Relevant bibliographies by topics / Jude the obscure (Hardy, Thomas)

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Academic literature on the topic 'Jude the obscure (Hardy, Thomas)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Jude the obscure (Hardy, Thomas)"

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Thomas, Jane. "Thomas Hardy , Jude the Obscure and ‘Comradely Love’." Literature & History 16, no. 2 (November 2007): 1–15. http://dx.doi.org/10.7227/lh.16.2.1.

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Elbarbary, Samir. "GLIMMERINGS OF THE POSTMODERN IN THOMAS HARDY'S JUDE THE OBSCURE." Victorian Literature and Culture 46, no. 1 (March 2018): 201–19. http://dx.doi.org/10.1017/s1060150317000390.

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In their evaluation ofJude the Obscure (1895), some earlier literary critics have justifiably (given the historical context) judged the text by the standards of the then dominant and sustained New Criticism trend, taking into account its symbiotic relationship with modernist aesthetics. The basic premise behind this conception was the aesthetic notion of structural and thematic unity as well as coherence and integrity of character. These notions were high on the agenda of the New Criticism of the 1940s and onwards. The narrative was found most lacking in this respect. An article entitled, “Hardy and the Fragmentation of Consciousness” (1975) by Harold L. Weatherby, a foremost Hardy critic, serves as an outstanding example of such a critical view. It makes the case that what ails Jude is its unruliness and disjunctiveness: “the brilliance of the novel's peripheries can scarcely compensate for a profound weakness at its center. Indeed the centre cannot hold: the book falls into fragments” (“Hardy” 469). Weatherby continues, arguing that “There is no unified authorial consciousness” (470), that “Hardy as narrator contradicts himself repeatedly in his estimation of what is right or wrong, good or bad, for his characters” (470), and that it is “an artistic failure . . . failing to achieve unity and coherence” (479). Hardy, in addition, is undeservedly dismissed as “the old-fashioned man from Wessex” (483) – which reminds us of the well-known “good little Thomas Hardy” epithets of Henry James's adverse judgment (Cox xxxi). The article also associates incoherence and contradictions in the narrative with attitudinal ambivalences in Hardy's own mind (473, 476). Undeniably, Jude is permeated with incoherence. Who can disagree? It is deeply involved in sustained and unsettled opposition and what may be termed the play of Derridean différance (Positions 14). And, indeed, Hardy himself acknowledges the tangle of disconnections and self-contradictions disrupting the stability of character in a notebook admission (which shows it to be his design): Of course the book is all contrasts . . . Sue and her heathen gods set against Jude's reading the Greek testament; Christminster academical, Christminster in the slums; Jude the saint, Jude the sinner; Sue the Pagan, Sue the saint, marriage, no marriage; &c., &c. (Life 272–73)
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Ninčetović, Nataša V. "AN ECOCRITICAL READING OF THOMAS HARDY’S JUDE THE OBSCURE." Филолог – часопис за језик књижевност и културу 13, no. 26 (December 31, 2022): 358–69. http://dx.doi.org/10.21618/fil2226357n.

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Jude the Obscure (1895) is traditionally interpreted as Thomas Hardy’s bleakest and most pessimistic novel. From the perspective of ecocriticism, it may be viewed as the author’s endeavour to challenge the dominant anthropocentric attitude of the nineteenth century. Relying on Darwin’s theory of the common origin of species, Hardy believed that people should recognise their connectedness and dependence on the whole living world. The novel implies that man should abandon his self-centeredness and embrace other perspectives. This, however, does not mean that Hardy does not see people as valuable and important. In a world where religion loses its power we should rely on other people. The implication of Jude the Obscure is that the way we treat each other is linked to the way we treat nature. Hardy’s pessimism is the consequence of his realisation that ideas of Darwin were manipulated and (mal)adjusted to society. The character of Jude Fawley is doomed to tragedy due to his hypersensitivity, which is incorrectly perceived as a flaw in the society which promotes autonomy and separateness instead of connectedness and mutual dependence.
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Bernard, Stéphanie. "Jude the Obscure de Thomas Hardy et l’autorité de la lettre." Revue LISA / LISA e-journal, Vol. V - n°4 (December 1, 2007): 170–81. http://dx.doi.org/10.4000/lisa.1419.

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Lu, Guorong, and Zhehui Zhang. "On the Theme of Thomas Hardy’s Jude the Obscure." English Language and Literature Studies 9, no. 3 (August 20, 2019): 15. http://dx.doi.org/10.5539/ells.v9n3p15.

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Thomas Hardy’s Jude the Obscure got the most attention of the critical world in the nineteenth century of Britain. The theme was always regarded as the embodiment of original sin, pessimism and voluntarism. However, when the theme is analyzed again, it will be found something totally different. Hence, three-phase patterns are to be singled out for a case study in order to shed light upon some facts and conclusions. The first stage is the expression of optimism from the perspective of symbolism; the second stage is the representation of conflict between character and environment in light of Darwinism; the third stage is the exploration of rationality from the viewpoints of religion and feminism. What can be learned is that the story is meant to show readers the kindness tendency, the courage to face the harsh reality and a sense of rationality.
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Lyons, Sara. "Thomas Hardy and the Value of Brains." Victorian Literature and Culture 48, no. 2 (2020): 327–59. http://dx.doi.org/10.1017/s1060150318001572.

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This article reads Thomas Hardy's The Woodlanders (1887) and Jude the Obscure (1895) as ambivalent responses to the new conception of human intelligence that emerged from Victorian psychology and evolutionary theory and which formed the basis of what I describe as the Victorian biopolitics of intelligence. Although these novels reflect Hardy's endorsement of the new biological model of intelligence, they also register his resistance to what many late Victorians assumed to be its corollary: that mental worth can be an object of scientific measurement, classification, and ranking. I suggest that the work of the philosopher Jacques Rancière illuminates the extent to which these novels challenge the scientific reification of intellectual inequality and attempt to vindicate overlooked and stigmatized forms of intelligence.
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Wiet, Victoria. ""Boyish as a Ganymede": Greek Love and the Erotic Experiment in Jude the Obscure." ELH 90, no. 4 (December 2023): 1123–57. http://dx.doi.org/10.1353/elh.2023.a914018.

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Abstract: This article demonstrates the importance of Jude the Obscure's Oxford setting to Thomas Hardy's project of writing a novel of maturation that refuses to conclude with successful reproduction. Linking the character of Sue Bridehead with Hardy's interest in writing about Greek love by Oxford graduates, I show how Jude's coupling with Sue incites intellectual exploration rather than the reducing development to the ends of reproductive marriage or professional achievement. To narrate the effect of Sue's tutelage, I show, Hardy derails the novel's teleological progression in favor of a pastoral mode made possible by spaces where the couple can safely practice non-marital sexuality. By way of conclusion, I position Jude at the start of a queer pastoral tradition in British fiction in which setting is formally significant because of its historical significance to the sustainability of sexually nonnormative lives.
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Wilson-Bates, Tobias. "The Circus and the Deadly Child: Ruptures of Social Code in Jude the Obscure." Acta Neophilologica 51, no. 1-2 (November 21, 2018): 127–35. http://dx.doi.org/10.4312/an.51.1-2.127-135.

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Thomas Hardy’s Jude the Obscure has frequently been read as Hardy›s social critique of marriage, class, and systemic education. Readings of the novel in this critical tradition have a tendency to simplify the text into an allegory emergent from Hardy’s own biography. I seek to destabilize these readings by instead engaging with the text as one not concerned with institutions but rather the underlying social codes that give them coherence. By pairing Mikhail Bakhtin’s concept of speech and counter speech with Lee Edelman’s queer critique of child-centered futurity, I offer a new reading of the novel that privileges codes and legibility as central to the novel’s critical project.
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Davis, William A. "Reading Failure in(to) Jude the Obscure: Hardy's Sue Bridehead and Lady Jeune's “New Woman” Essays, 1885–1900." Victorian Literature and Culture 26, no. 1 (1998): 53–70. http://dx.doi.org/10.1017/s1060150300002278.

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Thomas hardy was at work on his last novel, Jude the Obscure, when two of the best-known New Woman novels of the 1890s, Sarah Grand's The Heavenly Twins and George Gissing's The Odd Women, appeared in 1893. Hardy read The Heavenly Twins, or at least parts of it, in May 1893 and noted its criticism of the “constant cultivation of the [female] animal instincts” (i.e., the marital and maternal instincts) in his notebook (qtd. in Literary Notebooks 2:57). Hardy met Sarah Grand later in the spring and praised her to his friend Florence Henniker as a writer who had “decided to offend her friends (so she told me) — & now that they are all alienated she can write boldly, & get listened to” (Collected Letters 2:33). Hardy was also at this time looking into the popular short-story collection Keynotes (1893) by George Egerton (Mary Chavelita Clairmonte), from which he copied a passage concerning man's inability to appreciate “the problems of [woman's] complex nature” (qtd. in Literary Notebooks 2:60). Hardy's interest in George Egerton continued for several years. He wrote to Florence Henniker in January 1894 and reported that he had “found out no more about Mrs. Clairmont [sic]”; Sue Bridehead at this same time was still “very nebulous” (Collected Letters 2:47). Two years later, Hardy had found the author of Keynotes and finished his novel: he wrote to Mrs. Clairmonte in late December 1895, two months after the publication of Jude the Obscure, and commented on their shared interest in the Sue characters “type”: “I have been intending for years to draw Sue, & it is extraordinary that a type of woman, comparatively common & getting commoner, should have escaped fiction so long” (Collected Letters 2:102). Hardy's comment suggests that Sue's origins were, at least in part, real New Women, and that he had been following the New Woman phenomenon for several years. Hardy had completed work on Jude in the spring of 1895 while simultaneously reading another New Woman novel, the best-selling and controversial The Woman Who Did (1895) by Grant Allen. Hardy wrote to Allen in February 1895 to thank Allen for sending a copy of the novel and to express his praise for the book, which he had read “from cover to cover.” Hardy added that it “was curious to find how exactly [Allen] had anticipated my view” (Collected Letters 2:68).
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Yourtee, Jean Ann. "Listening to the Stone Thomas Hardy .Jude the Obscure. London, 1896; New York, Bantam, 1981." San Francisco Jung Institute Library Journal 12, no. 2 (June 1993): 61–73. http://dx.doi.org/10.1525/jung.1.1993.12.2.61.

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Dissertations / Theses on the topic "Jude the obscure (Hardy, Thomas)"

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Horlacher, Stefan. "„...and he took it literally” - Literatur als Instrument der Lebenskunst: Konzeptionen (in)adäquater Lektüre in Thomas Hardys Roman Jude the Obscure." Wissenschaftlicher Verlag Trier, 2008. https://tud.qucosa.de/id/qucosa%3A37504.

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Inwiefern, so konnte man sich zu Beginn dieses renditeorientierten, hoch kapitalistischen und allzeit praxisbezogenen 21. Jahrhunderts durchaus zu Recht fragen, gehört Kunst überhaupt zum Leben, inwiefern gehört Literatur zur Lebenskunst, und inwiefern trifft dies im Besonderen auch auf den Akt der Lektüre selbst zu? [...] Im Mittelpunkt der Analyse steht deshalb Jude the Obscure als 'medialer', fast schon medientheoretischer Roman, in dem es primär um den gelungenen oder gescheiterten Lektüreprozess von Zeichen geht, wobei gezeigt werden soll, dass Hardys letzter Roman gleich auf mehreren Textebenen sehr dezidiert verdeutlicht, wie Literatur gelesen werden und welche Kriterien eine adäquate Lektüre erfüllen sollte.
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Barrett, Melissa. "Symbols of Desire and Entrapment: Decoding Hardy’s Architectural Metaphor in Jude the Obscure." Wittenberg University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1246301927.

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Ng, Yee-ling. "Modern fiction and the creation of the new woman : Madame Bovary, Jude the obscure and Women in love /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2005970X.

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Danho, Oraka. "A Study of Thomas Hardy's Presentation of the Theme of Marriage in Jude the Obscure." Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-42563.

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This thesis is about Thomas Hardy's presentation of marriage and divorce in his last novel Jude the Obscure. It presents how Hardy as a representative of his time reflected important ideologies such as marriage, free union, and divorce.
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Fröhlich, Wolfgang. ""Get it done and let them howl" eine kulturtheoretische Untersuchung zu Thomas Hardys Auseinandersetzung mit der viktorianischen Sichtweise von Sexualität, Liebe und Ehe am Beispiel von Jude the Obscure /." Göttingen : Cuvillier, 2003. http://catalog.hathitrust.org/api/volumes/oclc/56932903.html.

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Cooper, Andrew Richard. "The politics of language in the novels of Thomas Hardy - with specific reference to Tess of the d'Urbervilles and Jude the Obscure." Thesis, University of Southampton, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315307.

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Vries, Meike de. "Das Theodizee-Problem bei Thomas Hardy dargestellt an den Romanen Far from the madding crowd, The return of the native, The mayor of Casterbridge, Tess of the D'Urbervilles und Jude the Obscure." München Utz, 2008. http://d-nb.info/994035411/04.

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Bernard, Stéphanie. "De Thomas Hardy à Joseph Conrad : vers une écriture de la modernité." Lyon 2, 2004. http://theses.univ-lyon2.fr/documents/lyon2/2004/vallon_s.

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Thomas Hardy est le plus souvent considéré comme un auteur victorien. Cependant, son dernier roman intitulé Jude the Obscure annonce la modernité qui éclot à l'aube du vingtième siècle, lorsque l'auteur se tourne vers la poésie et qu'un autre écrivain, nommé Joseph Conrad, rédige ce roman aux mille voix qu'est Lord Jim. Derrière leurs œuvres se profile la réécriture de la tragédie qui renaît sous les espèces du tragique. Tess of the D'Urbervilles, à la tonalité pastorale parfois, rappelle les tragédies familiales des grands auteurs grecs. Avec Jude the Obscure, la ville a remplacé la campagne, la société a inéluctablement pris la place des dieux. Cette chute du divin s'affirme dans Lord Jim où le romantisme côtoie l'éclatement de la représentation dans une écriture moderne, puis plus nettement encore au travers des paysages blancs et froids de Under Western Eyes. Ces œuvres, tant par leurs différences que par leurs ressemblances, mettent en lumière le renouvellement qu'opère la modernité sur les genres et les formes du passé. Le style tragique utilise la lettre pour mieux la faire voler en éclat et s'oriente sur le pan de la voix : celle de l'écrivain qui se fait poète, celle de Jude qui se laisse bercer par son imaginaire, ou encore celle de l'indicible vérité qui borde l'horreur et surprend le lecteur occidental du texte conradien
Thomas Hardy is usually considered a Victorian writer. Nonetheless, his last novel entitled Jude the Obscure announced the era of modernity which started with the twentieth century, just before he abandoned fiction to become a poet, while Joseph Conrad was writing that deep-resounding novel entitled Lord Jim. With rising modernity in the background, it appears that their works allowed for the rewriting of tragedy, now revived as the tragic. Tess of the D'Urbervilles, whose tone may sound pastoral, recalls traditional Greek tragedies. In Jude the Obscure, urban settings have replaced the countryside, and society has definitely been substituted for the gods. Such a defeat of the divine is brought even further with Conrad : in Lord Jim, the romantic undertones are incessantly balanced by the explosion of the conventions of representation; the modern age is clearly perceptible in the white and cold landscapes of Under Western Eyes. These four novels, through their similarities and differences, show how modernity operates on genres and old forms of writing by regenerating them. The tragic as a style uses the letter the better to shatter it : so it does when the voice of the poet can be heard through the murmurs of Jude's imagination, or when unspeakable truth comes close to the horror and startles the Western reader of the Conradian text
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Vries, Meike de. "Das Theodizee-Problem bei Thomas Hardy : dargestellt an den Romanen Far from the madding crowd, the return of the native, the mayor of Casterbridge, Tess of the D'Urbervilles und Jude the obscure /." München : Utz, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3295347&prov=M&dokv̲ar=1&doke̲xt=htm.

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Hughes, J. D. "A comparative study of the nature and development >of narrative style in the fiction of Thomas Hardy, with special reference to Desperate Remedies and Jude the Obscure." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.354764.

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Books on the topic "Jude the obscure (Hardy, Thomas)"

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Penny, Boumelha, ed. Jude the obscure, Thomas Hardy. Houndmills, Hampshire: Macmillan, 2000.

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Harold, Bloom, ed. Thomas Hardy's Jude the obscure. New York: Chelsea House Publishers, 1987.

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Thompson, Frank H. Jude the obscure: Notes. Lincoln, NE: Cliffs Notes, 1989.

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Avery, Simon. Thomas Hardy: The Mayor of Casterbridge, Jude the obscure. Edited by Tredell Nicolas. New York: Palgrave Macmillan, 2008.

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Thompson, Frank H. CliffsNotes on Hardy's Jude The Obscure. New York: John Wiley & Sons, Ltd., 2002.

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Thomas, Hardy. Jude the obscure. New York: Signet Classic, 1999.

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Thomas, Hardy. Jude the Obscure. London: Penguin Group UK, 2008.

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Thomas, Hardy. Jude the obscure. Edited by King Amy M. New York: Barnes & Noble Classics, 2003.

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Thomas, Hardy. Jude the Obscure. New York: Penguin USA, Inc., 2009.

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Thomas, Hardy. Jude the obscure. Oxford: Oxford University Press, 2008.

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Book chapters on the topic "Jude the obscure (Hardy, Thomas)"

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Millgate, Michael. "Jude the Obscure." In Thomas Hardy, 317–35. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1057/9780230379534_26.

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Peck, John. "Jude the Obscure." In How to Study a Thomas Hardy Novel, 64–76. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08745-7_6.

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Drews, Jörg, and Stefan Horlacher. "Hardy, Thomas: Jude the Obscure." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8706-1.

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Widdowson, Peter. "Arabella and the Satirical Discourse in Jude the Obscure." In On Thomas Hardy, 168–87. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-26279-3_8.

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Doheny, John R. "Characterization in Hardy’s Jude the Obscure: The Function of Arabella." In Reading Thomas Hardy, 57–82. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1007/978-1-349-26657-9_3.

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Pinion, F. B. "Jude the Obscure: Origins in Life and Literature." In Thomas Hardy Annual No. 4, 148–64. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-07810-3_7.

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Wolfreys, Julian. "Confessions of the Other: The Woodlanders (1887), Tess of the D’Urbervilles (1891), Jude the Obscure (1895)." In Thomas Hardy, 180–216. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-12043-4_6.

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Ireland, Ken. "Temporal Janus: Retrospects and Prospects in Jude the Obscure." In Thomas Hardy, Time and Narrative, 178–91. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137367723_13.

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Salmons, Kim. "Pig Killing and Surviving Modernity: Jude the Obscure." In Food in the Novels of Thomas Hardy, 105–19. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63471-5_6.

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Asquith, Mark. "‘All Creation Groaning’: A Deaf Ear to Music in Jude the Obscure." In Thomas Hardy, Metaphysics and Music, 147–64. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230508019_8.

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Conference papers on the topic "Jude the obscure (Hardy, Thomas)"

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"Existentialist Themes in Thomas Hardy’s Jude the Obscure." In 2020 International Conference on Social Science and Education Research. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0001633.

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