D. H. 로렌스의 대안적인 글쓰기에 나타난 회화적 요소: 『연애하는 여인들』 작품을 중심으로
Pictorial Elements in the Alternative Writing of D. H. Lawrence: Focus on Women in Love
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D. H. Lawrence had been interested in all kinds of arts including painting as well as writing for his whole life. In The Rainbow and Women in Love there are overwelming pictorial elements expressed in an opulent color sense. Such an aesthetic is to make up for the gap of a language system between signifier and signified, and to give an immediate visionary awareness to readers. This paper aims to examine the pictorial or visual elements in which Lawrence narrativizes the reality of objects in The Rainbow and Women in Love, comparing to his nonfiction writings including essays and letters related to his alternative aesthetic. In the chapter, “Class-Room”, Birkin as the representative of D. H. Lawrence, tells the meaning and importance of making pictures in catching the reality of an object. And in the chapter, “Sketch-Book”, Lawrence embodies the visionary awareness of Ursula and Gudren with the use of delicate and colorful visual imageries. Furthermore, Lawrence suggests copying a picture delicately could be closer to the reality of an object than reading books in the chapter of Birkin’s copying a Chinese picture. This examination proves how Lawrence deconstructs the binary opposition of Logocentrism in the Western Culture with the use of various colorful signifiers, how much he tries to find a new alternative writing to get over the gap of signifier and signified, and how much he intentionally puts his text in the flux of the present not to be fixed.
Abstract
D. H. Lawrence had been interested in all kinds of arts including painting as well as writing for his whole life. In The Rainbow and Women in Love there are overwelming pictorial elements expressed in an opulent color sense. Such an aesthetic is to make up for the gap of a language system between signifier and signified, and to give an immediate visionary awareness to readers. This paper aims to examine the pictorial or visual elements in which Lawrence narrativizes the reality of objects in The Rainbow and Women in Love, comparing to his nonfiction writings including essays and letters related to his alternative aesthetic. In the chapter, “Class-Room”, Birkin as the representative of D. H. Lawrence, tells the meaning and importance of making pictures in catching the reality of an object. And in the chapter, “Sketch-Book”, Lawrence embodies the visionary awareness of Ursula and Gudren with the use of delicate and colorful visual imageries. Furthermore, Lawrence suggests copying a picture delicately could be closer to the reality of an object than reading books in the chapter of Birkin’s copying a Chinese picture. This examination proves how Lawrence deconstructs the binary opposition of Logocentrism in the Western Culture with the use of various colorful signifiers, how much he tries to find a new alternative writing to get over the gap of signifier and signified, and how much he intentionally puts his text in the flux of the present not to be fixed.
참고문헌 (22)
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