Acheter d'occasion
EUR 0,01
+ EUR 2,99 (livraison)
D'occasion: Très bon | Détails
Vendu par RecycLivre
État: D'occasion: Très bon
Commentaire: Merci, votre achat aide à financer des programmes de lutte contre l'illettrisme à travers le monde. Expédition depuis la France.
Vous l'avez déjà ?
Repliez vers l'arrière Repliez vers l'avant
Ecoutez Lecture en cours... Interrompu   Vous écoutez un extrait de l'édition audio Audible
En savoir plus
Voir cette image

Women in Love (Anglais) Broché – 27 septembre 2007

4.3 étoiles sur 5 3 commentaires client

Voir les formats et éditions Masquer les autres formats et éditions
Prix Amazon
Neuf à partir de Occasion à partir de
Format Kindle
"Veuillez réessayer"
Broché, 27 septembre 2007
EUR 15,80 EUR 0,01

Il y a une édition plus récente de cet article:

click to open popover

Offres spéciales et liens associés


Descriptions du produit

Extrait

Sisters

Ursula and Gudrun Brangwen sat one morning in the window-bay of their father's house in Beldover, working and talking. Ursula was stitching a piece of brightly-coloured embroidery, and Gudrun was drawing upon a board which she held on her knee. They were mostly silent, talking as their thoughts strayed through their minds.

"Ursula," said Gudrun, "don't you really want to get married?"

Ursula laid her embroidery in her lap and looked up. Her face was calm and considerate.

"I don't know," she replied. "It depends how you mean."

Gudrun was slightly taken aback. She watched her sister for some moments.

"Well," she said, ironically, "it usually means one thing!--But don't you think, anyhow, you'd be--" she darkened slightly--"in a better position than you are in now?"

A shadow came over Ursula's face.

"I might," she said. "But I'm not sure."

Again Gudrun paused, slightly irritated. She wanted to be quite definite.

"You don't think one needs the experience of having been married?" she asked.

"Do you think it need be an experience?" replied Ursula.

"Bound to be, in some way or other," said Gudrun, coolly. "Possibly undesirable, but bound to be an experience of some sort."

"Not really," said Ursula. "More likely to be the end of experience."

Gudrun sat very still, to attend to this.

"Of course," she said, "there's that to consider."

This brought the conversation to a close. Gudrun, almost angrily, took up her rubber and began to rub out part of her drawing. Ursula stitched absorbedly.

"You wouldn't consider a good offer?" asked Gudrun.

"I think I've rejected several," said Ursula.

"Really!" Gudrun flushed dark.--"But anything really worth while? Have you really?"

"A thousand a year, and an awfully nice man. I liked him awfully," said Ursula.

"Really! But weren't you fearfully tempted?"

"In the abstract--but not in the concrete," said Ursula. "When it comes to the point, one isn't even tempted.--Oh, if I were tempted, I'd marry like a shot.--I'm only tempted not to." The faces of both sisters suddenly lit up with amusement.

"Isn't it an amazing thing," cried Gudrun, "how strong the temptation is, not to!"

They both laughed, looking at each other. In their hearts they were frightened.

There was a long pause, whilst Ursula stitched and Gudrun went on with her sketch. The sisters were women, Ursula twenty-six and Gudrun twenty-five. But both had the remote, virgin look of modern girls, sisters of Artemis rather than of Hebe. Gudrun was very beautiful, passive, soft-skinned, soft-limbed. She wore a dress of dark-blue silky stuff, with ruches of blue and green linen lace in the neck and sleeves; and she had emerald-green stockings. Her look of confidence and diffidence contrasted with Ursula's sensitive expectancy. The provincial people, intimidated by Gudrun's perfect sang froid and exclusive bareness of manner, said of her: "She is a smart woman." She had just come back from London, where she had spent several years, working at an art-school, as a student, and living a studio life.

"I was hoping now for a man to come along," Gudrun said, suddenly catching her underlip between her teeth, and making a strange grimace, half sly smiling, half anguish.

Ursula was afraid.

"So you have come home, expecting him here?" she laughed.

"Oh my dear," cried Gudrun, strident, "I wouldn't go out of my way to look for him. But if there did happen to come along a highly attractive individual of sufficient means--well--" she tailed off ironically. Then she looked searchingly at Ursula, as if to probe her. "Don't you find yourself getting bored?" she asked of her sister. "Don't you find, that things fail to materialise? Nothing materialises! Everything withers in the bud."

"What withers in the bud?" asked Ursula.

"Oh, everything--oneself--things in general."

There was a pause, whilst each sister vaguely considered her fate.

"It does frighten one," said Ursula, and again there was a pause. "But do you hope to get anywhere by just marrying?"

"It seems to be the inevitable next step," said Gudrun.

Ursula pondered this, with a little bitterness. She was a class mistress herself, in Willey Green Grammar School, as she had been for some years.

"I know," she said, "it seems like that when one thinks in the abstract. But really imagine it: imagine any man one knows, imagine him coming home to one every evening, and saying "Hello,' and giving one a kiss--"

There was a blank pause.

"Yes," said Gudrun, in a narrowed voice. "It's just impossible. The man makes it impossible."

"Of course there's children--" said Ursula, doubtfully.

Gudrun's face hardened.

"Do you really want children, Ursula?" she asked coldly.

A dazzled, baffled look came on Ursula's face.

"One feels it is still beyond one," she said.

"Do you feel like that?" asked Gudrun. "I get no feeling whatever from the thought of bearing children."

Gudrun looked at Ursula with a mask-like, expressionless face. Ursula knitted her brows.

"Perhaps it isn't genuine," she faltered. "Perhaps one doesn't really want them, in one's soul--only superficially."

A hardness came over Gudrun's face. She did not want to be too definite.

"When one thinks of other people's children--" said Ursula.

Again Gudrun looked at her sister, almost hostile.

"Exactly," she said, to close the conversation.

The two sisters worked on in silence, Ursula having always that strange brightness of an essential flame that is caught, meshed, contravened. She lived a good deal by herself, to herself, working, passing on from day to day, and always thinking, trying to lay hold on life, to grasp it in her own understanding. Her active living was suspended, but underneath, in the darkness, something was coming to pass. If only she could break through the last integuments! She seemed to try to put her hands out, like an infant in the womb, and she could not, not yet. Still she had a strange prescience, an intimation of something yet to come.

She laid down her work and looked at her sister. She thought Gudrun so charming, so infinitely charming, in her softness and her fine, exquisite richness of texture and delicacy of line. There was a certain playfulness about her too, such a piquancy of ironic suggestion, such an untouched reserve. Ursula admired her with all her soul.

"Why did you come home, Prune?" she asked.

Gudrun knew she was being admired. She sat back from her drawing and looked at Ursula, from under her finely-curved lashes.

"Why did I come back, Ursula?" she repeated. "I have asked myself, a thousand times."

"And don't you know?"

"Yes, I think I do. I think my coming back home was just reculer pour mieux sauter."

And she looked with a long, slow look of knowledge at Ursula.

"I know!" cried Ursula, looking slightly dazzled and falsified, and as if she did not know. "But where can one jump to?"

"Oh, it doesn't matter," said Gudrun, somewhat superbly. "If one jumps over the edge, one is bound to land somewhere."

"But isn't it very risky?" asked Ursula.

A slow, mocking smile dawned on Gudrun's face.

"Ah!" she said, laughing. "What is it all but words!"

And so again she closed the conversation. But Ursula was still brooding. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

Revue de presse

"The greatest imaginative novelist of our generation"

"What beauties the book contains! There are many pages in it so saturated with warm and lovely intimacies that one reads absorbed" (Guardian)

"It is a wonderful novel by a writer who created his own narrative voice"

"The point with Lawrence is never to be afraid of going too far, is always to push, push, push. In the pushing-process, Lawrence writes one of the most truly and thoroughly poetic novels in English"

"He's an intoxicator... Has there ever been anyone like him for bringing places and people so vividly to life?" --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

Aucun appareil Kindle n'est requis. Téléchargez l'une des applis Kindle gratuites et commencez à lire les livres Kindle sur votre smartphone, tablette ou ordinateur.

  • Apple
  • Android
  • Windows Phone
  • Android

Pour obtenir l'appli gratuite, saisissez votre numéro de téléphone mobile.




Détails sur le produit

Commentaires en ligne

4.3 étoiles sur 5
5 étoiles
2
4 étoiles
0
3 étoiles
1
2 étoiles
0
1 étoile
0
Voir les 3 commentaires client
Partagez votre opinion avec les autres clients

Meilleurs commentaires des clients

Par Un client le 17 décembre 2002
Format: Broché
ce livre est une pure merveille, mettant en lumière dans un style tout à fait lawrencien les relations homme-femme les plus ambigues. On alterne sans cesse entre action et description nous plongeant dans un univers d'incertitude. On s'interroge, on s'identifie, on cherche l'implicite des mots, voire souvent une relation avec la vie de DHLawrence lui-même. Quelques passages un peu longs, mais cette oeuvre reste une véritable délectation.
Remarque sur ce commentaire 7 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus
Format: Format Kindle Achat vérifié
It's many years since I first read this and was looking forward to rereading it, but I was disappointed. While the poetry of Lawrence is still there, now, I find it slow and rather irritating.
Remarque sur ce commentaire Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus
Par Cmoa le 8 novembre 2014
Format: Broché Achat vérifié
J'ai adoré ce livre.
Style, histoire, narration, c'était parfait.
Je le conseil à ceux qui recherche ce genre d' ouvrage.
Remarque sur ce commentaire Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus

Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 3.6 étoiles sur 5 127 commentaires
73 internautes sur 75 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Emotionally Intense 12 janvier 2001
Par C. Fletcher - Publié sur Amazon.com
Format: Broché
I think Women in Love must be just about the most emotionally intense book I've ever read. D.H. Lawrence conjures his four main characters in what feels like the heat of a closed-room kiln. The writing is beautiful and amazingly perceptive, but is at times stultifyingly over-analytical.
Yet, despite the book's combined length, density and decided lack of plot, Women in Love is surprisingly readable. What makes this book so good is the honesty with which Lawrence imbues his two title characters, Ursula and Gudrun Brangwen, and their two chosen lovers, Birkin and Gerald. It can be frustrating to read page after page of the mental thrashings of an individual mind's search for truth and authenticity in life and in love, but it can also be a kind of revelation.
These characters think differently about the world around them than I do, and we each think differently about the world than you who are reading this do. And yet we are all basically the same on a certain transcendent level. We are all human and we all long for an authentic connection with the world around us. We are different and we are the same. That's why living in this world isn't always easy, and that's why it's always worthwhile. This book beautifully and even entertainingly captures those basic struggles for human connection and if for that reason alone, it's well worth reading. Highly recommended.
50 internautes sur 50 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Intensely emotional but not for everybody 19 novembre 2008
Par John Martin - Publié sur Amazon.com
Format: Broché
Scottish novelist Catherine Carswell stated that Women In Love is, "easy to read, but hard to understand." Certainly it is difficult to understand Lawrence, but the Amazon review by Robert Moore of another of his books (The Rainbow) does a good job of describing the essence of Lawrence's literary style. Moore states that there are four ways in which The Rainbow and Women in Love, which is really a sequel, are something new in literature. The first is the general absence of plot. In Lawrence people meet and interact but there is not much action or story development. Secondly, Lawrence instead focuses on character development and on a collection of characters rather than a single one. Thirdly, the characters are psychologically complex, illogical and filled with contrary emotions. Finally, Lawrence's novels are sensual, not just as some have concluded sexually erotic. Moore likes this style and gives the book 5 stars. Another reviewer, Glen Engel-Cox says something similar only with a negative attitude: "I simply could not put up with the seemingly endless vacillations of the characters, the souped-up descriptions of all that they thought, and the plodding story line." Engel-Cox gave it only 1 star. Thus in reading Lawrence one should be aware that one is not getting a great story, but insights into the complexities of human emotions.

It is also difficult to understand Lawrence without knowing something about his life and the times he lived in. He lived and wrote at the time of the First World War when Europe, after a period of optimism, scientific development and relative peace was plunged into a war made all the more horrible by the very technology that had fostered progress. Lawrence was greatly affected by this transformation. While many novels have an autobiographical aspect, this seems to be especially true of Lawrence. Sons and Lovers, for example, closely parallels his early life.

Women in Love centers around four characters, Ursula and Gudrun Brangwen who teach in a primary school, Rupert Birkin, a schools inspector and Gerald Crich, scion of a mine owner. The couples pair off, Ursula and Rupert and Gudrun and Gerald and the novel largely deals with their troubled relationships. The characters outlook on life is decidedly negative. Rupert, for example, muses that the world would be a better place if there were no human beings to spoil it. The climax of the book, while dramatic, reinforces this extreme negativity. Granted Lawrence was deeply affected by WWI and the end of the book includes a quote from Kaiser Wilhelm regretting the war. But the American Civil War was also a bloody, terrible event and there is no tomorrow-is-another-day-Scarlett O'Hara finish to Women in Love. Quite the contrary.

Having read Sons and Lovers and now Women in Love I will not read The Rainbow or other works by Lawrence. I tend to agree with Mr. Engel-Cox in liking an interesting story rather than character study and/or psychological musings. I also think the human condition is not as bad as Lawrence presents it. For that reason I am giving this book a 3 star rating, meaning that it may be very interesting for some people, but others will not like it.
79 internautes sur 83 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 "I think I am in love with the void." 17 février 2006
Par Mary Whipple - Publié sur Amazon.com
Format: Broché
Written in 1920 and often regarded as D. H. Lawrence's greatest novel, Women in Love is the complex story of two women and two men who scrutinize their lives and personal needs in an effort to discover something that makes the future worth living. The personal and social traumas of post-World War I, combined with the rise of industry and urbanization, have affected all four main characters, often at cross purposes as they explore love and its role in their lives. Intensely introspective and self-conscious, each character shares his/her thoughts with the reader, allowing the reader to participate in the inner conflicts and crises that each faces.

Ursula Brangwen, a teacher in a mining town in the Midlands, is attracted to Rupert Birkin, a school supervisor; her sister Gudrun, an artist whose sculptures have drawn some attention in London, is drawn to Gerald Crich, whose father is a mine owner. As the two women earn their living and consider the issue of marriage, which they regard as an impediment to their independence, the men deal with issues of sexuality and power, and whether the love of a woman is enough. Both men have homosexual urges which compete with their feelings for women.

Gerald is the most conflicted of the four. Taking over the mines upon the death of his father, he is fiercely committed to making them successful, even if that means hardening his heart toward his workers. He feels no sense of responsibility toward them, dedicating his efforts toward success and power, an attitude he conveys also toward Gudrun, who finds him self-centered but physically attractive. Rupert Birkin, who is eventually drawn to Ursula, is often thought to have been modeled on Lawrence himself, and his sensitivity, self-analysis, and feeling that love is not enough--that one must progress beyond love to another plane--display the kind of agonized soul searching done by many other young men of his age following the horrors of the world war.

Extremely complex in its exploration of the period's social and philosophical influences on the characters (who are archetypes of society), the novel is also full of symbolism, with many parallels drawn between love and death, which the characters sometimes prefer to life. As the love affairs of these four characters play out, filled with complications, disagreements about the meaning of love, questions about love's relation to power and dominance, and the role of sexuality, Lawrence projects the tumult of post-war England as the values of the past yield to newer, more personal goals. n Mary Whipple
27 internautes sur 27 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 An endless cycle of humanity encapsulated 29 mars 2001
Par Diane Schirf - Publié sur Amazon.com
Format: Broché
Women in Love by D. H. Lawrence is a sequel, but knowledge of The Rainbow is not necessary to appreciate the second novel. The title is somewhat misleading, as it is really about women and men, men and women, and men and men-and it's not always clear with what they are in love. It is the tale of two teachers, sisters Gudrun and Ursula Brangwen, the son of the local mine owner, Gerald Crich, and school inspector Rupert Birkin.
Their complex relationships start to take shape the day of Gerald's sister's wedding, as Gudrun and Gerald and Ursula and Rupert are drawn together, often despite themselves. The Gudrun/Gerald relationship becomes a series of conflicts that are won only temporarily and that lead to more conflicts and then temporary reprieves of tenderness and sex. His emotional conflicts with Gudrun are mirrored in Gerald's dealings with animals; he brutally forces his mare to stay at a railroad crossing despite her terror until blood is drawn and until the cars have passed. Later, when his sister's rabbit resists being picked up so he can be sketched, Gerald punches him in the head so he will submit instantly. His blind will must triumph in all. The only time that he and Gudrun seem to find an equilibrium is when they balance each other by accepting but not gravitating toward each other. It becomes a tenuous relatonship at best and a dangerous one at worst. Gerald is incapable of love, as is his brooding mother.
Meanwhile, Ursula finds herself in a different kind of battle, with Rupert and his self-contemptous philosophies about relationships, death, and the will. His vision of love, if he even believes it exists, is of two planets circling one another in perfect equilibrium. He did not find that with his former lover Hermione, who does not satisfy his physical desires and who does not calibrate with his spiritual needs. At the end of the novel, he reinforces what he has said all along-his love will always have a missing component and be incomplete without it. As a side note, Rupert seems to be Lawrence's own mouthpiece, reflecting many of his own views.
As with Lady Chatterley's lover, the setting for Women in Love becomes a character-the grimy village, the sordid town, the sullen miners and their wives provide a backdrop of inevitable modernization and dehumanization that counterbalances the individual stories. As mining is mechanized to death, so is the human soul. The will either accepts the inevitable crush of the modern world or fights it to the death. The weakest part of Women in Love may be when the setting changes, that is, when the couples decide to leave all that England has become and to take their relationships and their futures to the Alps, where they find art truly does imitate life with its mechanism. The novel seems to lose a little of its footing at this point, giving in to its tendency to become an intellectual exercise in the arts rather than a human story in a regimented world.
Women in Love starts out slowly, as a lengthy series of vignettes and conversations that seem unlikely or unrealistic, but develops a crescendo as the battles begin. In the end, despite dramatic events and drastic changes, the conundrums remain, and even Ursula's persistence and will cannot eliminate them now, let alone forever. Women in Love is about destruction and regeneration in an endless cycle and the human under the surface that we are not entirely aware of and cannot express.
18 internautes sur 19 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 So this is love 6 décembre 2002
Par A.J. - Publié sur Amazon.com
Format: Poche
A sequel to "The Rainbow," "Women in Love" seems to be a more personal novel for its author, as D.H. Lawrence introduces a character to echo his own feelings about love and the world. This character is Rupert Birkin, a misanthrope who thumbs his nose defiantly at any and all social conventions and has few, if any, likeable qualities. It is this man with whom Ursula Brangwen, the individualistic heroine from "The Rainbow," falls in love, but even she is not blind to his disagreeableness.
Ursula, now 26 years old, teaches in the school of her coalmining hometown, Beldover. In the first scene in the novel where she and Rupert, a school inspector, reveal their mutual acquaintance, they are standing in front of her class, transforming her botanical lecture into a wellspring of sexual innuendo in what appears to be Lawrence's playful attempt at provoking the censors who prudishly criticized his prior work. Also participating in this scene is Hermione Roddice, a haughty aristocratic woman who harbors a secret desire to humiliate and control men, specifically the headstrong Rupert.

Meanwhile, Ursula's prettier and more vivacious younger sister Gudrun, an artist, is attracted to Gerald Crich, heir to the seemingly cursed Crich coal dynasty. Almost the opposite of Rupert, Gerald is a proud, practical, and conscientious businessman who lays down the law with his coal miners and is cruel to his animals, feeling he deserves nothing less than unconditional obedience. The provocative nature of this novel is that Gerald is attracted to Rupert -- socially, physically, sexually -- possibly because he considers Rupert a symbol of liberation from the workaday world he is secretly tired of; and this feeling is readily reciprocated. In a scene where the two men strip and wrestle, Lawrence provides the male counterpart to the lesbian scene in "The Rainbow," as though to say what's good for the goose is good for the...well, you know.
The novel basically tracks the trajectories of the love/hate relationships of these two couples. While Ursula and Rupert eventually find compatibility, having in common their rugged individualism, Gerald and Gudrun drift towards a dysfunctional state of potential violence, as he realizes with jealousy and anger that her artistic world is closed to him.
Lawrence's strength is not tight little plots but character study, and the great achievement in "Women in Love" is that the characters do not exhibit any stereotypical or easily describable behavior; it's difficult to pinpoint their personalities from just one conversation, and not much easier even over the course of the entire novel. Ursula, Gudrun, Rupert, and Gerald are fascinatingly, almost frighteningly, complex people whom Lawrence seems deliberately to have designed to leave the reader at a loss, to test the reader's tolerance for sexual and psychological perversity.
Ces commentaires ont-ils été utiles ? Dites-le-nous


Commentaires

Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?