Women In Love Research Articles

“It's Nothing to be Ashamed of, I'm Like, I'm Bisexual and I Love Women, I Like Men” - Being a Bisexual Person with an Intellectual Disability

Despite increasingly liberal attitudes in the UK, people who identify as bisexual face unique challenges from both mainstream society and within the LGBTQ + community. Negative stereotypes persist surrounding bisexuality, such as people are confused or hiding their ‘true’ sexual orientation as a gay man or a lesbian. No research explores the experiences of bisexual people with an intellectual disability. However, LGBTQ + people with an intellectual disability are a minority and potentially face double discrimination. Eight bisexual people with intellectual disabilities took part in semi-structured interviews exploring their experiences. Participants' narratives were analyzed using interpretive phenomenological analysis. The study highlighted that being bisexual was an essential part of their identity. They experienced the same challenges, such as biphobia, as bisexual people without an intellectual disability. Participants were fearful of disclosing their sexuality to family, friends or their support staff, but overall, this has been a positive experience by enabling individuals to be their authentic self. Participants’ sexuality could pose challenges within their intimate relationships if their partner was not also bisexual. The research highlights the importance of LGBTQ + support groups to people with intellectual disabilities as a safe space to explore their identity, build connections with peers and provide support to integrate within the LGBTQ + scene. There is a clear need for those supporting people with intellectual disabilities to have training surrounding bisexuality and the distinct issues that this group can face.

Women Artists in the British and Ukrainian Literature at the Turn of the 19th – 20th Century: D. H. Lawrence’s Women in Love and O. Kobylianska’s Valse Mélancolique

The article analyzes the peculiarities of women-artists’ portrayal in the texts Women in Love by D. H. Lawrence and Valse Melancolique by O. Kobylianska in the light of feminism and intermediality. Its relevance is conditioned by a new wave of interest in feminist interpretation, the comparative study of the relationship between visual art-literature and the opportunity to expand the line of the research of English-Ukrainian literary cross-cultural relationships. The purpose of this article is to determine the similarities and differences in the images of women artists. In order to achieve this objective, we used feminist approaches, elements of intermedial and contextual analyzes, as well as biographical and typological methods. The research showed that the correspondences in the images of women-artists are obvious at different levels: the importance of art in the life of the protagonists, criticism of patriarchal society with all its conventions towards women, focus on strong personalities of women-artists, elements of visual art incorporated in the literary works. Despite the different socio-cultural situation in Britain and Ukraine at the turn of the 19 th –20 th century, the prose works of D. H. Lawrence and O. Kobylianska proved the authors’ common interpretation of women-artists images, which correlate with the modernist principles of a free choice and self-expression.

De Cortázar al cine. Glenda Jackson y la evolución del imaginario femenino en los 70

El presente trabajo se centra en la lectura del cuento de Cortázar, “Queremos tanto a Glenda” (1980), con el objetivo de analizar la trama de esta historia ficcional, que gira en torno al fanatismo que aprueban un grupo de personajes por la actriz inglesa, Glenda Jackson. Mas allá de la ficción cortazariana, esta temática nos llevará a cuestionarnos acerca de la evolución del arquetipo femenino en el cine de los años 70, apoyándonos en las interpretaciones de la artista en dos de sus películas más destacadas, Mujeres enamoradas (1969) y Un Toque de distinción (1973). Para ello, tomaremos, como pautas metodológicas para apoyar nuestro análisis, algunas de las voces más significativas que sustentan las teorías feministas y el campo historiográfico del cine y de la mujer. De tal manera que, autoras como Annette Kuhn, Laura Mulvey, Teresa de Lauretis y Giulia Colaizzi, entre otras críticas, vienen a consolidar nuestro recorrido acerca del personaje literario y de la transformación del imaginario femenino. Al llevar a cabo la lectura del cuento de Cortázar así como el estudio del personaje de Glenda Jackson en dos de sus películas, podemos cuestionar los cambios de ideología cultural del arquetipo femenino. A estas variaciones han contribuido dispositivos como el celuloide, capaz de influir en la desubjetivizacion de las relaciones de poder entre los géneros.

Louise Labé : une femme remarquable à la Renaissance

This article focuses on a French poetess, Louise Labé, from the sixteenth century. In the first part we will analyze the education she received. It was an “Italian” education, different from that received by young French people of a certain social class at the time. Next we’ll analyze how Louise Labé believed that women were equal to men. She claimed independence of thought, freedom of speech, the right to education and the importance of women in society. Then we will study some of the particularities of her works. For example, Louise Labé gives a place to women but not as objects, and she reverses male and female roles in her works. In the second part we will see the image of the woman in the poet's work. A woman in love but with a voice.

Larry Kramer: author and founding father of AIDS activism

Credit: Stephen Dunn/Hartford Courant/PA The disease didn’t have a name yet, only a few studies had appeared in peer reviewed journals, but already the gay men of New York City...

“Imprisoned within a limited, false set of concepts”: Posthuman Absoluteness and Relativity in Lawrence’s Women in Love1

Anyone who has seriously engaged with D. H. Lawrence’s Women in Love has probably at some point been frustrated by its many inconsistencies. The characters repeatedly change their minds about and their attitudes towards different questions, while the text is often ambivalent about the meaning of its key words. Rather than pure relativism, this can however be seen as a dissatisfaction with the logocentric, dichotomous restrictions of human language—what Birkin calls an “[i]mprison[ment] within a limited, false set of concepts.” I here analyze how Women in Love simultaneously stages absolute opposition and an intertwined relation between the concept of the animal and that of the human, which parallels the relation between the absolute and the relative. The posthumanist perspective thus reveals the novel’s inconsistencies to be an active dismantling of anthropocentric preconceptions whose foundation is in human language, constructed as a system of absolutes that are defined in relation to each other. The contradictions are thus the result of the limitations of language, which steers human thought into dichotomies. By refusing to align itself with the humanist principles of coherence and consistency, the text uses words against themselves, thus rejecting logocentric ideals.

Birkin’s New Ethic of Human Relationships: the Avatars of the Absolute

In 1917, in the stark isolation of Cornwall, Lawrence was heavily caught up in the revision of Women in Love, first published in 1920, after what had been a long gestation since its initial planning and writing, over a period starting in 1912. The process of the novel’s growth and changes can be charted through the successive typescripts, the revisions, corrections and changes in the basic outline, which brought about some significant restructuring. At any moment of the creator’s life, the wo...

Aphorisms in Women in Love: the Words of False Prophets

An aphorism is a pithy observation which contains a general truth. A cliché is a phrase or opinion which is overused, betraying a lack of original truth. The use of both terms reflects the distance and doubt felt by the user concerning the validity of the statements as expressions of absolute truth. The difference between absolute and relative truth thus emerges along with the idea that there are false prophets whose claim is that they are the only true prophets in possession of absolute truth. False prophets are however seen as such by the followers of other, potentially false, prophets. The term “false” then only reveals the relative quality of any truth –which in turn can be seen as a fact or belief accepted to be true. The aim here is to address these notions in connection with Birkin’s and Loerke’s assertions, presented as expressions of absolute truths in their use of aphorisms, but which can be in turn discarded as mere clichés, the underlying purpose of which is the manipulation of their listeners. I will address the question with specific examples from the novel and the ensuing reactions.

“Underground Love”: D. H. Lawrence and “Notes from the Underground” by F. M. Dostoevsky

The reception of the novel by F. M. Dostoevsky “Notes from the Underground” in the works and correspondence of D. H. Lawrence is analyzed in the article. The novelty of the study is in the fact that the influence of this story on Lawrence’s prose is being studied for the first time. Particular attention is paid to Lawrence’s letters to the translator S. S. Kotelyansky, with whom the English writer shared his impressions of reading the works of Russian classics, especially Dostoevsky, as well as to one of the letters addressed to the writer G. Campbell, which contains the only direct reference to “Notes from the Underground” in Lawrence. This letter reveals an individual interpretation of the story by Lawrence. It is proved that this interpretation turns out to be close to the reading of the Notes by L. Shestov. The question is raised about the existing parallels between the text of Dostoevsky and the novels of D. G. Lawrence (“Women in Love”, “The Lost Girl”, “Rainbow” and “Aaron’s Rod”). The similarity is seen in the peculiar interpretation of the Underground concept by Lawrence. It is shown that the image of the Underground in the works of the English writer (usually expressed by the words “underworld”, “subterranean”) is always somehow connected with the irrational principle and is involved in the formation of Lawrence sensualism.

Schopenhauer, Nietzsche and D. H. Lawrence’s Women in Love

D. H. Lawrence began to read Schopenhauer and Nietzsche while a student at Nottingham University College. The influence of the two philosophers on his early short stories and his novels from The White Peacock (1911) through to The Rainbow (1915) has been considered at length in books and essays on Lawrence. There has been little discussion to date, though, of the presence of Schopenhauer and Nietzsche in Women in Love (1920). The unmistakably Nietzschean term Wille zur Macht (will to power) appears in the novel and has attracted some critical comment, but there is no equally obvious reference to Schopenhauer, and discussion of Schopenhauer’s influence has been accordingly slight. Lawrence believed, however, that every novel should have a ‘background metaphysic’, and careful examination of Women in Love reveals that its metaphysic, or ‘theory of being’, derives from a combination of Schopenhauer’s and Nietzsche’s philosophical theories.

IMPLEMENTASI NILAI-NILAI PENDIDIKAN ISLAM TERHADAP ADAT MOGAMA’ PADA MASYARAKAT NUANGAN 1 KABUPATEN BOLAANG MONGONDOW

This study deals with "Implementation of Islamic education values ​​to the MoGama tradition 'in the community of Nuangan 1 Village, Bolaang Mongondow Regency". The main discussion in this study is the view of Islam in the 13 implementation of the Gama 'tradition in the village of Nuangan 1 Bolaang Mongondow Regency, and the educational values ​​contained in the stages/implementation of the Gama' custom in the village of Nuangan 1. The purpose of this study is to find out the Islamic view in the 13 stages of the implementation of Gama' and the values ​​of education in the implementation of Gama' in the village of Nuangan 1. This research is qualitative descriptive and viewed with a qualitative approach. Data collection methods include: observation, interviews, documentation, while the data collection is obtained from village heads, traditional leaders, religious leaders and community leaders by presenting data, reducing data, and verifying data. The results of this study are (1) the Islamic view of adat gama' containing the values ​​of Islamic teachings, namely (a) glorifying women. (b) Gathering (c) please help. (d) courtesy of guest. (e) wish for blessing with prayer together. (2) Values ​​of Education in 13 stages Indigenous gamma' (a) treat women well. (b) respect women. (c) treat women well. (d) strengthen family relationships. (e) love women with love. (f) thanks to the female companion who carries an umbrella, (g) being gentle to women. (h) be nice to guests. (i) introduce the bride to the groom's family. (j) thanks to pandamping for accompanying the bride. (k) treat guests well. (l) light hands always give. (m) pray for a newlywed.

Representing Perpetrators

Representing Perpetrators

Out of England, Out of Africa: Reorienting Domestic Desire in The First 'Women in Love'

This essay reads D. H. Lawrence's The First 'Women in Love' (1916) and its contexts against the author's more familiar 1920 revision, Women in Love, to explore how the earlier novel more aggressively challenged the conventions of British domestic fiction. If the domestic novel helped to articulate the middleclass British subject defined by psychological depth and by moral rather than material value, as proposed by Nancy Armstrong, then Lawrence's 1916 novel sought to disrupt these constructs most profoundly. As a wartime novel defined by instability and struggle rather than postwar resignation and fatalism, the 1916 novel questioned constructions of British selfhood and related forms of idealism promoted in the domestic novel and upheld throughout the war on the domestic front. The First 'Women in Love' thereby also engages more favorably with differences of race, class, and sexual orientation than the 1920 revision.

Choreographies of the Living: Bio-Aesthetics in Literature, Art, and Performance by Carrie Rohman

Reviewed by: Choreographies of the Living: Bio-Aesthetics in Literature, Art, and Performance by Carrie Rohman Kari Weil CHOREOGRAPHIES OF THE LIVING: BIO-AESTHETICS IN LITERATURE, ART, AND PERFORMANCE. By Carrie Rohman. New York: Oxford University Press, 2018; pp. 198. Is it because dance is considered the most "animal" art form that it has been marginalized by art critics? This is one of the important questions raised in Carrie Rohman's Choreographies of the Living, a well-argued and physically attuned book that seeks to foster new interactions between animal studies and dance studies. Symbolic language and rational concepts are the spiritual gifts that have long supported notions of human exceptionalism and link us to the divine as opposed to the earthly or animal. The human is above all a subject of language and to be praised as such. But to be a subject of language is also to be subject to language and to the distortions that words produce. This is one reason that the linguistic turn in literary studies has been followed by efforts to identify other forms of communication that are less easily manipulated by structures of discursive power and are more evocative of what [End Page 534] might hide beneath or outside human language. It is the glory and power of dance that it does just that, argues Rohman. Dance is animal art because it originates in what is sensed rather than cognized, and so in what resists being conceptualized. Dance is to be glorified, not marginalized, for that. Rohman is herself a life-long dancer, and in bringing dance studies and animal studies together her aim is less to explore how other animals dance or might be described as choreographers than to argue that the aesthetic impulse that is central to dance is a "bio- impulse" that has its origins in what humans share with other animals, if not with life itself (3). Such is the "bioaesthetic" that she identifies in works by writers, choreographers, and illustrators from early modernism to the twenty-first century, including Isadora Duncan, D. H. Lawrence, Virginia Woolf, Rachel Rosenthal, and Merce Cunningham. What is the bio-impulse? To help define and describe that aesthetic, Rohman turns primarily to the work of Gilles Deleuze and Félix Guattari as well as to Elizabeth Grosz, whose theories (among others) pulse through every chapter. She quotes Deleuze and Guattari's suggestion that "perhaps art begins with the animal," and that the very purpose of art is "to make perceptible the imperceptible forces that populate the world, affect us, and make us become" (8). Rohman follows these thinkers in concluding that art comes from what is prior to or outside what we humans perceive, from those "invisible forces," intensities, and vibrations that move us to become other than we are. The aesthetic impulse, in other words, is an expression of Deleuzian "becomings." Grosz offers a more material, if also more ecological, vision of the artistic drive as originating, in Rohman's words, "within the strivings of life itself," or in response to the earthly and cosmic forces through and with which we create our lives rather than merely live them (9). Rohman quotes Grosz's assertion that "it's not man's nobility that produces art, it's man's animality" (9), while further noting that, for Grosz, animal artistry is inherently sexual insofar as its purpose is to produce pleasure. In provocative readings, Rohman traces evidence of this animality in signs of vibration, intensity, and/ or sexually/creative/affective becoming, although one might question whether intensity and vibration are always creative, even if pleasurable. In chapter 1, Duncan's barefootedness is highlighted as evidence of her prioritizing the movement of the inhuman and as rebuff to a Heideggerian prioritization of the hand and of handedness. Chapter 2 opens by linking the screams of a rabbit, a woman in labor, and a young tenor as traces of those "life practices" that, according to Rohman, Lawrence understands as part of the "life rhythm" (49) or "cosmic forces in which all creatures . . . participate" (49), and whose pulsing she tracks in his poem "Tortoise Shout" and his novel Women in Love, where Gudrun dances in time...

THE EXPRESSION OF DESTRUCTIVE LOVE IN OVID’S HEROIDS WITH EMOTIONAL MEANS

The search of scientists of the XXI century is increasingly focused on a sphere that is not available for direct observation – the sphere of emotions. Therefore, the issue of the emotive component of a literary text at different levels relates to priority areas not only of modern linguistics. Emotions represent the linguistic picture of the artistic universe of the poet, reveal the inner world of his characters. The existential-sensual sphere is a manifestation of the subjective attitude of a person to the surrounding reality and himself in the mental space of the artist. Ovid subtly reproduces the spiritual world of a loving woman in the inexhaustible wealth of emotional manifestations and unique individual identities. The main object of unfortunate love in Heroides is a married woman or hetaera. Ovid is a vivid representative of the sensually-earthly Eros. The ancient man, for whom the idea of sin was extraneous, was not embarrassed by the sensual nature of his love in various forms, focusing all his interest in earthly existence, adored desires. However, the sensual Eros of Heroides with not the happy ending is aesthetically beautiful. Having refused from the usual August poetry themes related to the historical past of Rome or the events of his personal life, Ovid in Heroids turns exclusively to mythological themes, popular in Neo-Téric poetry or Hellenistic poetry, depicting the heroines of Greek mythology and Sappho herself by the psychology of contemporary Roman women. Ovid's Heroides reflects the fact that the psychology of a loving woman has not changed much since the time of the Roman Empire.

Black LGBTQ/SGL Elders: A Black Transwoman, an African-American Same-Gender Loving Woman, and a Black Lesbian Talking About Sex with a Cisgender White Lesbian Sex Researcher

Black LGBTQ/SGL Elders: A Black Transwoman, an African-American Same-Gender Loving Woman, and a Black Lesbian Talking About Sex with a Cisgender White Lesbian Sex Researcher

The image of Oksana in the opera by N. Rimsky Korsakov “Christmas Eve”: a composer plan and a performing embodiment

The image of Oksana in the opera by N. Rimsky Korsakov “Christmas Eve”: a composer plan and a performing embodiment

Romantic Love and Reproductive Hormones in Women.

Increased reproductive success is among the most commonly proposed adaptive functions of romantic love. Here, we tested if hormonal changes associated with falling in love may co-vary with hormonal profiles that predict increased fecundity in women. We compared blood serum levels of estradiol (E2, E2/T), luteinizing hormone (LH), follicle-stimulating hormone (FSH), prolactin (PRL), free testosterone (fT), and cortisol (CT), measured in the early follicular phase of the menstrual cycle in single women (N = 69) and in women at the beginning of a romantic heterosexual relationship who reported being in love with their partner (N = 47). Participants were healthy, regularly cycling women aged 24 to 33 who did not use hormonal contraception. We found that women in love had higher levels of gonadotropins (FSH, LH) and lower testosterone levels compared to single women who were not in love. These groups of women did not, however, differ in terms of estradiol, prolactin, or cortisol levels.

WOMEN, PEACE AND SECURITY – THE CASE OF BOSNIA AND HERZEGOVINA

Women have had a subordinate position throughout history. Some evidence dates back to ancient Greece, where relations between the master and slaves, father and children, and between men and women were clearly defined in each household. All these relations were based on male domination. Considering the given inequality situation, legal rules were not necessary. Thus, men were "destined" to become rulers and have a dominant role and position in relation to women in family, love, politics or business. Women did not have significant positions in society, nor did they participate to a significant extent in the decision-making processes. In the 20th century, women started raising issues related to gender roles, woman’s role and position in society, and gender equality. In recent years, one of the prominent issues is woman’s role in warfares and peace-keeping activities, and in the national and international security and defense sectors. The paper provides an overview of different international and national documents that promote active and equal participation of women in peace and security activities, both worldwide and in transition countries such as Bosnia and Herzegovina.

Ursula's Anger in Chapter 23 of Women in Love: the Excessive Reaction of an “Angry Woman”?

1. Excess? In Women in Love, Ursula Brangwen appears than once as an angry woman, excessive in her reactions and behaviour. In the ''Excurse Chapter,'' Ursula quarrels violently with Birkin. She shouts at him, refuses to let him go and see Hermione, stamp[s] her foot madly on the ground and throws at him the rings he has given her. Can we consider her behaviour to be excessive or mad? “Excessive,” as defined by the Oxford Dictionary, refers to what is more than necessary, an outrag...