By Eunyoung Oh
D.H. Lawrence's Border Crossing builds upon advancements inside postcolonial concept to argue for a reconsideration of the concept that of "spirit of position" in D. H. Lawrence’s go back and forth books and "leadership" novels – works that checklist Lawrence’s quite a few encounters with racial and geographical "others." Exploring his dating to colonialism, Dr. Oh shows how Lawrence’s trust in several "spirits" belonging to those disparate locations allows him to go beyond the hierarchies among city and colony, among civilized and "primitive" worlds.
Read Online or Download D.H. Lawrence's Border Crossing: Colonialism in His Travel Writings and 'Leadership' Novels (Studies in Major Literary Authors) PDF
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Additional info for D.H. Lawrence's Border Crossing: Colonialism in His Travel Writings and 'Leadership' Novels (Studies in Major Literary Authors)
And England was conquering the world with her machines and her horrible destruction of natural life. She was conquering the whole world. And yet, was she not herself finished in this work? She had had enough. She had conquered the natural life to the end: she was replete with the conquest of the outer world, satisfied with the destruction of the Self. She would cease, she would turn round; or else expire. (TI, pp. 53–4) In spite of Lawrence’s desperate hope that England would turn its direction from the outer, material world to an inner, peaceful world, the ending of “The Lemon Gardens” strongly features an apocalyptic mood in his description of the “doomed” world, covered with “vast masses of machines” and “teeming swarms of disintegrated human beings” (TI, p.
Lawrence’s creation of Sardinia “with no history and no date” reflects his desire to forget the time and the history of European civilization. It seems that Lawrence’s creation of Sardinia as a place, untouched by Western civilization, lies behind S. H. Lawrence’s Border Crossing But Weiner’s attempt to differentiate conventional (supposedly objective) travel writing from a “rhetorical use of travel” comes from his naturalistic belief that travel writing should consist of objective and factual descriptions.
100), Lawrence immediately forgives the dirty-breasted host and declares his rage gone. Along with emotional fluctuations, the lack of authority in Lawrence’s narrative reveals how Lawrence responds to the local culture and people during his journey. That is, by choosing the opposite narrative strategy to the “neutral” and “descriptive” voice of the conventional travel book, he refuses to let his travel writing be read as an authoritative text, which “represents” the place. Lawrence’s repudiation of the characteristic authority of travel writing probably has not a little to do with his challenge to the cultural authority of British Literature; the English, notoriously, censored The Rainbow and Women in Love.