비전의 극적 형상화의 성과와 한계: 『연애하는 여인들』 연구
Achievement and its Limitation of the Dramatic Embodiment of Vision in Women in Love
0
조회
0
다운로드
4
인용
0
참고문헌
키워드
초록
This essay examines the achievement and its limitation of the dramatic embodiment of vision Lawrence articulates in Women in Love while focusing on the relationship between Birkin and Ursula. Lawrence succeeds in embodying vividly the not-yet-to-be-expressed scenes through nature images. Such scenes include the followings: Birkin's 'being' knows Ursula's 'being', Birkin plants his seed and becomes the oneness with nature, and Ursula painfully undergoes the inner change during Birkin's violent stoning of the moon. Lawrence, however, does not always succeed in embodying dramatically his vision such as "star-equilibrium." After Birkin realizes the vision, Lawrence uses Birkin as his mouthpiece and tells his vision dogmatically through his own voice. Egypt's pharaoh image which is used to embody Birkin's "physical mind" state in chapter 23 is not constitutive and concrete. This novel, notwithstanding its occasional authorial intrusion and the failure of dramatic embodiment of vision, proves to be original and experimental. Lawrence makes unprecedented attempt to embody 'the whole man alive' by portraying 'being', explore being's struggle to articulate what is not known, and create a language which can articulate it. Though it is not always successful, it is profoundly intriguing.
Abstract
This essay examines the achievement and its limitation of the dramatic embodiment of vision Lawrence articulates in Women in Love while focusing on the relationship between Birkin and Ursula. Lawrence succeeds in embodying vividly the not-yet-to-be-expressed scenes through nature images. Such scenes include the followings: Birkin's 'being' knows Ursula's 'being', Birkin plants his seed and becomes the oneness with nature, and Ursula painfully undergoes the inner change during Birkin's violent stoning of the moon. Lawrence, however, does not always succeed in embodying dramatically his vision such as "star-equilibrium." After Birkin realizes the vision, Lawrence uses Birkin as his mouthpiece and tells his vision dogmatically through his own voice. Egypt's pharaoh image which is used to embody Birkin's "physical mind" state in chapter 23 is not constitutive and concrete. This novel, notwithstanding its occasional authorial intrusion and the failure of dramatic embodiment of vision, proves to be original and experimental. Lawrence makes unprecedented attempt to embody 'the whole man alive' by portraying 'being', explore being's struggle to articulate what is not known, and create a language which can articulate it. Though it is not always successful, it is profoundly intriguing.
참고문헌 (11)
- 고영란, "연애하는 여인들』에서의 인물의 ‘임’과 서술방법", D. H. 로렌스연구, 15(1) (2007)
- 김정매, "D. H. Lawrence: Women in Love" (1980), Penguin, 신아사
- 백낙청, "로렌스와 재현 및 가상(현실) 문제", 안과밖, (창간) (1996), 창작과 비평사
- Bell, Michael, "D. H. Lawrence: Language and Being" (1992), Cambridge UP
- Bersani, Leo, "Lawrentian Stillness. Modern Critical Views. D. H. Lawrence", pp.179~194 (1986), Chelsea House Publishers
- Dibattista, Maria, "First Love: The Affections of Modern Fiction" (1991), U of Chicago P
- Lawrence, D. H., "Appendix 1 “Foreword to Women in Love”. Women in Love" (1987), Cambridge UP
- Lawrence, D. H, "Morality and the Novel. Phoenix: The Posthumous Papers of D. H. Lawrence" (1968), The Viking Press
- Price, Martin, "Levels of Consciousness. Modern Critical Views. D. H. Lawrence", pp.255~274 (1986), Chelsea House Publishers
- Reddick, Bryan D., "Point of View and Narrative Tone in Women in Love: The Portrayal of Interpsychic Space", D. H. Lawrence Review, 7, pp.156~171 (1974)
- Sumner, Rosemary, "A Route to Modernism: Hardy, Lawrence, Woolf" (2000), Macmillan P