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자료유형
학술저널
저자정보
권영희 (서울시립대학교)
저널정보
한국로렌스학회 D. H. 로렌스 연구 D.H. 로렌스 연구 제28권 제2호
발행연도
2020.1
수록면
21 - 46 (26page)

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This essay suggests that the affective dimension of primitivism has a crucial part in D. H. Lawrence’s innovative characterization in Women in Love. Building on Michael Bell’s and Ben Etherington’s astute commentaries on Lawrentian primitivism, while drawing on Brian Massumi’s notion of affect, it foregrounds Gudrun and Birkin as major focalizers of the primitive narrative. First, in her relationship with Gerald, Gudrun turns him into a primitive object of her sadomasochistic desire. It is Lawrence’s narrative primitivism that makes this psychosexual mechanism feasible, generating precognitive and inexpressible affects, which nevertheless are embodied in the narrative as intensities arresting the characters. As Gerald becomes “primitive” through the logic of Gudrun’s desire, it is potently revealed that he is deeply subordinated to the ‘savagery’ of modern capitalist system, along with the machinery and the coal-miners. In case of Birkin, his primitivist aspiration brings forth alternative modes of sensual experience beyond the pale of heterosexual normativity. Right after the climactic moment of his conflicted relationship with Hermione, he undergoes blissful feelings of fulfillment in an erotic, yet asexual encounter with nature. Further, the wrestling scene with Gerald presents similarly intense and deeply gratifying feelings accompanying genuinely uninhibited sensuality. Yet, the ideological binary of primitivism as a discourse?into degenerative and regenerative ones?affects Birkin to repress his queer desire, and hold onto the safe ground of heterosexuality. Nonetheless, it deserves our attention that rather than an artistic credo or a part of imperial discourse, primitivism as a driving force of narrative enables Lawrence to embody affective realities of his characters, thus generating a unique aesthetics of the novel.

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