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• W124369766 abstract "Some of most influential modern British writers sought to evoke numinous states of consciousness in their readers. Using a phenomenological approach to reading experience, this essay argues that D. H. Lawrence structures his novel The Rainbow as a initiation rite for revitalizing and reintegrating consciousness. Many British modernist writers were deeply interested in radical transformations of consciousness. Some of their most powerful artistry went into crafting representations of epiphanies, visions, encounters, and other numinous moments when consciousness is expanded, intensified, integrated or transfigured. While these representations have been studied for their symbolic meanings, what has often been overlooked is their impact on consciousness. Such textual effects are crucial because some of most influential modernists understood their literary aims in visionary terms. Indeed, some modernist poets and novelists even hoped that their representations of numinous would evoke analogous states of mind in reader. One way to investigate transformative effects of these representations is to use a phenomenological approach to reading experience. Wolfgang Iser has developed an approach that focuses on how textual structures invite and channel the implied reader's cogniti ve and emotive responses (Iser 34). His phenomenological method assumes that text verbally prestructures possible responses and that reader actualizes one or more of those potentials through an act of construction. Textual meaning is no longer an object to be defined, but is an effect to be (10). One of British modernists most intent on producing fundamental transformations of consciousness in his readers was D. H. Lawrence. Indeed, Lawrence had an explicitly understanding of artist. On February 24, 1913, a month before he began composing what would become The Rainbow (1915), he wrote about numinous nature of his own creativity: always feel as if I stood for fire of Almighty God to go through me--and it's a rather awful feeling. One has to be so terribly religious, to be an (Letter 550 in Letters, vol. 1, 519). Like many of Romantic poets, he experienced creative inspiration as a holy encounter. Readily generalizing from his own experience, Lawrence believed that [a]t maximum of our imagination, we are religious and that [a]n artist can only create what he really religiously feels is truth, truth really felt, in blood and bones (Phoenix 559, 562). In The Rainbow, Lawrence's sensibilities are powerfully evident. Less apparent is how he seeks to provoke numinous in his readers. Critics have examined nature of Lawrence's ideas and symbols, but have skirted question of how intensely evocative Rainbow functions as art. I will argue that The Rainbow can be considered hierophantic art in that it seeks to evoke in reader. By sacred experiences I mean subjective of divinity in or beyond world. The structure and character of The Rainbow's narrative textures suggest that Lawrence is trying to play role of a hierophant: he is acting like conductor of a initiation rite who leads novitiates through a series of transformative designed to culminate in awareness of or union with divine. In a typical initiation rite, hierophant attempts to break down and purge novitiate's ordinary, habitual mode of consciousness and to evoke a new, mode. My phenomenologically oriented analysis of The Rainbow shows that novel possesses an initiatory rhythm of destruction (mortification, purification, purgation) and sacralization (revitalization, reintegration) that is repeated four times: once in portrayal of anonymous pre-modern Brangwen generati ons, and again in depictions of each of three named, and progressively more modern, generations, those of Tom and Lydia, Anna and Will, Ursula and Anton. …" @default.
• W124369766 created "2016-06-24" @default.
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• W124369766 date "2000-09-01" @default.
• W124369766 modified "2023-09-26" @default.
• W124369766 title "The Religious Initiation of the Reader in D. H. Lawrence's the Rainbow" @default.
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