Titlebook: D. H. Lawrence’s Language of Sacred Experience; The Transfiguration Charles Michael Burack Book 2005 Charles Michael Burack 2005 argue.con

標準

使虛弱

, Lady Chatterley’s Lover,version in January 1928. His letters from that period indicate he powerfully identified with the novel and considered it as precious and frail as his self. Fearing public outcry and government censorship, he initially had no desire to publish the manuscript. Only after considering private publicatio

vascular

壓倒性勝利

The Rainbow, not be surprising because Lawrence was reading anthropological and Theosophical writings about initiation rites as early as 1908.. But the initiatory pattern in . is different from that found in subsequent novels in at least two important ways. First, the sacralization-destruction pattern is repeat

使困惑

Binge-Drinking

The Plumed Serpent,s now in the position of a potential initiate. It is not simply ironic that this novel should prove to be one of his most debated works in terms of its power to touch, persuade or transform the reader.. While Lawrence eventually himself came to see the novel’s “l(fā)eader-cum-follower” theme as a “bore,

泰然自若

Obstreperous

Archipelago

pulmonary-edema

https://doi.org/10.1007/978-94-011-3660-0iousness. Splits in the reader’s mind are intensified in order to disintegrate them. In the novel’s sacralization phase, which begins with the introduction of Mellors in Chapter V and reaches its highest pitch in the seven sex scenes involving Mellors and Connie in Chapters X–XVI, the aim is to rein