A momentous book in the field of psychoanalysis where Lawrence discusses his opinions about various aspects of life. Making it clear that he is neither a "scientist" nor a "scholar," he writes that he found support for his views in various theories and philosophies.
Originally published in 1983, D.H. Lawrence is an annotated bibliographic collection of works by and about D.H. Lawrence. Consisting of three parts, the primary bibliography contains separate bibliographies of Lawrence’s major publications, of collection editions of his works, of his letters, and of concordances to his writings. The secondary bibliography contains bibliographies of biographical and critical publications concerning Lawrence, generally or his individual works. Appendixes and Indexes include an extensive checklist of major foreign-language publications concerning Lawrence and a useful topical and thematic subject index for the guide.
Secret Sharers traces a genealogy of secret sharing between literary modernism and psychoanalysis, focusing on the productive entanglements and intense competitive rivalries that helped shape Anglo-American modernism as a field. As Jennifer Spitzer reveals, such rivalries played out in explicit criticism, inventive misreadings, and revisions of Freudian forms—from D. H. Lawrence’s re-descriptions of the unconscious to Vladimir Nabokov’s parodies of the psychoanalytic case study. While some modernists engaged directly with Freud and Freudian psychoanalysis with unmistakable rivalry and critique, others wrestled in more complex ways with Freud’s legacy. The key protagonists of this study—D. H. Lawrence, Virginia Woolf, W. H. Auden, and Vladimir Nabokov—are noteworthy for the way they engaged with, popularized, and revised the terms of Freudian psychoanalysis, while also struggling with it as an encroaching discourse. Modernists read psychoanalysis, misread psychoanalysis, and sometimes refused to read it altogether, while expressing anxiety about being read by psychoanalysis—subjecting themselves and their art to psychoanalytic interpretations. As analysts, such as Freud, Ernest Jones, and Alfred Kuttner, turned to literature and art to illustrate psychoanalytic theories, modernists sought to counter such reductive narratives by envisioning competing formulations of the relationship between literature and psychic life. Modernists often expressed ambivalence about the probing, symptomatic style of psychoanalytic interpretation and responded with a re-doubling of arguments for aesthetic autonomy, formal self-consciousness, and amateurism. Secret Sharers reveals how modernists transformed the hermeneutic and diagnostic priorities of psychoanalysis into novel aesthetic strategies and distinctive modes of epistemological and critical engagement. In reassessing the historical and intellectual legacies of modernism, this book suggests that modernist responses to psychoanalytic criticism anticipate more recent critical debates about the value of “symptomatic” reading and the “hermeneutics of suspicion.”
The present book is a continuation from "Psychoanalysis and the Unconscious." The generality of readers had better just leave it alone. The generality of critics likewise. I really don't want to convince anybody. It is quite in opposition to my whole nature. I don't intend my books for the generality of readers. I count it a mistake of our mistaken democracy, that every man who can read print is allowed to believe that he can read all that is printed. I count it a misfortune that serious books are exposed in the public market, like slaves exposed naked for sale. But there we are, since we live in an age of mistaken democracy, we must go through with it. I warn the generality of readers, that this present book will seem to them only a rather more revolting mass of wordy nonsense than the last. I would warn the generality of critics to throw it in the waste paper basket without more ado. As for the limited few, in whom one must per force find an answerer, I may as well say straight off that I stick to the solar plexus. That statement alone, I hope, will thin their numbers considerably. Finally, to the remnants of a remainder, in order to apologize for the sudden lurch into cosmology, or cosmogony, in this book, I wish to say that the whole thing hangs inevitably together. I am not a scientist. I am an amateur of amateurs. As one of my critics said, you either believe or you don't.
This groundbreaking new source of international scope defines the essay as nonfictional prose texts of between one and 50 pages in length. The more than 500 entries by 275 contributors include entries on nationalities, various categories of essays such as generic (such as sermons, aphorisms), individual major works, notable writers, and periodicals that created a market for essays, and particularly famous or significant essays. The preface details the historical development of the essay, and the alphabetically arranged entries usually include biographical sketch, nationality, era, selected writings list, additional readings, and anthologies
A momentous book in the field of psychoanalysis where Lawrence discusses his opinions about various aspects of life. Making it clear that he is neither a "scientist" nor a "scholar," he writes that he found support for his views in various theories and philosophies.
This book opens out a wholly new field of enquiry within a familiar subject: it offers a detailed – yet eminently readable – historical investigation, of a kind never yet undertaken, of the impact of psychoanalysis (at a crucial moment of its history) on the thinking and writing of D.H. Lawrence. It considers the impact on his writing, through his relationship with Frieda Weekley, of the maverick Austrian analyst Otto Gross; it situates the great works of 1911-20 in relation to the controversial issues at stake in the Freud-Jung quarrel, about which his good friend, the English psychoanalyst David Eder, kept him informed; and it explores his sympathy with the maverick American analyst Trigant Burrow. It is a study to interest a literary audience by its close reading of Lawrence’s texts, and a psychoanalytic audience by its detailed consideration of the contribution made to contemporary debate by three comparatively neglected analytic thinkers.
Robert Bertholf and Annette Levitt have assembled thirteen essays that establish Blake as a "central voice molding modern literature and thought." The essays in this volume examine Blake's influence on modern poetry, the modern novel, and modern thought from various critical approaches. This collection maps out the lines of direct literary influences and indirect intellectual affinities that make up the tradition of enacted form. Through the use of various aspects of Blake's form and ideas, this book reasserts the idea of continuity, the drive for wholeness, and the arrival of new poetic forms. Blake is considered one of the major and most modern of Romantics. This collection positions him as a precursor of the modern, using his vision and poetry as a base for discussing a central issue in literary theory today—influence and the literary tradition—just how is the legacy of a literary artist passed on, and how is it resurrected in the works of subsequent generations.
Fantasia of the Unconscious: larg print By D.H. Lawrence Fantasia of the Unconscious by D. H. Lawrence is a unique work in the history of psychology. Unlike any other views of the time, it was written with the poetry, force, and audacity characteristic of Lawrence himself. This piece stands as a psychological curiosity and a literary gem that provides insight to Lawrence's own mental processes.