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Journal articles on the topic 'Biofiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Lackey, Michael. "Biofictional Nietzsche among the Biofictionalists." Philosophy and Literature 48, no. 1 (2024): 215–31. http://dx.doi.org/10.1353/phl.2024.a930339.

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Abstract: Friedrich Nietzsche is the protagonist of many novels, but for authors of biofictions of the German iconoclast, their Nietzsche is not supposed to be seen as the real Nietzsche. Following Nietzsche's method in Thus Spoke Zarathustra , which is an early and vitally important biofiction, authors of biofiction about Nietzsche use the life of the German philologist to give readers themselves. By analyzing and interpreting Thus Spoke Zarathustra as a biofiction, I show how authors of Nietzsche biofictions fictionalize and metaphorize, rather than represent, the life of Nietzsche in order

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2

Cernat, Laura. "Biofiction's Melancholic Agency: Deep Time and the Return of History in the Works of Amin Maalouf and Colum McCann." Biography 46, no. 4 (2023): 691–716. https://doi.org/10.1353/bio.2023.a959017.

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Abstract: Aiming to nuance Paul Ricoeur's theories about temporality and identity in fiction and historiography, this article explores biofiction through the prism of Fernand Braudel and Wai Chee Dimock's notion of deep time. Building on case studies by Amin Maalouf and Colum McCann, I coin the notions of "deep-historical biofiction" and "biofictional histoire croisée" to draw attention to these contemporary writers' awareness of history's impact on individual destinies in a world of interdependent developments, which resists human agency while also inviting it to persist. Here I introduce the

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3

Tunca, Daria, and Bénédicte Ledent. "Towards a definition of postcolonial biographical fiction." Journal of Commonwealth Literature 55, no. 3 (2019): 335–46. http://dx.doi.org/10.1177/0021989419881234.

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In this introduction to the special issue on “Illuminating Lives: The Biographical Impulse in Postcolonial Literatures”, we start by situating the genre of biographical fiction, which has become increasingly popular in postcolonial literatures and beyond, in relation to more “traditional” nonfictional biography. We then examine how postcolonial biofiction might be distinguished from its postmodern avatar, and we tentatively circumscribe some of the tendencies that appear to cluster more systematically in postcolonial biofiction than in other types of writings: the focus on individuals — includ

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Urusova, N. A. "Interdiscursivity of Biofictional Narration: the Image of Petersburg in M. Bradbury’s “To the Hermitage”." Discourse 7, no. 4 (2021): 119–30. http://dx.doi.org/10.32603/2412-8562-2021-7-4-119-130.

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Introduction. The present paper deals with the interdiscursivity in postmodern literary biographic narration (biofiction) in which interdiscursivity is viewed as the author’s strategy of text formation. The relevance of the study is conditioned by the interest of modern linguistics in interaction of different discourse types in literary texts. It is also relevant to study different techniques that the English author uses to represent an external linguocultural context, namely, to create the image of a Russian city in the English-language narration. The novelty of the research is implied by the

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Braid, Barbara, and Anna Gutowska. "Queer Heritage and Strategic Humour in Recent Screen Biofictions of Emily Dickinson." Neo-Victorian Studies 15, no. 1 (2024): 126–59. https://doi.org/10.5281/zenodo.11085067.

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Contribution to the 2023-2024 <em>Neo-Victorian Studies </em>15:1<em> </em>special issue on <em>Beyond Biofiction</em> <strong>Abstract</strong>: The article discusses three latest screen portrayals of Emily Dickinson, namely Terence Davies’s biopic <em>A Quiet Passion</em> (2016), Madeleine Olnek’s independent biographical comedy <em>Wild Nights with Emily</em> (2018), and Alena Smith’s Apple TV teen series <em>Dickinson</em> (2019-2021), examining to what extent these texts can be termed neo-Victorian biofictions. The article focuses on the latter two sc

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Farage, Amanda. "Retelling, Reliving: Fiction as Biography in The Happy Prince (2018)." Neo-Victorian Studies 15, no. 1 (2024): 160–83. https://doi.org/10.5281/zenodo.11127519.

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Contribution to the 2023-2024 <em>Neo-Victorian Studies </em>15:1<em> </em>special issue on <em>Beyond Biofiction</em> <strong>Abstract</strong>: Rupert Everett’s <em>The Happy Prince</em> (2018) is a neo-Victorian biofictional film that depicts Oscar Wilde’s final years in exile within the narrative framework of his 1888 children’s story of the same name. In the film, Wilde (portrayed by Everett) recounts excerpts from the story both as a narrator and onscreen character, which facilitates narrative time jumps from his deathbed to earlier points in his life, an

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7

Jenkins, Melissa. "Louis Edwards's Oscar Wilde Discovers America : Gender, Race, and the Judas Kiss of Biofiction." African American Review 56, no. 4 (2023): 337–51. http://dx.doi.org/10.1353/afa.2023.a931866.

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Abstract: This article draws on Oscar Wilde's collected works to convey new insights about how he is depicted in biofiction, with a focus on Louis Edwards's 2003 novel Oscar Wilde Discovers America . Edwards creates a protagonist who underplays Wilde's marginalization and who struggles to see the interplay between gender, nationality, and race. The distance between character, author, and text facilitates Edwards's interrogation of biofiction itself—its biases, its lapses, and its opportunities. In part one of my analysis, I track the Judas Kiss motif across works by Wilde and within Edwards's

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8

Lackey, Michael. "The Autonomy of Art and the Legitimization of Biofiction: An Aesthetic Turning Point in Twentieth-Century Literature." Modern Language Quarterly 82, no. 3 (2021): 345–69. http://dx.doi.org/10.1215/00267929-9090306.

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Abstract Biofiction is literature that names its protagonist after a historical figure, and since the 1990s it has become one of the most dominant literary forms. This is surprising because many prominent scholars, critics, and writers have criticized and even condemned it. This essay hypothesizes that postmodern theories of truth and concomitant transformations in reader sensibilities partly account for the legitimization and now dominance of biofiction. The essay analyzes a 1968 literary debate among Ralph Ellison, William Styron, and Robert Penn Warren, which on the surface concerned the us

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9

Chua, Han Au. "Rethinking the biofiction." Prose Studies 43, no. 3 (2022): 213–31. https://doi.org/10.1080/01440357.2024.2410429.

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10

Boixareu, Mercè. "L’imaginaire “vrai” : Françoise Lalande, entre biographie et biofiction." ALTERNATIVE FRANCOPHONE 2, no. 3 (2018): 55–65. http://dx.doi.org/10.29173/af29368.

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Cette étude se propose de réfléchir sur les sept textes de Françoise Lalande qui se situent aux frontières entre la biographie et la biofiction. Après un bref aperçu théorique sur ces genres narratifs, très importants surtout dès les années 80 et jusqu’à nos jours, nous procéderons à une réorganisation des ouvrages de l’auteure, en fonction de la problématique générique, puisque ces biofictions sont non seulement narratives mais aussi dramatiques et même poétiques. Les différents textes se basent sur la vie, ou des épisodes de vies, des personnages d’un univers culturel qui vont de Jean-Jacque

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11

Saunders, Max. "Byatt, Fiction and Biofiction." International Journal for History, Culture and Modernity 7, no. 1 (2019): 87–102. http://dx.doi.org/10.18352/hcm.543.

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A. S. Byatt’s fiction is much possessed by ‘lives’ – not only the lives of her characters, but the ideas of the biographies of those characters, and of characters as biographers. The essay will explore the relation between fiction, biography and autobiography in her work, taking in such topics as portraiture, myth, creation and reading. It will ask why a novelist who has written about earlier historical periods has eschewed one of the defining devices of the historical novel – and postmodern biofiction – of using real historical figures as characters.

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Juko, Maria. "A Woman Haunted: How Graphic Biofiction Revises Mary Shelley’s Early Feminist Life." European Journal of Life Writing 13 (December 13, 2024): 232–58. https://doi.org/10.21827/ejlw.13.41031.

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Biofiction, literature inspired by the life of real people and histories, has become a popular genre. Rarely, however, have graphic biographies been considered in connection to this rapidly emerging (academic) field. To work out these connections, I want to analyse Manuela Santoni and Alessandro di Virgilio's 2021 Mary Shelley (a German translation of the original 2020 Italian text), a biofictional graphic novel about the life of Mary Shelley, while also considering other examples of the genre. I suggest that graphic novels that draw on real life people -in this case, celebrated author and one

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Clingman, Stephen. "Writing the biofictive: Caryl Phillips and The Lost Child." Journal of Commonwealth Literature 55, no. 3 (2018): 347–60. http://dx.doi.org/10.1177/0021989418808010.

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This article is an exploration of the biofictive in Caryl Phillips’s writing, in particular in his novel The Lost Child (2015). The term “biofiction” has been in critical use for some 20 years, but is in general under-theorized. The article intends to help fill that gap by considering the biofictive in Phillips’s work as a form of postcolonial epistemology. It also introduces a new but logical dimension by setting the biofictive in conversation with biopolitics. However, whereas the dominant focus in discussions of the biopolitical (formulations from Foucault to Agamben and beyond) concerns th

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14

Mongelli, Marco. "La biofiction italiana iper-contemporanea." Narrativa, no. 41 (December 1, 2019): 105–13. http://dx.doi.org/10.4000/narrativa.360.

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15

Lackey, Michael. "Ireland, the Irish, and Biofiction." Éire-Ireland 53, no. 1-2 (2018): 98–119. http://dx.doi.org/10.1353/eir.2018.0004.

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16

Wagner, Benno. "Kafka Unchained: Returns beyond Biofiction." Svět literatury XXXIV, no. 70 (2024): 135–50. http://dx.doi.org/10.14712/23366729.2024.2.8.

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Lackey, Michael. "African American Biofiction: An Introduction." African American Review 56, no. 4 (2023): 273–87. http://dx.doi.org/10.1353/afa.2023.a931861.

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Lackey, Michael. "The Futures of Biofiction Studies." a/b: Auto/Biography Studies 32, no. 2 (2017): 343–46. http://dx.doi.org/10.1080/08989575.2017.1288978.

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Rilett, Beverley Park. "George Eliot in Romantic Biofiction." American Book Review 39, no. 1 (2017): 15–30. http://dx.doi.org/10.1353/abr.2017.0136.

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S, Roopha, and Patchainayagi S. "Posthumous Popularity; Fathoming Vincent van Gogh through Select Biofictions." World Journal of English Language 13, no. 8 (2023): 428. http://dx.doi.org/10.5430/wjel.v13n8p428.

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This paper studies a few fictional representations of Vincent van Gogh in contemporary biofiction. The objective of this research is to analyse the life of a genius artist and his posthumous popularity by using the transmedia storytelling technique. Vincent Willem van Gogh, a Dutch painter who lived between 1853 and 1890, is widely regarded as one of the best exponents of post-impressionism. His eccentric life has been a perpetual obsession for creators to fictionally recreate him periodically after his disastrous end in the past hundred years. The paper captures three fictionalised biographic

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21

Llorens-Cubedo, Dídac. "Syrie James’s The Secret Diaries of Charlotte Brontë: A Neo-Victorian Biofiction of Pride and Prejudice." ES Review. Spanish Journal of English Studies, no. 43 (November 23, 2022): 63–85. http://dx.doi.org/10.24197/ersjes.43.2022.63-85.

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Syrie James’s The Secret Diaries of Charlotte Brontë (2009) is a first-person narrative of the last ten years of the Victorian novelist’s life. It is a neo-Victorian celebrity biofiction, tending to the hagiographic. It draws on various biographies of Brontë, on her letters and on her autobiographical novels. Interestingly, it also evokes Jane Austen’s Pride and Prejudice, a novel that Brontë famously disliked. The present article considers Secret Diaries within the parameters of neo-Victorian biofiction; it identifies parallelisms with Austen’s classic; it reassesses the relationship between

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22

Parey, Armelle, and Charlotte Wadoux. "Beyond Biofiction: Writers and Writing in Neo-Victorian Media." Neo-Victorian Studies 15, no. 1 (2024): 1–17. https://doi.org/10.5281/zenodo.10825220.

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23

Dove, Danielle Mariann. "(Re-)Writing Nineteenth-Century Lives: Review of Marie-Luise Kohlke and Christian Gutleben, Neo-Victorian Biofiction: Reimagining Nineteenth-Century Historical Subjects." Neo-Victorian Studies 14, no. 1 (2023): 232–45. https://doi.org/10.5281/zenodo.7754197.

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24

SAVYCH, Oksana. "BIOFICTION AS A TOOL FOR REACTUALISING HISTORY IN PASCAL QUIGNARD’S PROSE: SPECIFICS OF THE NARRATIVE STRUCTURE." Astraea 4, no. 2 (2023): 70–88. http://dx.doi.org/10.34142/astraea.2023.4.2.04.

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The article explores the specificity and functionality of the genre of biofiction (fictional biography) in the novels of the contemporary French writer Pascal Quignard. His novels On Wooden Tablets: Apronenia Avitia (1984) and Albucius (1990) are examples of this genre: in them, Quignard represents the fictionalised lives of characters from the times of Ancient Rome and reactualises the ancient history. Biofiction is often interpreted as a genre that reflects the axiology of the postmodern era, with its inherent distrust towards metanarratives, hierarchy, causal logic, and belief in progress.

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Díez, J. Ignacio. "Virginia Newhall Rademacher, Derivative Lives. Biofiction, Uncertainty, and Speculative Risk in Contemporary Spanish Narrative." European Journal of Life Writing 13 (March 25, 2024): R1—R5. http://dx.doi.org/10.21827/ejlw.13.41566.

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With a very original title, which is indebted to economics studies as explained at the time, Virginia Rademacher groups together eleven titles of Spanish novels published in the 21st century which have in common their belonging to the category of ‘biofiction’. The book uses a methodology that is also original, as the subtitle states, in which three very different concepts, belonging to equally distant worlds, are employed. These three concepts are biofiction, the essential one, ‘uncertainty’ and ‘speculative risk’. The combination of them creates an interdisciplinary approach to a universe tha

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Lackey, Michael. "Locating and Defining the Bio in Biofiction." a/b: Auto/Biography Studies 31, no. 1 (2015): 3–10. http://dx.doi.org/10.1080/08989575.2016.1095583.

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Lackey, Michael. "German Biofiction from Nietzsche to the Present." a/b: Auto/Biography Studies 38, no. 1 (2023): 1–8. http://dx.doi.org/10.1080/08989575.2023.2190221.

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Savych, Oksana. "HISTORY AND MUSIC IN PASCAL QUIGNARD'S BIOFICTIONAL NOVEL "ALL THE WORLD’S MORNINGS"." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 35 (2024): 78–81. http://dx.doi.org/10.17721/1728-2659.2024.35.13.

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Background. The article examines the specific features of the representation of history in the novel "All the World's Mornings" (1991) by a French writer Pascal Quignard. In this novel, the contemporary author reactualizes the Baroque period. He depicts the life stories of two famous composers of the time – Jean de Sainte-Colombe, who is the novels' protagonist, and his student Marin Marais. The author's approach to the depiction of these characters' biographies is characterized by a shift from the historical documentation and a significant predominance of fictional details over factual compon

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Cernat, Laura. ""The Tangled Skein of Connections": Slavery Escape Routes from Individuality to Intersectionality in Biofiction and Speculative Historical Fiction." African American Review 56, no. 4 (2023): 371–90. http://dx.doi.org/10.1353/afa.2023.a931868.

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Abstract: This article analyzes Colum McCann's biofiction TransAtlantic (2013), which it reads alongside Colson Whitehead's speculative historical fiction The Underground Railroad (2016) in order to bring into sharp focus the kind of cultural, political, and intellectual service that biofiction by or about African Americans can perform. By lifting the veil from the mechanisms of oppressive power, these two novels expose common structures that were operational during the slave trade in Africa as well as the "starve trade" in Ireland. My main conceptual building block is Ian Baucom's model of tw

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Antsyferova, Olga. "Rethinking the biographical canon: Silences and gaps in Colm Tóibín’s "The Master"." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 16/2 (June 20, 2019): 7–23. http://dx.doi.org/10.26881/bp.2019.2.01.

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Over the last number of decades, the biographical canon has become the focus of scholarly attention for several reasons: revision of the essential concepts of (self)-identity, keen interest in liminal literary forms, searches for new forms of assessment of the artist’s creative output and new interpretive methodologies. Biofiction as a genre encompassing both documentary and fictional elements represents not only the biographical subject proper but also the author’s subjective orientation. The case study of a recent biofiction about Henry James (“The Master” by the Irish gay writer Colm Tóibín

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Raynaud, Claudine. "Biofiction à la première personne : La Rose dans le bus jaune d’Eugène Ébodé." Études littéraires africaines, no. 44 (April 10, 2018): 57–72. http://dx.doi.org/10.7202/1051538ar.

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La Rose dans le bus jaune (2013) d’Eugène Ébodé est une « biofiction » à la première personne qui met en scène Rosa Parks (1913-2007), figure légendaire du mouvement des droits civiques. En choisissant de raconter à la fois le quotidien de Rosa et la journée mythique du 1er décembre 1955 qui conduisit à son arrestation, le roman rejette au second plan des figures historiques comme Martin Luther King Jr et réécrit l’histoire américaine du point de vue des marges. Le genre de la biofiction permet une reconstitution des événements, mais prend certaines libertés avec les faits : Ébodé crée le pers

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32

Juko, Maria. "Re-Imagining the Brontë Sisters in Isabel Greenberg's Glass Town: The Imaginary World of the Brontës (2020) and Bella Ellis's Brontë Sisters Mystery Series (2019–)." Neo-Victorian Studies 15, no. 1 (2024): 68–99. https://doi.org/10.5281/zenodo.10999644.

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Contribution to the 2023-2024 <em>Neo-Victorian Studies </em>15:1<em> </em>special issue on <em>Beyond Biofiction</em> <strong>Abstract</strong>: Reconstructions of the Brontë sisters as exceptional women, worthy of empathy and admiration by twenty-first-century readers, increasingly rely on the entanglements of the sisters’ literary ambitions and limiting contemporary gender roles. By relying on visual and topical appeals in the form of graphic novels and detective stories, neo-Victorian adaptations of the Brontës further broaden the dimension of biofiction

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33

Zhygun, Snizhana. "Yuri Tys’s novel “At Dawn” as a biofiction." Ukraïnsʹka bìografìstika, no. 21 (November 10, 2021): 231–41. http://dx.doi.org/10.15407/ub.21.231.

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Bystrova, Tat’yana A. "INTRODUCTION TO BIOFICTION. HISTORY AND BIOGRAPHY BY THE MODERN ITALIAN WRITERS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2023): 282–90. http://dx.doi.org/10.28995/2686-7249-2023-3-282-290.

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The article highlights the specific features of the hybrid genre of biographical writing (also known as «fictional biography»), which has been theorized since the 1990s in France. The biographical novel is a fictional work about a real-life person with elements of authorial fiction. On the textual level, the subject of “hybridization” in biofiction can be both the content plan (speculation of events built around the documentary basis) and the form plan (use of indirect speech, stream of consciousness, insertion of other people’s text, etc.). At the pragmatic level, there is a breakdown of the

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35

Pettersson, Lin Elinor. "Neo-Victorian transcorporeality: Narrating Julia Pastrana's body." Cultura, Lenguaje y Representación 30 (May 15, 2023): 207–21. http://dx.doi.org/10.6035/clr.6837.

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Julia Pastrana (1834-1860) features prominently in neo-Victorian biofiction, which is probably indebted to her tragic life and posthumous exploitation in the hands of her husband-manager Theodore Lent. Pastrana’s career surpassed her death when Lent continued touring her embalmed body – an exhibition that would outlive him into the late twentieth century. Although Pastrana was repatriated and buried in 2013, she did not reach the final rest as her story continues to fascinate twentieth-first century audiences. This essay focuses on the ways in which Pastrana’s body has been constructed and pro

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Hobson, Suzanne. "George Moore and New Testament Biofiction: The Brook Kerith." Éire-Ireland 53, no. 1-2 (2018): 175–97. http://dx.doi.org/10.1353/eir.2018.0009.

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Lackey, Michael. "The Ethical Benefits and Challenges of Biofiction for Children." a/b: Auto/Biography Studies 33, no. 1 (2018): 5–21. http://dx.doi.org/10.1080/08989575.2018.1389820.

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Lackey, Michael. "Introduction to Focus: Biofiction—Its Origins, Natures, and Evolutions." American Book Review 39, no. 1 (2017): 3–4. http://dx.doi.org/10.1353/abr.2017.0123.

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Lackey, Michael. "Unresolving Characters in Biofiction: A Conversation with Colm Tóibín." a/b: Auto/Biography Studies 38, no. 1 (2023): 39–53. http://dx.doi.org/10.1080/08989575.2023.2192615.

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Latham, Monica. "Thieving Facts and Reconstructing Katherine Mansfield’s Life in Janice Kulyk Keefer’s Thieves." European Journal of Life Writing 3 (October 14, 2014): 103–20. http://dx.doi.org/10.5463/ejlw.3.83.

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The aim of this article is to examine how the biographical material that Janice Kulyk Keefer “steals” from Mansfield’s life is used to re-create a “quasi-real” life in a novel which absorbs reality, digests it, and offers an oxymoronic, semi-fictitious product: a biofiction. Keefer selected biographèmes or kernels of truth on which her fictitious details and characters could be grafted: following Mansfield’s physical, emotional and intellectual trail was an imperative part of Keefer’s research plan, as essential as close reading of the modernist author’s letters and journals. Besides seamlessl

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41

Moore, Tara. "Neo-Victorian Girl Sleuths for Today's Middle-Grade Readers: The Enola Holmes (2006-present) and the Wollstonecraft Detective Agency (2015-2018) Novels." Neo-Victorian Studies 15, no. 1 (2024): 100–125. https://doi.org/10.5281/zenodo.11075421.

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Contribution to the 2023-2024 <em>Neo-Victorian Studies </em>15:1<em> </em>special issue on <em>Beyond Biofiction</em> <strong>Abstract</strong>: Middle-grade readers, those aged eight to twelve, encounter lessons in feminism through a range of neo-Victorian mystery novels featuring girl sleuths. This essay shines light on two such series that offer exciting adventure narratives couched within biofiction. Jordan Stratford’s Wollstonecraft Detective Agency series (2015-2018) gleefully bends chronological dates to allow a young Mary Godwin (later Shelley) to befriend Ad

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42

Lackey, Michael. "Hassan Najmi’s Gertrude and the Journey from Biography to Biofiction." Studies in the Novel 53, no. 4 (2021): 385–404. http://dx.doi.org/10.1353/sdn.2021.0045.

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Lackey, Michael. "Coalition Building through Biofiction: A Conversation with Jewell Parker Rhodes." African American Review 56, no. 4 (2023): 325–36. http://dx.doi.org/10.1353/afa.2023.a931865.

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Avery, Todd. "Art and Ethics: Lytton Strachey and the Origins of Biofiction." American Book Review 39, no. 1 (2017): 5. http://dx.doi.org/10.1353/abr.2017.0124.

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Sablayrolles, François. "Michael Lackey, Ireland, the Irish, and the Rise of Biofiction." Études irlandaises, no. 47-2 (December 15, 2022): 147–49. http://dx.doi.org/10.4000/etudesirlandaises.13594.

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Lackey, Michael. "Voicing Female Power through Biofiction: A Conversation with Mary Sharratt." a/b: Auto/Biography Studies 38, no. 1 (2023): 25–38. http://dx.doi.org/10.1080/08989575.2023.2192612.

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Rensen, Marleen. "Klaus Mann, Music, and the Art of Transformation in Biofiction." a/b: Auto/Biography Studies 38, no. 1 (2023): 55–81. http://dx.doi.org/10.1080/08989575.2023.2192048.

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48

Gefen, Alexandre. "The Glory of the Tiny. The Egalitarian Utopia of Biofiction." a/b: Auto/Biography Studies 40, no. 1 (2025): 15–26. https://doi.org/10.1080/08989575.2025.2478339.

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Kryvoruchko, Svitlana. "Ukrainian Identity of Vasyl Stus: the Concept of “Freedom” in the Movie “Prohibited”." Balkanistic Forum 33, no. 1 (2024): 221–38. http://dx.doi.org/10.37708/bf.swu.v33i1.17.

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Historical reactualization is a hallmark of the biofiction genre and a modern aesthetic tendency in art, that revolves around the reflection of political and social processes, which affect the common man of the 21st century. The scientific problem is the interpretation of history in art, the use of biography as a creative material in cinema and literature, the formation of reliable historical memory of Ukrainians, the debunking of "myths", overcoming post-colonial Ukrainian thinking, raising the issue of the consequences of ethnolinguistic nationalism. The aim is the underlining of the concept

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Jenkins, Melissa. "Whither, Hardy?: Selected Hardy Studies 2010–2022." Dickens Studies Annual 54, no. 1 (2023): 74–83. http://dx.doi.org/10.5325/dickstudannu.54.1.0074.

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ABSTRACT This article surveys works published since 2010 that engage the novels and poetry of Thomas Hardy (1840–1928). Three full-length works of biofiction are compared with three scholarly monographs that discuss elegy, folklore, aging, and the pastoral. Next, the article examines recent works that analyze Hardy’s writing through the lenses of cognitive theory, cultural history, ecocriticism, and narratology. Finally, the article overviews journal articles and book chapters that gesture toward possible futures for Hardy studies.

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