D. H. Lawrance, German Expressionism, and Weberian formal rationality
Literary historians still find it difficult to "place" David Herbert Lawrence. Does he actually belong to that revolutionary movement in literature which is given the name "literary modernism" or "high modernism"? In Germany, the accusation of "fascism", usually based on a reading of The Plumed Serp...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | Artículo |
| Lenguaje: | español |
| Publicado: |
Universidad de Zaragoza: Departamento de Filología Inglesa y Alemana
1999
|
| Acceso en línea: | https://dialnet.unirioja.es/servlet/oaiart?codigo=193804 |
| Etiquetas: |
Sin Etiquetas, Sea el primero en etiquetar este registro!
|
| _version_ | 1879224614671876096 |
|---|---|
| author | Seeber, H. U. |
| author_browse | Seeber, H. U. |
| author_facet | Seeber, H. U. |
| author_sort | Seeber, H. U. |
| building | Dialnet |
| collection | Acceso abierto |
| description | Literary historians still find it difficult to "place" David Herbert Lawrence. Does he actually belong to that revolutionary movement in literature which is given the name "literary modernism" or "high modernism"? In Germany, the accusation of "fascism", usually based on a reading of The Plumed Serpent, is still a stock response to the challenge of Lawrence. Not happy with such a reductionist approach, I propose to place Lawrence in the context of German expressionism to explain crucial thematic and, to a lesser degree, formal innovations in his work. The Rainbow and Women in Love are shaped by the typically expressionist tension between form and life. Their chief protagonists, Ursula and Birkin, voicing the author's radical critique of modern civilization, attempt to break through the forms of civilization, an attempt which implies a characteristic apocalyptic dialectic between destruction and renovation. In both expressionism and Lawrence, sexual love is the chief agent of "Aufbruch" ("new departure"). In describing the nature of modernity, Lawrence is evidently influenced by Max Weber's concept of "formal rationality" ("formale Rationalität"), which he learned from Edgar Jaffe. |
| first_indexed | 2026-10-16T13:24:01Z |
| format | Article |
| fullrecord | <oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd"><identifier>dialnet-ART0000004663</identifier><datestamp>2026-10-14</datestamp><dc:title>D. H. Lawrance, German Expressionism, and Weberian formal rationality</dc:title><dc:creator>Seeber, H. U.</dc:creator><dc:description>Literary historians still find it difficult to "place" David Herbert Lawrence. Does he actually belong to that revolutionary movement in literature which is given the name "literary modernism" or "high modernism"? In Germany, the accusation of "fascism", usually based on a reading of The Plumed Serpent, is still a stock response to the challenge of Lawrence. Not happy with such a reductionist approach, I propose to place Lawrence in the context of German expressionism to explain crucial thematic and, to a lesser degree, formal innovations in his work. The Rainbow and Women in Love are shaped by the typically expressionist tension between form and life. Their chief protagonists, Ursula and Birkin, voicing the author's radical critique of modern civilization, attempt to break through the forms of civilization, an attempt which implies a characteristic apocalyptic dialectic between destruction and renovation. In both expressionism and Lawrence, sexual love is the chief agent of "Aufbruch" ("new departure"). In describing the nature of modernity, Lawrence is evidently influenced by Max Weber's concept of "formal rationality" ("formale Rationalität"), which he learned from Edgar Jaffe.</dc:description><dc:publisher>Universidad de Zaragoza: Departamento de Filología Inglesa y Alemana</dc:publisher><dc:date>1999</dc:date><dc:type>text (article)</dc:type><dc:format>application/pdf</dc:format><dc:identifier>https://dialnet.unirioja.es/servlet/oaiart?codigo=193804</dc:identifier><dc:identifier>(Revista) ISSN 1137-6368</dc:identifier><dc:identifier>(Revista) ISSN 2386-4834</dc:identifier><dc:source>Miscelánea: A journal of english and american studies, ISSN 2386-4834, Nº 20, 1999 (Ejemplar dedicado a: Modernism), pags. 235-258</dc:source><dc:language>spa</dc:language><dc:rights>LICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. Cualquier enlace al texto completo de estos documentos deberá hacerse a través de la URL oficial de éstos en Dialnet. Más información: https://dialnet.unirioja.es/info/derechosOAI | INTELLECTUAL PROPERTY RIGHTS STATEMENT: Full text documents hosted by Dialnet are protected by copyright and/or related rights. This digital object is accessible without charge, but its use is subject to the licensing conditions set by its authors or editors. Unless expressly stated otherwise in the licensing conditions, you are free to linking, browsing, printing and making a copy for your own personal purposes. All other acts of reproduction and communication to the public are subject to the licensing conditions expressed by editors and authors and require consent from them. Any link to this document should be made using its official URL in Dialnet. More info: https://dialnet.unirioja.es/info/derechosOAI</dc:rights></oai_dc:dc> |
| id | dialnet-ART0000004663 |
| institution | Dialnet |
| language | spa |
| last_indexed | 2026-10-16T13:24:01Z |
| publishDate | 1999 |
| publishDateRange | 1999 |
| publishDateSort | 1999 |
| publisher | Universidad de Zaragoza: Departamento de Filología Inglesa y Alemana |
| publisherStr | Universidad de Zaragoza: Departamento de Filología Inglesa y Alemana |
| record_format | oai_dc |
| spelling | dialnet-ART00000046632026-10-14D. H. Lawrance, German Expressionism, and Weberian formal rationalitySeeber, H. U.Literary historians still find it difficult to "place" David Herbert Lawrence. Does he actually belong to that revolutionary movement in literature which is given the name "literary modernism" or "high modernism"? In Germany, the accusation of "fascism", usually based on a reading of The Plumed Serpent, is still a stock response to the challenge of Lawrence. Not happy with such a reductionist approach, I propose to place Lawrence in the context of German expressionism to explain crucial thematic and, to a lesser degree, formal innovations in his work. The Rainbow and Women in Love are shaped by the typically expressionist tension between form and life. Their chief protagonists, Ursula and Birkin, voicing the author's radical critique of modern civilization, attempt to break through the forms of civilization, an attempt which implies a characteristic apocalyptic dialectic between destruction and renovation. In both expressionism and Lawrence, sexual love is the chief agent of "Aufbruch" ("new departure"). In describing the nature of modernity, Lawrence is evidently influenced by Max Weber's concept of "formal rationality" ("formale Rationalität"), which he learned from Edgar Jaffe.Universidad de Zaragoza: Departamento de Filología Inglesa y Alemana1999text (article)application/pdfhttps://dialnet.unirioja.es/servlet/oaiart?codigo=193804(Revista) ISSN 1137-6368(Revista) ISSN 2386-4834Miscelánea: A journal of english and american studies, ISSN 2386-4834, Nº 20, 1999 (Ejemplar dedicado a: Modernism), pags. 235-258spaLICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. Cualquier enlace al texto completo de estos documentos deberá hacerse a través de la URL oficial de éstos en Dialnet. Más información: https://dialnet.unirioja.es/info/derechosOAI | INTELLECTUAL PROPERTY RIGHTS STATEMENT: Full text documents hosted by Dialnet are protected by copyright and/or related rights. This digital object is accessible without charge, but its use is subject to the licensing conditions set by its authors or editors. Unless expressly stated otherwise in the licensing conditions, you are free to linking, browsing, printing and making a copy for your own personal purposes. All other acts of reproduction and communication to the public are subject to the licensing conditions expressed by editors and authors and require consent from them. Any link to this document should be made using its official URL in Dialnet. More info: https://dialnet.unirioja.es/info/derechosOAI |
| spellingShingle | Seeber, H. U. D. H. Lawrance, German Expressionism, and Weberian formal rationality |
| title | D. H. Lawrance, German Expressionism, and Weberian formal rationality |
| title_full | D. H. Lawrance, German Expressionism, and Weberian formal rationality |
| title_fullStr | D. H. Lawrance, German Expressionism, and Weberian formal rationality |
| title_full_unstemmed | D. H. Lawrance, German Expressionism, and Weberian formal rationality |
| title_short | D. H. Lawrance, German Expressionism, and Weberian formal rationality |
| title_sort | d h lawrance german expressionism and weberian formal rationality |
| url | https://dialnet.unirioja.es/servlet/oaiart?codigo=193804 |
| work_keys_str_mv | AT seeberhu dhlawrancegermanexpressionismandweberianformalrationality |