with the works of art disembodying physical qualities. The third section looks at Lawrence’s depiction of tactile encounters between human lovers in Lady Chatterley’s Lover, and proposes that the touch between the lovers might allude to the intimate bond between a work of art and a person, or a novel and a reader.
Abstract
This paper explores D. H. Lawrence’s imagination of affective touches between bodies. Engaging various forms of touch, Lawrence’s works present the opportunity to consider questions of touch and the tactile. The present discussion recognizes Lawrence as struggling to create a novel arousing tactile sensations. In keeping with this assumption, it examines how Lawrence unfolds his original imagination of bodily contacts between various forms of bodies, including the nonhuman and the human subjects through his texts. By focusing on Lawrence’s 1929 works, “Introduction to These Paintings” and Lady Chatterley’s Lover, this study argues that Lawrence’s texts address the significance of bodily contacts not simply between human lovers but between a work of art and a person. To demonstrate this argument, the first section examines why Paul Cézanne’s painted apples enchanted Lawrence: the apples seemed to Lawrence as solid and independent bodies arousing tactile feelings. The second section investigates Lawrence’s discontent with the works of art disembodying physical qualities. The third section looks at Lawrence’s depiction of tactile encounters between human lovers in Lady Chatterley’s Lover, and proposes that the touch between the lovers might allude to the intimate bond between a work of art and a person, or a novel and a reader.
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