Morality In Mrs. Lawrence's Sons And Lovers

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It is only the expected breaking of the war to establish not much a conclusion over morality as the protagonist’s journey towards adulthood. Same goes for Paul Morel in Lawrence’s Sons and Lovers though here personal belief and the chains of religion are replaced by an Oedypical love binding together Mrs. Morel and her son. The unsatisfying nature of love together with the superficiality of sexuality, of an attraction that is never enough, urged Paul to avoid a common manhood and refuge into his mother’s words until time allows it. But as the woman dies he is left naked full of the consciousness of his failure. Where would he go now? This restless protagonist cannot hold on anything, no God or a woman, yet he walks towards the dazzling city, an industrial setting for a new possibility of life. There is a continuity with the old world that is not organic but mechanical guaranteed by the insight of the actors playing in it, Paul’s immaturity will flourish within the unhuman condition of an industrial England producing nothing but money, at last industrial masses, the roaring of metal and traffic, the industrial night of sharp noises will break the dullness of his solitude. Western modernism obsessed with introspectiveness and inwardness, finally…show more content…
The Marxist approach sees in the mode of production the source shaping the substructure of society, religion, art, philosophy and so on. Yet China in the 50th didn’t have time to wait for the economic conditions to be ready, thus without waiting for the production to modify society, Mao prepared people’s mind through ideological reform. For 20 years China didn’t have free thinkers but artisan educated to the Marx-Leninism, the brain washing phase, which I won’t disclose here, might more realistically be called a conversion to communism as the religious association to the term conversion is the most appropriate to the process of

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