Relevant bibliographies by topics / Thomas Hardy's Jude the Obscure

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Academic literature on the topic 'Thomas Hardy's Jude the Obscure'

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Published: 19 February 2023

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Journal articles on the topic "Thomas Hardy's Jude the Obscure"

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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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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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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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Yeazell, Ruth Bernard. "The Lighting Design of Hardy's Novels." Nineteenth-Century Literature 64, no. 1 (June 1, 2009): 48–75. http://dx.doi.org/10.1525/ncl.2009.64.1.48.

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This essay argues that the phenomenology of light in Thomas Hardy's novels affords a key to his representation of subjectivity. The lighting of most scenes in nineteenth-century fiction is never specified. But from the spectacular lighting effects of Hardy's early sensation novel, Desperate Remedies (1871), to the futile quest for the "City of Light" in Jude the Obscure (1895) and the burned-out pyrotechnics of his last narrative, The Well-Beloved (1897), the light of Hardy's fiction is marked in a double sense——both described in detail and registered as exceptional. Rather than a figure for enlightenment, as in the realist novels of George Eliot and others, Hardy's light is the medium of subjectivity, and it characteristically occludes and distorts as much as it illuminates. Like the painter J.M.W. Turner, whose art the novelist excitedly recognized as an analogue of his own, Hardy represents light not as an absence to be looked through but as something to be looked at and closely observed in all its varieties.
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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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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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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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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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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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Dissertations / Theses on the topic "Thomas Hardy's Jude the Obscure"

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Wray, Sarah A. "Thomas Hardy's Siren." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001903.

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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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Adams, Aaron. "Victorian representations and transformations : sacred place in Charles Dickens's Bleak House and Thomas Hardy's Jude the Obscure." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2397/.

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Victorian literary criticism has within it a longstanding tradition of inquiring about the degree to which literature of the period reflects the realities of nineteenthcentury Christian faith. Many of these studies are admirable in the way that they demonstrate the challenges confronting religion in this period of dynamic social, cultural, economic, political, and scientific change and growth. Similarly, this study will examine the critical intersections between nineteenth-century Christianity and literature. However, this project is unique by virtue of the methodology used in order to access both the expressed and latent perspectives on Victorian faith at play within a given text. I propose that that a spatial, place-based reading has heretofore been largely ignored in critical explorations of nineteenth-century faith and literature. While, literary criticism utilising concepts related to spatiality, geography, topography, and place have increased within recent decades, these critical works are largely silent on the issue of the narrative representations of “place” and the expression and understanding of Victorian Christianity. This project suggests a model for just such a reading of nineteenth-century texts. More specifically, this thesis proposes that by reading for sacred place in the Victorian novel one is able to explore the issue of Christianity and literature from a unique and neglected point of narrative and critical reference. Using Charles Dickens's Bleak House and Thomas Hardy's Jude the Obscure as primary texts, this study demonstrates that a careful exploration of sacred place within a particular narrative reflects an author's and, more broadly, a culture's perceptions of a faith. Reading Victorian religion from the vantage point of place acknowledges that place is itself an inescapable and fundamental medium through which individuals and cultures mediate the most mundane and the most exhilarating of their personal and collective experiences and beliefs. Similarly, faith, especially in nineteenth-century England, is a dominant and pervasive metaphysical ideology that is connected to and possesses repercussions for virtually all aspects of individual and social life. A critical reading that unites place and faith – these two fundamental paradigms of human experience and understanding – will inevitably provide fertile soil for a productive reading of the texts under consideration.
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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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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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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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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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Ray-Barruel, Gillian. "In the Eye of the Beholder: Intellectual Difference in Victorian Literature, Culture, and Beyond." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/367374.

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This research takes a cultural disability studies approach to the history of intellectual disability and examines its ramifications for modern discourses of autism Specifically, J investigate how and why concepts of intellectual disability shift over time in response to social, political, medical, and educational motivations. The nineteenth century was a time of tremendous change in the categorisation of people according to perceptions of intelligence, the consequences of which continue to resonate in the current era and structure how we regard intellectual disability and difference. We now have labels of learning disability and autism spectrum disorder: classifications that previously did not exist. J explore how autistic identity is constructed in the competing discourses of the medical and social models, the poststructuralist approach, and the neurodiversity and autism advocacy approach, and I question the implications of the shifting discourses of autism on the subjectivity of the person with an autism diagnosis.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Education and Professsional Studies
Arts, Education and Law
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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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Books on the topic "Thomas Hardy's Jude the Obscure"

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Laurie, Kalmanson, ed. Thomas Hardy's Jude the obscure. Piscataway, N.J: Research & Education Association, 1996.

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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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Elvy, Margaret. Thomas Hardy's Jude the obscure: A critical study. Kidderminster: Crescent Moon, 2000.

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Thomas Hardy's Jude the obscure: A critical study. 2nd ed. Maidstone, Kent: Crescent Moon, 2008.

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

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Thomas Hardy, Jude the obscure. London: Penguin Books, 1992.

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

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

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Thomas, Hardy. Jude the obscure. London: Penguin Books, 1998.

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Thomas, Hardy. Jude the obscure. New York: Knopf, 1992.

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Book chapters on the topic "Thomas Hardy's Jude the Obscure"

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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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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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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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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 "Thomas Hardy's Jude the Obscure"

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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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