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Thirty-nine essays and articles, written by D. H. Lawrence in the period between 1926 and his death in 1930, are collected in this volume. They include the contentious introduction to his own volume of Paintings, the highly controversial essay Pornography and Obscenity, and two autobiographical pieces never published before.
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Thirty-nine essays and articles, written by D. H. Lawrence in the period between 1926 and his death in 1930, are collected in this volume. They include the contentious introduction to his own volume of Paintings, the highly controversial essay Pornography and Obscenity, and two autobiographical pieces never published before.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
- Produktdetails
- The Cambridge Edition of the Works of D. H. Lawrence
- Verlag: Cambridge University Press
- Seitenzahl: 466
- Erscheinungstermin: 11. Juni 2014
- Englisch
- Abmessung: 216mm x 140mm x 25mm
- Gewicht: 576g
- ISBN-13: 9781107461833
- ISBN-10: 1107461839
- Artikelnr.: 41124377
- The Cambridge Edition of the Works of D. H. Lawrence
- Verlag: Cambridge University Press
- Seitenzahl: 466
- Erscheinungstermin: 11. Juni 2014
- Englisch
- Abmessung: 216mm x 140mm x 25mm
- Gewicht: 576g
- ISBN-13: 9781107461833
- ISBN-10: 1107461839
- Artikelnr.: 41124377
David Herbert Richards "D. H." Lawrence (11 September 1885 - 2 March 1930) was an English novelist, poet, playwright, essayist, literary critic and painter. His collected works represent, among other things, an extended reflection upon the dehumanising effects of modernity and industrialisation. Some of the issues Lawrence explores are emotional health, vitality, spontaneity and instinct. Lawrence's opinions earned him many enemies and he endured official persecution, censorship, and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile which he called his "savage pilgrimage." At the time of his death, his public reputation was that of a pornographer who had wasted his considerable talents. E. M. Forster, in an obituary notice, challenged this widely held view, describing him as, "The greatest imaginative novelist of our generation." Lawrence is perhaps best known for his novels Sons and Lovers, The Rainbow, Women in Love and Lady Chatterley's Lover. Within these Lawrence explores the possibilities for life within an industrial setting. In particular Lawrence is concerned with the nature of relationships that can be had within such a setting. Though often classed as a realist, Lawrence in fact uses his characters to give form to his personal philosophy. His depiction of sexual activity, though seen as shocking when he first published in the early 20th century, has its roots in this highly personal way of thinking and being. It is worth noting that Lawrence was very interested in the sense of touch and that his focus on physical intimacy has its roots in a desire to restore an emphasis on the body, and re-balance it with what he perceived to be Western civilisation's over-emphasis on the mind.
General editor's preface
Prefatory note
Acknowledgements
Chronology
Cue-titles
Introduction
Late essays and articles: Note on the texts
Mercury
[Return to Bestwood]
Getting on
Which class I belong to
Newthorpe in 2927
The 'Jeune Fille' wants to know
Laura Philippine
That women know best
All there
Thinking about oneself
Insouciance
Master in his own house
Matriarchy
Ownership
Autobiography
Women are so cocksure
Why I don't like living in London
Cocksure women and hen-sure men
Hymns in a man's life
Red trousers
Is England still a man's country?
Sex appeal
Do women change
Enslaved by civilisation
Give her a pattern
Introduction to pictures
Myself revealed
Introduction to these paintings
The state of funk
Making pictures
Pornography and obscenity
Pictures on the wall
The risen lord
Men must work and women as well
Nottingham and the mining countryside
We need one another
The real thing
Nobody loves me
Appendix 1. Early draft of 'The 'Jeune Fille' Wants to Know'
Appendix 2. Vanity Fair version of 'Do Women Change'
Appendix 3. 'Mushrooms': an autobiographical fragment
Explanatory notes
Textual apparatus
A note on pounds, shillings and pence.
Prefatory note
Acknowledgements
Chronology
Cue-titles
Introduction
Late essays and articles: Note on the texts
Mercury
[Return to Bestwood]
Getting on
Which class I belong to
Newthorpe in 2927
The 'Jeune Fille' wants to know
Laura Philippine
That women know best
All there
Thinking about oneself
Insouciance
Master in his own house
Matriarchy
Ownership
Autobiography
Women are so cocksure
Why I don't like living in London
Cocksure women and hen-sure men
Hymns in a man's life
Red trousers
Is England still a man's country?
Sex appeal
Do women change
Enslaved by civilisation
Give her a pattern
Introduction to pictures
Myself revealed
Introduction to these paintings
The state of funk
Making pictures
Pornography and obscenity
Pictures on the wall
The risen lord
Men must work and women as well
Nottingham and the mining countryside
We need one another
The real thing
Nobody loves me
Appendix 1. Early draft of 'The 'Jeune Fille' Wants to Know'
Appendix 2. Vanity Fair version of 'Do Women Change'
Appendix 3. 'Mushrooms': an autobiographical fragment
Explanatory notes
Textual apparatus
A note on pounds, shillings and pence.
General editor's preface
Prefatory note
Acknowledgements
Chronology
Cue-titles
Introduction
Late essays and articles: Note on the texts
Mercury
[Return to Bestwood]
Getting on
Which class I belong to
Newthorpe in 2927
The 'Jeune Fille' wants to know
Laura Philippine
That women know best
All there
Thinking about oneself
Insouciance
Master in his own house
Matriarchy
Ownership
Autobiography
Women are so cocksure
Why I don't like living in London
Cocksure women and hen-sure men
Hymns in a man's life
Red trousers
Is England still a man's country?
Sex appeal
Do women change
Enslaved by civilisation
Give her a pattern
Introduction to pictures
Myself revealed
Introduction to these paintings
The state of funk
Making pictures
Pornography and obscenity
Pictures on the wall
The risen lord
Men must work and women as well
Nottingham and the mining countryside
We need one another
The real thing
Nobody loves me
Appendix 1. Early draft of 'The 'Jeune Fille' Wants to Know'
Appendix 2. Vanity Fair version of 'Do Women Change'
Appendix 3. 'Mushrooms': an autobiographical fragment
Explanatory notes
Textual apparatus
A note on pounds, shillings and pence.
Prefatory note
Acknowledgements
Chronology
Cue-titles
Introduction
Late essays and articles: Note on the texts
Mercury
[Return to Bestwood]
Getting on
Which class I belong to
Newthorpe in 2927
The 'Jeune Fille' wants to know
Laura Philippine
That women know best
All there
Thinking about oneself
Insouciance
Master in his own house
Matriarchy
Ownership
Autobiography
Women are so cocksure
Why I don't like living in London
Cocksure women and hen-sure men
Hymns in a man's life
Red trousers
Is England still a man's country?
Sex appeal
Do women change
Enslaved by civilisation
Give her a pattern
Introduction to pictures
Myself revealed
Introduction to these paintings
The state of funk
Making pictures
Pornography and obscenity
Pictures on the wall
The risen lord
Men must work and women as well
Nottingham and the mining countryside
We need one another
The real thing
Nobody loves me
Appendix 1. Early draft of 'The 'Jeune Fille' Wants to Know'
Appendix 2. Vanity Fair version of 'Do Women Change'
Appendix 3. 'Mushrooms': an autobiographical fragment
Explanatory notes
Textual apparatus
A note on pounds, shillings and pence.