Read more
A detailed assessment of D. H. Lawrence's wide-ranging engagements across the verbal, visual and performance arts
This book includes twenty-eight innovative chapters by specialists from across the arts, reassessing Lawrence's relationship to aesthetic categories and specific art forms in their historical and critical contexts. A new picture of Lawrence as an artist emerges, expanding from traditional areas of enquiry in prose and poetry into the fields of drama, painting, sculpture, music, architecture, dance, historiography, life writing and queer aesthetics. The Companion presents original research on topics such as Lawrence's politics in his art, his representations of technology, his practice of revising and rewriting, and the relationship between his criticism and creation of prose, poetry and painting. This interdisciplinary Companion also makes a strong case for Lawrence's continuing relevance and aesthetic power, as represented by case studies of his afterlives in biofiction, cinema, musical settings and portraiture.
Catherine Brown is Head of English and Senior Lecturer in English Literature at the New College of the Humanities, London. She is the author of The Art of Comparison: How Novels and Critics Compare (2011), articles on Lawrence, George Eliot, Henry James and Tolstoy, and is the co-editor of The Reception of George Eliot in Europe (2016).
Susan Reid is the Editor of the Journal of D. H. Lawrence Studies. She is the author of D. H. Lawrence, Music and Modernism (2019) and many articles and book chapters on Lawrence and other modernist writers, and the co-editor of Katherine Mansfield and Literary Modernism (2011) and Katherine Mansfield Studies (2010-12).
List of contents
Acknowledgements; List of Abbreviations; List of Colour Plates, Figures and Musical Examples; Introduction, Catherine Brown and Susan Reid; PART I: AESTHETICS; The Idea of the Aesthetic, Michael Bell; Gesamtkunstwerk, Susan Reid; Romanticism, Decadence, History, Vincent Sherry; National and Racial Aesthetics, Peter Childs; Traditional Aesthetics, Julianne Newmark; Translation, Stefania Michelucci; Biblical Aesthetics, Shirley Bricout; Historiography and Life Writing, Andrew Harrison; Queer Aesthetics, Hugh Stevens; Politics and Art, Howard J. Booth; Popular Culture, Gemma Moss; Technology, David Trotter; PART II: AESTHETIC FORMS; SECTION 1: VERBAL ARTS; The Idea of the Novel, Keith Cushman; Practitioner Criticism: Poetry, Holly A. Laird; Revising and Rewriting, Paul Eggert; SECTION 2: PERFORMANCE ARTS; Performance, John Worthen; Drama and the Dramatic, Jeremy Tambling; Music, Susan Reid; Dance, Susan Jones; SECTION 3: VISUAL ARTS; Practitioner Criticism: Painting, Jeff Wallace; Book Design, Jonathan Long; Sculpture, Jane Costin; Architecture, Sarah Edwards; Clothing and Jewellery, Judith Ruderman; PART III: LAWRENCE IN OTHERS' ART; Lawrence in Biofiction, Lee M. Jenkins; Lawrence set to Music, Bethan Jones; Lawrence and Twenty-First-Century Film, Louis K. Greiff; D. H. Lawrence: Icon, Catherine Brown; Notes on Contributors; Index.
About the author
New College of the Humanities, UKCatherine Brown is Head of English and Senior Lecturer in English Literature at the New College of the Humanities, London. She is the author of The Art of Comparison: How Novels and Critics Compare (2011) articles on Lawrence, George Eliot, Henry James and Tolstoy, and is the co-editor of The Reception of George Eliot in Europe (2016).Susan Reid is the Editor of the Journal of D. H. Lawrence Studies. She is the author of D. H. Lawrence, Music and Modernism (2019) and many essays on Lawrence and other modernist writers, and co-editor of Katherine Mansfield and Literary Modernism (2011) and Katherine Mansfield Studies (2010-12).
Summary
This book includes twenty-eight innovative chapters by specialists from across the arts, reassessing Lawrence's relationship to aesthetic categories and specific art forms in their historical and critical contexts.
