Lawrence's revision of the fiction of his English comtemporary E. M. Forster is a key to the way in which Lawrence's imagination worked. He discovered in early 1915 that Forster was already producing a body of fiction which treated many of his own themes in a manner which resembled the visionary and prophetic mode he wished to create. This study demonstrates that Lawrence's motivation and method in the writing of many scenes in The Rainbow, Women in Love, The Lost Girl, Aaron's Rod, and St. Mawr are governed by his compulsive misreading of scenes, symbols, characters, settings, plots and motifs in Forster's fiction. It is evident that Lawrence needed to establish dominance over Forster in this manner in order to keep alive what he called his "passional inspiration."

This thesis is an examination of sex in D. H. Lawrence's Lady Chatterley's Lover and Radclyffe Hall's The Well of Loneliness as it relates to the social, linguistic and political elements of literary modernism. Both novels "think sex," allowing specific concepts of sex to act as methods of communication between artists and readers. By writing sex, Hall and Lawrence address the modern reader, providing a script for ideal readerly and writerly approaches to the novel. The first chapter examines contemporary cultural and gender theory's understanding of the relationship between sex and discourse and relates this to political and literary considerations of modernism. The second chapter looks at psychosexual medical texts that influenced modernism's understanding of sex and art; the final chapter examines "thinking sex" in Lady Chatterley's Lover and The Well of Loneliness by examining the content and reception of both works.

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The narrators of Roughing It in the Bush and Obasan struggle with the notion of home and how to reinvent it in situations of exile. Moodie is estranged when she emmigrates from Britain to Canada to find her role compromised by the rigors of the pioneering experience. Naomi, a Japanese Canadian is estranged when she and her family are expelled from their home, relocated in internment camps, and dispersed across the country during the Second World War. I argue that reinventing home requires both questioning and claiming material and discursive spaces. / Moodie reinvents home by negotiating Old and New World spaces of gender, class and culture. Naomi reinvents home by questioning official, exclusionary discourse and testifying to the Japanese Canadian history of internment and dispersal. Both narrators negotiate borders between private experience and public discourse and in the process, explore the question: "What is the meaning of home?"

There is no abstract available for this thesis.

There is no abstract available for this thesis.

Lawrence's work has almost invevitably been read as an aesthetic production whereby one must eventually agree or disagree with his vision of "reality". Those who assume a formalist standard of taste often find that Lawrence "loses control" of his material; those who offer ideological apologies for his work argue that disruptions in the aesthetic plane are representative of an exploratory genius, often seen as the outstanding characteristic of literary modernism. Both approaches, explicitly or otherwise , rely on the ultimate sanction of the achieved image, transmuted by the author always in control of his material. Yet anyone who reads Lawrence with an eye to to what the "tale" says in addition to what the "teller" claims discovers that Lawrence is not in full control of his material, thought it cannot simply be argued, on aesthetic or linguistic criteria, that he is out of control. Rather, there exists a "third" state whereby Lawrence both writes and is written, gives us a message with one hand, yet retracts, as it were, with the other. Because this double-move is preeminently suited to the language of fiction, and because it appears in Lawrence's fiction with the greatest versatility and incisiveness, this dissertation analyzes six of his novels for their rhetorical significance, understood as both an organization of tropes and figures and as a system of persuasive doctrine. A new definition for allegory is proposed, the introductions of thematic and structural "blanks" is examined, and a spread of narrative delays are identified and discussed, all concerned with the central problem of writing novels that direct themselves to the resurrection of a pre-linguistic universe, yet ironically depend more and more upon writing to bring this about. Ideas drawn from Continental philosophy and recent critical theory are incorporated for support and instruction. Attention is also focused on Lawrence's revision processes, often with specific emphasis on unpublished manuscript material.

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No description available.

No description available.