D.H.

Lawrence, Women in Love

- WL in the footsteps of Thomas Hardy characters creating their own destiny in symbolic
scenes (social circumstances of paramount importance in the shaping of our destinies
characters as REAL BE!"# $%&ER!T' of the realist no(el)
- *raise of the e+plosi(e,irrational actions of Hardy-s characters when they create their own
destiny a real. (ital. potential self/ 0The creati(e. spontaneous soul sends forth its promptings
of desire and aspiration in us1 These promptings are our true fate. which is our business to
fulfil2 A fate dictated from outside 3traditional realist no(el4. from theory or from
circumstances. is a false fate5 in 6L. the character is rather revealed than developed. no
mas7 of socially recogni8able personality. but the true springs of the character
- The structure of the no(el relies on a sense of prophesy leading to a tragic peripeteia (turning
point. disco(ery. changes of character) "erald-s fatality as a 9ain-li7e figure who 7ills his
brother tragic death of "erald in :the waste of whiteness-/ the non-human aspect of :the
static ice-built mountain top- suggests the self-destructi(e will that "erald and "udrun e+ert on
each other and on the world; "erald-s sterile abuse of the will (abusing the miners treated as
instruments) typical of modern society
- $ARRA"E ec-centric. against social norma; <rsula and "udrun as independent women;
Bir7in and "erald their upper-class superior/ Bir7in percei(es technology and
industriali8ation as negati(e forces of modernity while "erald is engrossed in wor7 and deems
technology as will-to-power
- THE TRA!"LE %= &E#RE/ "erald lo(es Bir7in. but sees him desiring <rsula "erald-s
desire for Bir7in. and also to his desire for "udrun as a substitute1 Bir7in sees "erald desiring
"udrun. which heightens his attraction to "erald and ma7es him hesitant to marry <rsula for
fear of separating the two men; "udrun. "erald. and Loer7e at the end triggers "erald-s
(iolent attac7 against them. and leads to his death by e+posure1 "udrun compares this situation
ironically to the holy trinity. calling it a :trinity of hate-1
- =RE<&A! !#T!9T#,RE*RE##E& L%>E/ Bir7in and "erald repress their lo(e in an
effort to marry the Brangwen sisters; <rsula conflicting emotions concerning Bir7in. whose
demands are uncon(entional and force <rsula to e+amine her willingness to gi(e all of herself
to the lo(e between them; "udrun finds "erald attracti(e yet terrifying in his brute physicality;
"udrun-s situation is mirrored by "erald-s attitude towards her. since he finds her alluring and
superior to him in spirit. yet he often destroys her when she triggers feelings in him; repressed
human instincts and passions; for Lawrence. eros ? intense passion e+pressi(e of "od-s
creation AR9HET'*E#/ <rsula and Bir7in ? Adam and E(e; their carnal and spiritual
sensuality the union of bodily passions and the spirit of creation
- !HL#T9 >E6 %! $%&ER! L=E e+pressed by Bir7in; "erald a totemic animal
(wolf); <rsula and "udrun-s dancing in the forest as a means of escaping social norms and as a
re-enactment of a mystical ritual; animals ? illustrations of man-s primiti(e nature
- !&<#TRAL@AT%! "erald 9rich his approach different from his father-s/ focus on
production. pragmatism. ultimate efficiency by treating the miners as instruments. not as human
beings; machinery as a 9arlylean attac7 against collecti(ity; desire to master the matter of the
earth Lawrence-s attac7 on passions. instincts and spirit that cannot be confined to labour
Nietzsches influence (through Bir7in) A The Genealogy of Morals - 9hristianity led to nihilism (s1
western ci(ili8ation predicated on rational thought loss of a spirited culti(ation of life; willingness to
eradicate old (estiges of a 9hristian morality in order to rema7e the world and reshape the creati(e
spirit of humanity the myth of the :eternal return- ta7en as the powerful will of the uni(erse to
reshape itself anew1
G. Orwell, 1984
- leftist ideology. repudiation of totalitarianism. dystopia; dystoia written in BCDC; preoccupation with
the future of man7ind; concern with the organi8ation of society; co!!unist welfare state olicy; the
no(el ? a warning against the rise of communism %rwell witnessed in #pain and the #o(iet <nion
- re(i(al of REAL#$ E $odernist consciousness comes to an end in the early BCDFs E continued by
absurdist writers (see Bec7ett. Waiting for Godot " a world de#oid of secific features, in which !a is
waitin$ for #a$ue forces " %God&ot, loo'in$ u to transcendence)
- ad(ent of *%#T$%&ER!#$ a direction emerging in the BCGFs based on *AR%&' A!&
$ETA=9T%! (cf1 Linda Hutcheon. The Politics of Postmodernism) EE re(i(al of this mode in the
HF-s under the name of THE A!"R' '%<!" $E!. from Iohn %sborne-s Look Back in Anger
- in the same %rwellian (ein/ ris $urdoch. Under the Net; 61 "olding. Lord of the Flies; A1 Burgess.
The lock!ork "range !%>EL# %= &EA#. allegories based on political ideology. dogma.
falsification of the past and particularly *RE#E!T;
- main character 6inston #mith. wor7ing in the Record &pt1 %f the $inistry of Truth. forging the past;
%ceania Big Brother ? omnipotent and infallible (s1 Eurasia
- %rwell-s coinages/ &%<BLETH!J. &%<BLE#*EAJ ($inistry of Truth. !ewspea7. 9rimestop.
!"#%9 K L K ?H. =iction &pt1 Iulia in lo(e with 6inston #mith; *A!%*T9%!- :Big Broter is
watchig you-; the Brotherhood underground group aiming to o(erthrow the *arty; )
- :docile bodies- (cf1 $ichel =oucault) reeducation through torture (the %-Brien case); no morality. no
emotions; technology as the embodiment of E>L (telescreens); !ewspea7 the new lgg1 of the *arty
acting as brainwashing E loss of history (past) and indi(iduality ?E $A!*<LAT%!.
*R%*A"A!&A; *R%LETARAT (red-armed prole woman trying to stand against the ruling *arty
called %ceania)
:To the f#t#re or to the past$ to a time !hen tho#ght is free$ !hen men are different from one another and do not
live alone % to a time !hen tr#th e&ists and !hat is done cannot 'e #ndone(
From the age of #niformity$ from the age of solit#de$ from the age of Big Brother$ from the age of
do#'le think % greetings)
He was already dead. he reflected1 t seemed to him that it was only now. when he had begun to be able
to formulate his thoughts. that he had ta7en the decisi(e step1 The conseMuences of e(ery act are included in
the act itself1 He wrote/
Tho#ghtcrime does not entail death( tho#ghtcrime *+ death,-
(O))*N+,- D.,-O/+0 - He 3i1e1 the *arty member4 must be cut off from the past. Nust as he must be cut
off from foreign countries. BE9A<#E T # !E9E##AR' =%R H$ T% BELE>E THAT HE # BETTER
%== THA! H# A!9E#T%R# and that the a(erage le(el of material comfort is constantly rising1 31114 This day-
to-day falsification of the past. carried out by the $inistry of Truth. is as neccesary to the stability of the regime
as the wor7 of repression and espionage carried out by the $inistry of Lo(e 3eMui(alent ot the #ecuritate41
(1N,O2,H+/, 120,+NG34O2G+NG )1)O2.5 And since the *arty is in full control of all records. and in
eMually full control of the minds of its members. it follows that the past is whate(er the *arty chooses to ma7e it1
31114 6ut it is also necessary to re!e!7er that e#ents haened in the desired !anner.
-o#'lethink means the power of holding two contradictory belief in one-s mind simultaneously. and accepting
both of them1 The *arty intellectual 7nows in what direction his memories must be altered; he therefore 'nows
he is layin$ tric's with reality; but by the e+ercise of do#'lethink he also satisdfies himself that reality is not
(iolated1 31114 <ltimately. it is by means of doublethin7 that the *arty has been able and may. for all we 7now.
continue to be able for thousands of years - to arrest the course of history.