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Journal articles on the topic 'Jude the obscure'

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Published: 4 June 2021
Last updated: 29 July 2024

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1

Crangle, Sara. "Hardy's Jude the Obscure." Explicator 60, no. 1 (January 2001): 24–27. http://dx.doi.org/10.1080/00144940109597158.

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2

Faubert, Michelle. "Hardy's Jude the Obscure." Explicator 60, no. 2 (January 2002): 76–78. http://dx.doi.org/10.1080/00144940209597661.

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3

Kearney, Anthony. "Hardy's Jude the Obscure." Explicator 57, no. 3 (January 1999): 154–56. http://dx.doi.org/10.1080/00144949909596853.

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4

LeVay, John. "Hardy’s Jude the Obscure." Explicator 49, no. 4 (July 1991): 219–22. http://dx.doi.org/10.1080/00144940.1991.11484078.

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5

Haixia, Zhou. "Symbolism in Jude the Obscure." International Journal of Literature and Arts 3, no. 6 (2015): 129. http://dx.doi.org/10.11648/j.ijla.20150306.11.

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6

Choi, Sunryoung. "Jude the Obscure and Education/Scholarship." Korean Society of Culture and Convergence 43, no. 11 (November 30, 2021): 921–35. http://dx.doi.org/10.33645/cnc.2021.11.43.11.921.

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7

MASON, MICHAEL. "THE BURNING OF JUDE THE OBSCURE." Notes and Queries 35, no. 3 (September 1, 1988): 332—b—334. http://dx.doi.org/10.1093/nq/35-3-332b.

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8

Matz, Aaron. "Terminal Satire and Jude the Obscure." ELH 73, no. 2 (2006): 519–47. http://dx.doi.org/10.1353/elh.2006.0018.

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9

McNees, Eleanor. "Reverse Typology in Jude the Obscure." Christianity & Literature 39, no. 1 (December 1989): 35–49. http://dx.doi.org/10.1177/014833318903900105.

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10

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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11

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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12

Pickrel, Paul. ""Jude the Obscure" and the Fall of Phaethon." Hudson Review 39, no. 2 (1986): 231. http://dx.doi.org/10.2307/3856810.

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13

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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14

박상만. "The Aspects of Social Inadaptability in Jude the Obscure." Studies in English Language & Literature 34, no. 2 (April 2008): 1–19. http://dx.doi.org/10.21559/aellk.2008.34.2.001.

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15

Mallett, P. "Sexual Ideology and Narrative Form in 'Jude the Obscure'." English 38, no. 162 (September 1, 1989): 211–24. http://dx.doi.org/10.1093/english/38.162.211.

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16

Pyle, Forest. "Demands of History: Narrative Crisis in Jude the Obscure." New Literary History 26, no. 2 (1995): 359–78. http://dx.doi.org/10.1353/nlh.1995.0030.

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17

Nemesvari, Richard. "Appropriating the Word: Jude the Obscure as Subversive Apocrypha." Victorian Review 19, no. 2 (1993): 48–66. http://dx.doi.org/10.1353/vcr.1993.0006.

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18

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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19

Beyad, Maryam Soltan, and Taraneh Kaboli. "Multiplicity of Ideas Concerning the Concept of Marriage in Thomas Hardy‘s Jude the Obscure." International Academic Journal of Humanities 06, no. 01 (June 26, 2019): 148–75. http://dx.doi.org/10.9756/iajh/v6i1/1910016.

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20

Beyad, Maryam Soltan, Zohreh Ramin, and Taraneh Kaboli. "The Application of Lyotard‟s Concept of Multiplicity of Ideas on Jude the Obscure." International Academic Journal of Social Sciences 05, no. 02 (December 20, 2018): 180–93. http://dx.doi.org/10.9756/iajss/v5i2/18100037.

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21

Baranova, Anastasiya V. "THE FIRST RUSSIAN TRANSLATIONS OF THOMAS HARDY’S JUDE THE OBSCURE." Вестник Пермского университета. Российская и зарубежная филология 9, no. 2 (2017): 73–81. http://dx.doi.org/10.17072/2037-6681-2017-2-73-81.

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22

O'Malley, Patrick R. "Oxford's Ghosts: Jude the Obscure and the End of Gothic." MFS Modern Fiction Studies 46, no. 3 (2000): 646–71. http://dx.doi.org/10.1353/mfs.2000.0054.

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23

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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24

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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25

KEARNEY, ANTHONY. "EDMUND GOSSE, HARDY'S JUDE THE OBSCURE , AND THE REPERCUSSIONS OF 1886." Notes and Queries 47, no. 3 (September 1, 2000): 332—b—334. http://dx.doi.org/10.1093/nq/47-3-332b.

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26

KEARNEY, ANTHONY. "EDMUND GOSSE, HARDY'S JUDE THE OBSCURE, AND THE REPERCUSSIONS OF 1886." Notes and Queries 47, no. 3 (2000): 332—b—334. http://dx.doi.org/10.1093/nq/47.3.332-b.

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27

Kwak, Seungyoab. "A Study on the Pursuit of Woman’s Subjectivity in Jude the Obscure." Journal of Mirae English Language and Literature 26, no. 3 (August 31, 2021): 27–47. http://dx.doi.org/10.46449/mjell.2021.08.26.3.27.

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28

Sumpter. "On Suffering and Sympathy: Jude the Obscure, Evolution, and Ethics." Victorian Studies 53, no. 4 (2011): 665. http://dx.doi.org/10.2979/victorianstudies.53.4.665.

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29

Murphy, Katharine. "Subjective Vision in El árbol de la ciencia and Jude the Obscure." Bulletin of Spanish Studies 79, no. 2-3 (March 2002): 331–53. http://dx.doi.org/10.1080/147538202317345050.

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30

Oestreich, Kate Faber. "Sue’s Desires: Sexuality and Reform Fashion in Jude the Obscure." Victorians Institute Journal 41 (July 1, 2013): 128–54. http://dx.doi.org/10.5325/victinstj.41.1.0128.

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31

Son-moo Ryu. "The Spatialization of Time and the Art of Life in Jude the Obscure." New Korean Journal of English Lnaguage & Literature 60, no. 2 (May 2018): 59–76. http://dx.doi.org/10.25151/nkje.2018.60.2.004.

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32

Bezrucka, Yvonne. "THE WELL-BELOVED: THOMAS HARDY'S MANIFESTO OF “REGIONAL AESTHETICS”." Victorian Literature and Culture 36, no. 1 (March 2008): 227–45. http://dx.doi.org/10.1017/s1060150308080133.

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The Pursuit of the Well-Beloved was first published in serial instalments (from 1 October to 17 December1892) with illustrations by Water Paget; see Figure 6) in the Illustrated London News and were published simultaneously with the same title in the American magazine Harper's Bazar. It then appeared in book form, with substantial revisions, as The Well-Beloved: A Sketch of a Temperament in 1897, and was, in fact, the last of Hardy's novels to appear (Jude the Obscure being published in 1895).
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33

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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34

Eakin, Peter. "Review of Caroline Sumpter’s “On Suffering and Sympathy: Jude the Obscure, Evolution, and Ethics”." Journal of Literature and Science 5, no. 1 (2012): 129–30. http://dx.doi.org/10.12929/jls.05.1.11.

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35

Kwan-soo, Lee. "The Absence of Ideal God and Comic Effect on Tragedy in Jude the Obscure." Literature and Religion 24, no. 3 (September 30, 2019): 265–85. http://dx.doi.org/10.14376/lar.2019.24.3.265.

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36

Reed, John R. "Jude’s Music: Music as Theme and Structure in Hardy’s Jude the Obscure." Victorians Institute Journal 29 (December 1, 2001): 85–102. http://dx.doi.org/10.5325/victinstj.29.1.0085.

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37

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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38

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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39

신혜원. "The New Woman’s Predicament in The Story of an African Farm and Jude the Obscure." Feminist Studies in English Literature 20, no. 1 (April 2012): 91–115. http://dx.doi.org/10.15796/fsel.2012.20.1.004.

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40

KIM, Chi-Hun. "Evolution or Degeneration in Thomas Hardy’s Jude the Obscure in the Context of the Darwinism." Literature and Religion 20, no. 3 (September 30, 2015): 225–42. http://dx.doi.org/10.14376/lar.2015.20.3.225.

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41

Javier, Wenona Bea. "Marriage, Motherhood, and Self-Blame: Analyzing the Tragic Heroine’s Spiritual Suicide in Jude the Obscure." Journal of Language and Literature 24, no. 1 (April 1, 2024): 174–85. http://dx.doi.org/10.24071/joll.v24i1.6656.

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The societal phenomenon of self-blame disproportionately impacts women who encounter tragedies as wives and mothers. This is demonstrated in Jude the Obscure (1896) by Thomas Hardy, one of the most controversial pieces in Victorian literature. With the use of textual analysis and the application of feminist theory concentrating on Clarissa Pinkola Estes' idea of the female psychic slumber in her book Women Who Run With the Wolves (1995), this paper inspects Hardy's character of the enigmatic Sue Bridehead, aiming to unearth the underlying causes of her spiritual suicide after the three children’s death. Estes’ notion of spiritual demise indicates a woman’s submission to conventionality after encountering tragedy, especially during marriage and motherhood. As a nonconformist within a traditional societal framework, Sue’s transformation from Part III to VI of the book stands out as she shifts from being a free spirit to a conventional wife after encountering tribulations. Her spiritual suicide stems from three interrelated factors: Regret for her children’s short life; culpability; and her idea that it is God’s way of punishing her for her nonconformist beliefs. This convergence weaves together a memorable picture of a woman's spiritual self-destruction amidst traumatic events and the expectations of a conventional society that women should submit to their husbands and renounce whatever unorthodox beliefs they have.
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42

Sagong, Chaul. "Postcolonial Subaltern in Thomas Hardy’s Novels : Focused on Tess of the D’Urbervilles and Jude the Obscure." NEW STUDIES OF ENGLISH LANGUAGE & LITERATURE 76 (August 31, 2020): 73–97. http://dx.doi.org/10.21087/nsell.2020.08.76.73.

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43

Cannon. "“The True Meaning of the Word Restoration”: Architecture and Obsolescence in Jude the Obscure." Victorian Studies 56, no. 2 (2014): 201. http://dx.doi.org/10.2979/victorianstudies.56.2.201.

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44

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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45

Kim, Kyeong Sik. "Inequality of Opportunity and Problems of the Marriage Institution: The Linkage of Double Themes in Jude the Obscure." NEW STUDIES OF ENGLISH LANGUAGE & LITERATURE 78 (February 28, 2021): 27–48. http://dx.doi.org/10.21087/nsell.2021.02.78.27.

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46

Arnds, Peter. "The Boy with the Old Face: Thomas Hardy's Antibildungsroman "Jude the Obscure" and Wilhelm Raabe's Bildungsroman "Prinzessin Fisch"." German Studies Review 21, no. 2 (May 1998): 221. http://dx.doi.org/10.2307/1432203.

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47

Badinjki, Taher. "The Fin de Siècle Heroine with a Special Reference to Jude The Obscure and The Woman Who Did." Journal of Humanities and Social Sciences Research 1, no. 1 (January 2020): 27–36. http://dx.doi.org/10.37534/bp.jhssr.2019.v1.n1.id1020.p27.

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48

Ehnenn, Jill. "Reorienting the Bildungsroman: Progress Narratives, Queerness, and Disability in The History of Sir Richard Calmady and Jude the Obscure." Journal of Literary & Cultural Disability Studies 11, no. 2 (May 2017): 151–68. http://dx.doi.org/10.3828/jlcds.2017.12.

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49

Wright, Jude. "Public and Private Folklore: The Function of Folk-Culture in The Return of the Native and Jude the Obscure." Victorians: A Journal of Culture and Literature 137, no. 1 (2020): 30–43. http://dx.doi.org/10.1353/vct.2020.0000.

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50

Lulu, Liu. "Exploring the Enlightenment of Children’s Education under the Tragic Fate of the Little Father Time in Jude the Obscure." Education Study 5, no. 1 (2023): 93–97. http://dx.doi.org/10.35534/es.0501014.

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