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L'Amant de Lady Chatterley

de D. H. Lawrence

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11,647179412 (3.5)1 / 478
Banned, burned, and the subject of a landmark obscenity trial, Lawrence's lyric and sensual last novel is now regarded as "our time's most significant romance." -- "The New York Times. "This classic tale of love and discovery pits the paralyzed and callous Clifford Chatterley against his indecisive wife and her persuasive lover.… (més)
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Anglès (160)  Castellà (4)  Italià (4)  Suec (3)  Neerlandès (2)  Hebreu (1)  Noruec (1)  Francès (1)  Portuguès (1)  Alemany (1)  Totes les llengües (178)
Es mostren 1-5 de 178 (següent | mostra-les totes)
For a novel that is purported to be of the “bodice-ripper” genre (ie chick lit) and was written almost 100 years ago, I can’t believe how forward thinking D.H. Lawrence is.

During the 1920s, feminism, female rights, and especially the female organism were new concepts that came about as a result of increased female independence during the Great War. Women had been called to the workforce to replace all of the men who were sent away to the battlefields of Europe, and even after the few remaining men of the Lost Generation returned to England women were not willing to back to being hausfraus. Lady Chatterly is definitely not one of these working women - her family are clearly minor aristocrats and she marries into the leisure class as well - but she personifies the increased intellectual and social freedoms that women of her station became accustomed to in parallel. Constance was given an extensive education during her family’s travels throughout Europe as a young woman and Lawrence makes it clear that she and her sister were given relative freedom to explore all of life that intrigued them. Both sisters had love affairs in their teens - a likely unheard of concept previously, and still likely uncommon - that are presented hand in hand with their highly developed intellect that in fact challenged the men of their circles to keep up or be left behind. This development of personality is one that was surely a shock to readers at the time of the book’s publication, as the idea that women could be seen as intellectual equals as men - and an even greater shock that these women had casual sexual encounters in which they proved to be the more emotionally removed sex of the two.

As the novel progresses, it seems for a moment or two that Constance will grow out of her adolescent behaviour when she marries Lord Clifford Chatterly during the course of the War. Even when Clifford returns home to his ancestral seat at Wragby Hall paralyzed from the waist down that Constance will buck up and be a dutiful wife, only allowing her intellect and true personality to show during conversations with Clifford and his group of intellectual friends. This is clearly not to last, though, as her introduction to this group of interesting men draws obvious comparisons to her youth in Germany surrounded by men of strong opinion and vocabulary. Inevitably, her instinct for sexual encounter is piqued by an Irish writer, Michaelis, who, while ultimately a disappointment to her emotionally and physically, begins her path to a true break from the hopelessly inadequate Clifford. Clifford, while a writer of popular fiction is technically of the intelligentsia that Constance craves as stimuli, he is highly traditional in his outlook on life (especially when it comes to the restrictions of class) which Constance begins to find constrictive in her more accepting views of people. His physical reliance on Constance for daily care is really just the final nail in the coffin of emotion, as she has no interest in being a glorified maid who gets nothing in return for her efforts.

It came as a bit of a shock to me that the person whom Constance finally falls in love with (and leaves Clifford officially for) is the Oliver Mellors, the game keeper of the Wragby Estate. The two of them are from incredibly different walks of life and at their initial encounters were incredibly tense, but their differences only seem to heighten their similarities. Neither are willing to go along with accepted societal norms, and both have a complete disregard for the fripperies of aristocratic privilege and the lack of practicality that it entails. The pair of them argue constantly about practically nothing, but Lawrence has tapped into the exact passion that comes from these types of relationships. They are based on passion, rather than rationality, and the people in them don’t give a damn about what society thinks - even if they make plans to be eventually accepted by this society. For a book published in 1928 that seems to be aimed at the accepted popular market in England, Lawrence is incredibly graphic in his description of sex between the couple. His scenes of “depravity” are of course tame in comparison to earlier authors like the Marquis de Sade, but what I expect caused so much outrage was that he published his novel for the English market (where society was still very closeted about sex in comparison to the Continental population) and was depicting sex between two consenting adults as normal rather than presenting the scenes as gross exaggerations and exceptions to the norm (as De Sade does in his novels). To modern readers who have access to a wide range of pornographic and erotic material (in addition to modern outlooks on sex and relationships between adults) Lawrence’s novel likely seem incredibly tame, but what we must remember is that it is this novel (and many others in between) that helped usher along modern viewpoints on these themes by exposing people to new ways of thinking about the reality of human relationships rather than chaste idealized fictions. ( )
1 vota JaimieRiella | Feb 25, 2021 |
This was a tough call for me. On the one hand, Lawrence does well to acknowledge that female sexuality and pleasure *exists.* On the other hand, the depiction of female sexuality is so...Freudian. So male-focused still. I don't know if I'd teach this book or not. I'm definitely glad to have read it, but I'm not sure this is going to remain on my shelves. ( )
  DrFuriosa | Dec 4, 2020 |
This book is an interesting erotica and has poignant commentary on class and industrialization in England. Kinda sexist tho.
  TAndrewH | Sep 6, 2020 |
Listening to audiobooks really increases the number of 1001-books I finish.
This is another one.

Looking at it's first year of publication I can see why it's been banned 😂
When I started reading it, I had never thought it would be this explicit. It wasn't bad or vulgar, just unexpected. I'm glad there was also some kind of a story woven around Conny and her lover, even though those parts of the book were quite predictable.
All in all a nice read. ( )
  BoekenTrol71 | Aug 9, 2020 |
This book, Lawrence's last, was published privately in Italy in 1928 and in France and Australia in 1929. It was banned in the US until 1959 and in the United Kingdom until 1960, at which time the publisher, Penguin Books was put on trial for obscenity. The verdict was "not guilty".
The book's vivid portrayals of adulterous sex, of people speaking about and enjoying sex are still controversial today, and in my opinion, overshadows what the book is really about- the conflict between the life of the mind and the life of the physical body.
Connie, aka Lady Chatterley, is married to Sir Clifford, a paraplegic WWI veteran. He has taken on, with gusto, the "life of the mind". Connie must attend to all his physical needs, type his papers, and may listen to but not participate in discussions among his cronies on subjects such as philosophy, religion and economics.
She meets Oliver Mellors, the game keeper, and they begin a passionate affair. Oliver has distanced himself from most of society and laments the state of humankind. He comments that people are only educated to spend money... but are not truly living. He despairs of the future.
As Connie observes, "the world is a vast and ghastly intricacy of mechanism, and one has to be very wary not to get mangled by it". There is nowhere to escape. There is no "ends of the earth".

The only hope of the future is regeneration through tenderness towards others. Connie tell Mellors that "the courage of your own tenderness" is the only thing that will make the future bearable.
He agrees...
"Sex is really only touch, the closest touch. And its touch we're afraid of. We're only half conscious, half alive."
The theme of personal regeneration through sexual contact is a recurring theme in Lawrence's novels. This novel is considered one of the greatest books of all time, but not recommended for those who are offended by explicit language or depictions of sexual acts. ( )
  Chrissylou62 | Aug 1, 2020 |
Es mostren 1-5 de 178 (següent | mostra-les totes)
Although written many years ago, Lady Chatterley's Lover has just been reissued by the Grove Press, and this fictional account of the day-to-day life of an English gamekeeper is still of considerable interest to outdoor minded readers, as it contains many passages on pheasant raising, the apprehending of poachers, ways to control vermin, and other chores and duties of the professional gamekeeper. Unfortunately one is obliged to wade through many pages of extraneous material in order to discover and savor these sidelights on the management of a Midland shooting estate, and in this reviewer's opinion this book cannot take the place of J.R. Miller's Practical Gamekeeping.
afegit per Cynfelyn | editaField and Stream, Ed Zern (Nov 1, 1959)
 

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Nom de l'autorCàrrecTipus d'autorObra?Estat
Lawrence, D. H.Autorautor primaritotes les edicionsconfirmat
Aas, NilsIl·lustradorautor secundarialgunes edicionsconfirmat
Alopaeus, MarjaTraductorautor secundarialgunes edicionsconfirmat
Andréen, OmarIl·lustradorautor secundarialgunes edicionsconfirmat
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Bonds, LauraIntroduccióautor secundarialgunes edicionsconfirmat
Bosch, AndrésTraductorautor secundarialgunes edicionsconfirmat
Brown, RichardNarradorautor secundarialgunes edicionsconfirmat
Bryan, Frederick vanPeltEpílegautor secundarialgunes edicionsconfirmat
Busby, BrianIntroduccióautor secundarialgunes edicionsconfirmat
Cushman, KeithCol·laboradorautor secundarialgunes edicionsconfirmat
Dahl, ChrixIl·lustradorautor secundarialgunes edicionsconfirmat
Daly, JillNarradorautor secundarialgunes edicionsconfirmat
De Simone, VanniIntroduccióautor secundarialgunes edicionsconfirmat
Dench, JudiNarradorautor secundarialgunes edicionsconfirmat
Durrell, LawrencePrefaceautor secundarialgunes edicionsconfirmat
Dyer, GeoffIntroduccióautor secundarialgunes edicionsconfirmat
Ellis, DavidIntroduccióautor secundarialgunes edicionsconfirmat
Emerson, HuntIl·lustradorautor secundarialgunes edicionsconfirmat
Fleutiaux, PierretteTraductorautor secundarialgunes edicionsconfirmat
Forsström, IngmarTraductorautor secundarialgunes edicionsconfirmat
Fox, EmiliaNarradorautor secundarialgunes edicionsconfirmat
Friedland, RonaldEditorautor secundarialgunes edicionsconfirmat
Fryn, Haydee N.Traductorautor secundarialgunes edicionsconfirmat
Gart, RolandCol·laboradorautor secundarialgunes edicionsconfirmat
Gåsøy, PaulIl·lustradorautor secundarialgunes edicionsconfirmat
Göktürk, AkşitTraductorautor secundarialgunes edicionsconfirmat
Gopegui, BelénIntroduccióautor secundarialgunes edicionsconfirmat
Graff, FinnIl·lustradorautor secundarialgunes edicionsconfirmat
Hare, SteveEpílegautor secundarialgunes edicionsconfirmat
Harrison, KathrynIntroduccióautor secundarialgunes edicionsconfirmat
Helmut, WernerCol·laboradorautor secundarialgunes edicionsconfirmat
Hilton, MargaretNarradorautor secundarialgunes edicionsconfirmat
Hoggart, RichardIntroduccióautor secundarialgunes edicionsconfirmat
Johnsen, EinarIl·lustradorautor secundarialgunes edicionsconfirmat
Kamm, JürgenCol·laboradorautor secundarialgunes edicionsconfirmat
Kippenbroeck, Johan H. F.Il·lustradorautor secundarialgunes edicionsconfirmat
Kolstad, JanIl·lustradorautor secundarialgunes edicionsconfirmat
Kristofori, JanIl·lustradorautor secundarialgunes edicionsconfirmat
Lawrence, Friedaautor secundarialgunes edicionsconfirmat
Lee, JohnNarradorautor secundarialgunes edicionsconfirmat
Lessing, DorisIntroduccióautor secundarialgunes edicionsconfirmat
Lundkvist, ArturPròlegautor secundarialgunes edicionsconfirmat
Lyon, JohnIntroduccióautor secundarialgunes edicionsconfirmat
Macleish, ArchibaldPrefaceautor secundarialgunes edicionsconfirmat
Malignon, JeanTraductorautor secundarialgunes edicionsconfirmat
Malraux, AndréPròlegautor secundarialgunes edicionsconfirmat
Martín, SilviaIl·lustradorautor secundarialgunes edicionsconfirmat
Mathias, RobertDissenyador de la cobertaautor secundarialgunes edicionsconfirmat
Monte, AxelTraductorautor secundarialgunes edicionsconfirmat
Moore, Harry T.Epílegautor secundarialgunes edicionsconfirmat
Nordon, PierreTraductionautor secundarialgunes edicionsconfirmat
Olsen, Poul AsgerIl·lustradorautor secundarialgunes edicionsconfirmat
Orioli, PinoPublisherautor secundarialgunes edicionsconfirmat
Partanen, JormaTraductorautor secundarialgunes edicionsconfirmat
Peake, MaxineNarradorautor secundarialgunes edicionsconfirmat
Perkins, MorelandPròlegautor secundarialgunes edicionsconfirmat
Pirè, LucianaTraductorautor secundarialgunes edicionsconfirmat
Rademacher, SusannaTraductorautor secundarialgunes edicionsconfirmat
Roberts, TomTraductorautor secundarialgunes edicionsconfirmat
Robertson, GeoffreyEpílegautor secundarialgunes edicionsconfirmat
Roger-Cornaz, F.Traductorautor secundarialgunes edicionsconfirmat
Sandfort, J.A.Traductorautor secundarialgunes edicionsconfirmat
Schorer, MarkIntroduccióautor secundarialgunes edicionsconfirmat
Scott, SarahIntroduccióautor secundarialgunes edicionsconfirmat
Shi, YuanIl·lustradorautor secundarialgunes edicionsconfirmat
South, AnnaEpílegautor secundarialgunes edicionsconfirmat
Squires, MichaelEditorautor secundarialgunes edicionsconfirmat
Tabak, JosipTraductorautor secundarialgunes edicionsconfirmat
Toming, Hans JørgenIl·lustradorautor secundarialgunes edicionsconfirmat
Topia, AndréAuteurautor secundarialgunes edicionsconfirmat
Vernière, LaureTraductorautor secundarialgunes edicionsconfirmat
Vrba, FrantišekTraductorautor secundarialgunes edicionsconfirmat
Weisser, Susan OstrovIntroduccióautor secundarialgunes edicionsconfirmat
Worthen, JohnEpílegautor secundarialgunes edicionsconfirmat
Yelin, JulietaEditorautor secundarialgunes edicionsconfirmat
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Publisher's dedication : "......to the twelve jurors who returned a verdict of 'Not Guilty' [on 2 November, 1960] and thus made D.H. Lawrence's last novel available for the first time to the public in the United Kindom"
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Ours is essentially a tragic age, so we refuse to take it tragically.
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Ours is essentially a tragic age, so we refuse to take it tragically. The cataclysm has happened, we are among the ruins, we start to build up new litle habitats, to have new little hopes. It is rather hard work: there is no smooth road into the future: but we go round, or scramble ver the obstacles. We've got to live, no matter how many skies have fallen.
The beautiful pure freedom of a woman was infnitely more wonderful than any sexual love. The only unfortunate thing was that men lagged so far behind women in the matter. They insisted on the sex thing like dogs.
"No, I don't hate you," she said. "I think you're nice." - "Ah!" he said to her fiercely, "I'd rather you said that to me than said you love me! It means such a lot more..."
The world is supposed to be full of possibilities, but they narrow down to pretty few in most personal experience. There's lots of good fish in the sea... maybe... but the vast masses seem to be mackerel or herring, and if you're not mackerel or herring yourself, you are likely to find very few good fish in the sea.
"I can't see I do a woman any more harm by sleeping with her than by dancing with her... or even talking to her about the weather. It's just an interchange of sensations instead of ideas, so why not?"
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Banned, burned, and the subject of a landmark obscenity trial, Lawrence's lyric and sensual last novel is now regarded as "our time's most significant romance." -- "The New York Times. "This classic tale of love and discovery pits the paralyzed and callous Clifford Chatterley against his indecisive wife and her persuasive lover.

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Mitjana: (3.5)
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Penguin Australia

Penguin Australia ha publicat 3 edicions d'aquest llibre.

Edicions: 0141441496, 0141192178, 0241951542

Urban Romantics

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Edicions: 1907832122, 1907832203

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