『아들과 연인』에 나타난 ‘하나의 삶’: 노동, 성과 예술을 중심으로
A Life in Sons and Lovers: Labor, Sex and Art
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A Life in Sons and Lovers: Labor, Sex and Art Young Ho Kim (Chung-Ang U) The aim of this paper is to discuss “a life”: Labor, Sex and Art in D. H. Lawrence’s Sons and Lovers. These three words are to be keywords to read this novel. Marx regards labor of a human activity as “sensuous objective being.” Sex(love) as nonhuman sex and art as well as labor also can be a creative activity. This creative activity must be ‘a life’ in immanence of the plane. In this regards, this novel should not be analysed in terms of “oedipus complex.” The psychoanalytic conception of the oedipal desire is a desire repressed by the Oedipal law. Paul, the main character, struggle to live a life to become through a dissolved self, which is no longer imprisoned within this conception of desire in lack as the fixed subjectivity. As opposed to a subjectivity and “sexual division of labour,” Paul in a life affirms the force of non-organic life of the event not a person. To be “a painter, the real thing,” Paul equilibrates himself with others, even nature. Lawrence is a novelist who only affirms “pantheism of flows” in his characters so as to de-oedipalize the oedipus complex which conspires with the capitalism to exploit the labor power. Thus Paul’s creative journey can make things have fluid relationship with the circumambient universe. Paul who attains a life’s “very ecstasy of living, the highest point of bliss” reaches his fullest living in the immanent life. So, this flow of life reveals non organic life from a person’s identity. Likewise, labor, sex and art is nothing less than an univocal and immanence. In this immanence of plane, Paul’s passage of a life can break the alliance between oedipal law and capitalism.
Abstract
A Life in Sons and Lovers: Labor, Sex and Art Young Ho Kim (Chung-Ang U) The aim of this paper is to discuss “a life”: Labor, Sex and Art in D. H. Lawrence’s Sons and Lovers. These three words are to be keywords to read this novel. Marx regards labor of a human activity as “sensuous objective being.” Sex(love) as nonhuman sex and art as well as labor also can be a creative activity. This creative activity must be ‘a life’ in immanence of the plane. In this regards, this novel should not be analysed in terms of “oedipus complex.” The psychoanalytic conception of the oedipal desire is a desire repressed by the Oedipal law. Paul, the main character, struggle to live a life to become through a dissolved self, which is no longer imprisoned within this conception of desire in lack as the fixed subjectivity. As opposed to a subjectivity and “sexual division of labour,” Paul in a life affirms the force of non-organic life of the event not a person. To be “a painter, the real thing,” Paul equilibrates himself with others, even nature. Lawrence is a novelist who only affirms “pantheism of flows” in his characters so as to de-oedipalize the oedipus complex which conspires with the capitalism to exploit the labor power. Thus Paul’s creative journey can make things have fluid relationship with the circumambient universe. Paul who attains a life’s “very ecstasy of living, the highest point of bliss” reaches his fullest living in the immanent life. So, this flow of life reveals non organic life from a person’s identity. Likewise, labor, sex and art is nothing less than an univocal and immanence. In this immanence of plane, Paul’s passage of a life can break the alliance between oedipal law and capitalism.
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