Sex In The Head

Visions of Femininity and Film in D.H. Lawrence

Fiction & Literature, Literary Theory & Criticism
Cover of the book Sex In The Head by Linda R. Williams, Taylor and Francis
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Author: Linda R. Williams ISBN: 9781315504032
Publisher: Taylor and Francis Publication: July 1, 2016
Imprint: Routledge Language: English
Author: Linda R. Williams
ISBN: 9781315504032
Publisher: Taylor and Francis
Publication: July 1, 2016
Imprint: Routledge
Language: English

In Sex in the Head, Linda Ruth Williams uses psychoanalysis and recent feminist film theory to analyze a network of ideas which link looking with sexuality and difference, in the work of a writer who disavowed, yet covertly enjoyed, the pleasures and power of vision. The book is a departure from the long history of feminist readings of Lawrence, in that it discusses his engagement with theories of the gaze and its cultural forms - cinema, photography, painting and the visual dynamics and metaphors of literary texts - as a way of thinking through gender. It shows him arguing, on the one hand, against the evils of cinema and visual sex, while relishing, through the eyes of women, the moving spectacle of those male bodies which populate the pages of his books. It also questions what it is about the work of such an adamant cinephobe which has made it so thoroughly adaptable for film and television.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

In Sex in the Head, Linda Ruth Williams uses psychoanalysis and recent feminist film theory to analyze a network of ideas which link looking with sexuality and difference, in the work of a writer who disavowed, yet covertly enjoyed, the pleasures and power of vision. The book is a departure from the long history of feminist readings of Lawrence, in that it discusses his engagement with theories of the gaze and its cultural forms - cinema, photography, painting and the visual dynamics and metaphors of literary texts - as a way of thinking through gender. It shows him arguing, on the one hand, against the evils of cinema and visual sex, while relishing, through the eyes of women, the moving spectacle of those male bodies which populate the pages of his books. It also questions what it is about the work of such an adamant cinephobe which has made it so thoroughly adaptable for film and television.

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