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AHMED, HUSSEIN ALAWIA. "L'amour dans les romans de thomas hardy." Paris 4, 1986. http://www.theses.fr/1986PA040064.
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Cette etude se divise en quatre parties. J'ai commence par faire une approche biographique et j'ai essaye de traiter de la presence feminine dans la vie de thomas hardy ainsi que du role et des consequences de cette presence a la fois sur sa vie et sur son oeuvre. La deuxieme partie a pour but de nous introduire dans le milieu social des romans, c'est-a-dire de delimiter leur contexte social. Je commence par etudier la cellule familiale, les relations qui existent entre les jeunes et toutes les varietes de relations amoureuses que les personnages entretiennent avant le mariage ainsi que les valeurs sociales qui influencent leurs comportements et meme les determinent. La troisieme partie traite principalement de l'institution du mariage, de la vie conjugale qui en decoule et des relations sexuelles extra-maritales. La quatrieme partie est un essai sur le jeu de l'amour dans un contexte historique. J'ai essaye d'en donner une definition et de montrer l'evolution de la notion de l'amour. J'ai essaye en outre de mettre en evidence et de definir les differentes etapes et experiences de l'amour en accord avec les attitudes manifestees par les personnages des romans de thomas hardy. Cette partie etudie a la fois le pessimisme de hardy et son espoir que les relations amoureuses puissent s'ameliorerThis study of love in the novels of thomas hardy is devided mainly in four parts. The first part deals with the feminine presence in hardy's life and its influence on his novels. Since love is mainly presented in the wessex novels in a social context, i briefly managed to deal with the wessex society as far as its influence on the love relations is concerned. As well, i tried to deal with the different love relations before marriage and, of course, hardy's attitudes towards them. The failure of the marriage constitution to organise the immortal puzzle of the sexual relationships between the sexes is dealt with at length in the third part. The different kinds of the game of love, such as presented in hardy's novels, and how in the very nature of these games reside the germs of their failure and tragic ends, constitute the body of the fourth and the last part of this study
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Hamil, Mustapha. "The Structural basis of Hardy's imaginative universe in "The Mayor of Casterbridge" and "Tess of the d'Urbervilles"." Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37598204x.
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Badawi, Muhamad. "Thomas Hardy and the meaning of freedom." Thesis, University of St Andrews, 1985. http://hdl.handle.net/10023/2691.
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This is a study of the meaning of freedom in Thomas Hardy's fiction. The first section of the thesis is concerned with the influences in Hardy's thought and view of man and man's position in the universe. Attention will be given mainly to three sources of influence on Hardy's thought. Darwinian theories of evolution and the secular movement of the nineteenth century and the change they brought about in man's view of himself and his state in the world can be seen clearly in Hardy's personal writings as well as his fiction. His childhood contact with Dorset folk beliefs and superstitions can also be perceived to have a great influence not only on his art but on his thought and outlook as well. In the second section an investigation in detail of the meaning of freedom in four of Hardy's novels will be carried out. In the novels, man will be seen as essentially free and not an automaton or a plaything of necessity or nature or fate, for example. However, we shall see that man's freedom of action as well as of choice is severely limited but not annihilated by a number of factors working from within and from without man's character. In this, nature both as phenomena and as system plays a great part. Society with its standards, norms, laws and implied understandings is another contributing factor in constraining man's freedom. Man also has his freedom limited by chance happenings and coincidences that he cannot control. "Character is fate", quotes Hardy from Novalis, and everywhere in the novels we see characters' destinies linked tightly with their personal traits, unconscious urges and peculiarities of character either passed to them by heredity or formed by early life conditioning or both. Nevertheless, man is responsible in Hardy's view because he has that essential sense of freedom; and hence that tragic flavour that tinges Hardy's fiction which would have been impossible with machine-like people as characters.
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Taguiev-Espèce, Patricia. "Poetique du + flux ; dans l'ecriture de thomas hardy." Paris 3, 1998. http://www.theses.fr/1998PA030114.
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La these majeure de cette etude est l'existence d'une ecriture-flux provoquee par l'invasion de l'inconscient dans ce que hardy nomme + the flow of inventiveness ;. Cette ecriture souterraine, a lire dans le filigrane du discours logique, est definie comme l'inscription du sujet dans le texte, qui doit etre envisage comme matiere linguistique et aussi dans une perspective anthropologique : hardy valorise son + living style ; parce qu'il considere le texte comme etant necessairement produit par un corps-sujet. Cela nous place d'emblee dans une optique materialiste, et nous posons l'hypothese selon laquelle le romancier fait davantage passer la sensation que le sens dans son ecrite intuitivement plus qu'on ne la comprend intellectuellement. Grace a + the spiritual eye ;, l'artiste visionnaire et intuitif accede a l'infra-reel (deeper reality) par entrevision (mental tactility), tandis que l'oeil empirique percoit seulement la surface phenomenale (scenic reality). Les influences theoriques sur la pensee hardyenne evoquent le +flux; : du flux desirant (spinoza) au flux vital (evolutionnisme spencerien), et du flux d'idees et de perceptions (empirisme humien) au flux d'inconscient (vouloir schopenhauerien), tout participe de ce que hardy appelle "a general flux of things". La fluidite narrative necessite une micro-lecture symptomatologique, afin de percevoir les traits distinctifs de cette ecriture dans laquelle le non-dit prevaut sur le dit. C'est dans la richesse figurale qu'on decouse la multiplicite relationnelle entre l'absence de style et l'absence a soi du heros. La douleur existentielle rouvre episodiquement sa felure originaire et declenche un processus dissociatif au cours duquel il quitte le reel et se dissemine dans le dehors. Afin d'eviter la totale destruction de son image du corps, il fusionne avec un percept exterieur qui lui permet de regagner sa consistance en le sensorialisant. Si la felure pousse l'individu a se dissoudre dans le dehors, l'inspiration creatrice doit egalement pousser l'ecrivain a dissoudre son etre dans son dire, puisque finalement, comme l'ecrit deleuze, " ecrire n'a pas d'autre fonction : etre un flux qui se conjugue avec d'autres fluxThe main thesis of this study is the existence under the logical discourse of a fluctuating writing, produced by the primacy of the unconscious in what thomas hardy calls +the flow of inventiveness ;. This subterranean writing can be defined as the presence of the author within his text, which incites the reader to consider it not only from the linguistic point of view, but also in an anthropological perspective (as hardy suggests when he valorizes his + living style ;). The writer having a body as well as a mind, hardy's style is analysed in this study from a materialistic viewpoint: the novelist appears to give greater importance to sensation than to meaning in his work, which is rather intuitively felt than intellectualized. For in hardy's opinion, the visionary artist can reach +the deeper reality; thanks to his + spiritual eye ; and to his + mental tactility ;, while +the empirical eye ; can only reach + the scenic reality ;. All the theoretical influences on hardy's thought evoke the +flux;, as the novelist himself seems to confirm when he speaks of+ the general flux of things ; : we specifically refer to the flux of desire (spinoza), the vital flux (herbert spencer's evolutionism), the flux of ideas and perceptions (hume's empiricism), and the flux of the unconscious (hardy's immanent will closely resembles schopenhauer's wille). Such a narrative fluidity requires a close reading, in which the unsaid prevails over the said. The multi-connection between the + absence of styte ; and the + absent-mindedness ; of the hardyan hero is to be traced in the figural richness of the text. His existential pain occasionally reopens his original crack, and triggers off the process of psychic dissociation. Then the hero leaves the real world, and is completely dispersed into his environment. In order to prevent the total destruction of his body image, he amalgamates himself with a percept which + sensorializes ; him, and thereby enables him to regain his consistency. If the hero's psychic crack prompts him to dissolve himself into the outside, the writer's creative power must also prompt him to dissolve his being into his style, since we admit with gilles deleuze that + writing has no other function than to be a flux which combines with other flux
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HERVOCHE, BERTHO BRIGITTE. "L'amour et la mort dans les romans de thomas hardy (1840-1928)." Lyon 2, 1990. http://www.theses.fr/1990LYO20048.
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Dans les romans de hardy, la collusion de l'amour et de la mort se traduit par une esthetique de l'eros cruel revelatrice d'un dualisme psychique et d'une dissociation victorienne du corps et de l'esprit et par une esthetique de l'agape genereuse qui, pour paraitre moins mortifere qu'eros, n'en est pas moins une esthetique du sacrifice de soi dont hardy raille le caractere souvent fatal et vain en parodiant les mythes de la chute et de la crucifixion. La complementarite de ces deux esthetiques s'inscrit dans un trajet initiatique douloureux qui, plus qu'une simple apologie du retour a l'ordre compromis par les exces d'eros et plus qu'une simple soumission a l'ethique et aux conventions litteraires victoriennes du "happy ending", est une tentative sincere de reconciliation de l'eros paien et de l'agape chretienne, une adhesion au bonheur conjugal, une victoire -meme temporaire- de l'amour sur la mort. En quete du sens a donner a l'amour et a la mort, hardy adopte une strategie du defi, de l'ecart, irreve- rencieuse mais liberation, en parodiant le mythe de l'androgyne et le mythe courtois. Demythifiant ainsi le desir de fusion androgyne, la quete erotique de la transcendance et la divinisation de l'aime -qui aboutissent inevitablement a l'echec et masquent un secret desir de mort, hardy met en doute la dimension mystique et metaphysique de l'amourIn hardy's novels the collusion of love and death is revealed by the cruelty of pagan love (eros), which hides the dualism of human psyche and the victorian split of body and spirit, and by christian love itself (agape) - though generous and apparently less deadly than eros- that implies self-sacrifice whose fatal character hardy denounces in his parody of the myths of the fall and crucifixion. The complmentarity of eros and agape is expressed in a painful initiation which goes beyond a mere praise of the return to an order compromised by the excesses of eros and beyond a mere submission to victorian ethics and the victorian literary conventions of "happy ending". It is a sincere attempt at reconciliation of pagan love and christian love, the expression of hardy's faith in a happy marriage and also a victory -even temporary- of love over death. Looking for a meaning to give to love and death, hardy adopts a stategy of challenge and freedom as he chooses to swerve from the myths of the androgyne and arthurian romance. His demythification of the desire for androgynous fusion, of the quest for erotic transcendence and of the divinisation of the loved one -which result in failure and hide a secret desire for death- is a questioning of any mythical or metaphysical dimension of love whatsoever
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Howard, Laura Lynn. "The nature of Thomas Hardy's walls." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/23067.
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Tiefer, Hillary Ann. "The natural and the cultivated in the novels of Thomas Hardy." Thesis, University of Wales Trinity Saint David, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683149.
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Goater, Thierry. "Figures de l'aliénation dans les "romans de caractère et d'environnement" de Thomas Hardy." Rennes 2, 2000. http://www.theses.fr/2000REN20023.
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L'oeuvre de fiction de Thomas Hardy a longtemps été écartée du "́canon" de la littérature anglaise. Elle a posé et pose encore, il est vrai, à la critique bien des problèmes idéologiques et esthétiques. La surface humano-libérale et réaliste des textes du romancier s'ávère en effet troublée par une vision sombre et absurdiste de l'existence, et par des contradictions formelles. Cette étude n'a pas pour objet de chercher à atténuer le pessimisme de l'oeuvre ou d'effacer ses incohérences, mais au contraire de les mettre en lumière, de souligner précisément la centralité du thème de l'aliénation dans "les romans de caractère et d'environnement", en mettant en perspective ses différentes manifestations et en attirant l'attention finalement sur les parallèles entre niveaux intra et extra-diégétiques. L'auteur ébranle le mythe d'un sujet souverain et unitaire : les personnages de ses romans et nouvelles sont exilés, décentrés, menacés de fragmentation et de dissolution par des forces extérieures et intérieures. La représentation aliène son propre discours en affichant ses divisions et ses apories. Hardy annonce une forme de modernité, c'est-à-dire la crise de la mimésis. De nouveaux modes de réception de l'oeuvre littéraire sont ainsi engagés : le sujet de la lecture cesse d'être un consommateur passif du texte et doit se transformer en producteur actifThomas Hardy's fictional work has long been excluded from the " canon " of English literature. It has indeed confronted and still confronts critics with numerous ideological and aesthetic problems. The liberal,humanist and realist surface of the novelist's texts turns out to be disrupted by a gloomy and absurdist vision of existence and by formal discrepancies. The aim of this study is not to try to tone down the pessimism of the work or to explain away its inconsistencies but, on the contrary, to highlight them, to underline the central role played by the theme of alienation in the " Novels of character and environment ", precisely, by putting into perspective its various expressions and eventually by drawing attention to the parallels between the intra- and extra-diegetic levels. The author undermines the myth of a sovereign and unitary subject : characters in his novels and short stories are exiled, decentred, threatened with fragmentation and dissolution through external and internal forces. Representation alienates its own discourse by exhibiting its divisions and aporias. Hardy heralds a form of modernity, namely the crisis of mimesis. New modes of reception for literary works are thus involved : the reading subject is no longer a passive consumer of the text but must turn into an active producer
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Senechal, Janie. "Stratégies énonciatives et pratiques narratives chez Thomas Hardy : à partir de l'étude de deux romans : Far from the madding crowd et The woodlanders." Lille3, 1985. http://www.theses.fr/1985LIL30013.
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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 conradienThomas 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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Bernard, Stéphanie Paccaud-Huguet Josiane. "De Thomas Hardy à Joseph Conrad vers une écriture de la modernité /." Lyon : Université Lumière Lyon 2, 2004. http://demeter.univ-lyon2.fr:8080/sdx/theses/lyon2/2004/vallon_s.
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Cordon, Peggy. "Thomas Hardy et l'expérimentation générique : Desperate remedies, The return of the native et A laodicean." Paris 7, 2005. http://www.theses.fr/2005PA070037.
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Le positionnement générique de Thomas Hardy (1840-1928) dans Desperate Remédies (1871), The Return of the Native (1878) et A Laodicean (1881 ), reflète la façon dont un écrivain parvient à se différencier d'autres voix littéraires par le prisme d'un système éminemment normé. Ainsi, les trois œuvres représentent différentes étapes de l'évolution générique du texte hardyen pendant les dix premières années de la carrière de l'auteur. Les trois œuvres subissent des influences diverses. Lors de leur genèse, la pression éditoriale et le format du feuilleton ont un impact considérable sur leur orientation générique. L'auteur se tourne également vers d'illustres modèles, et ce travail de " digestion " et de reprise laisse des traces dans les romans. Le travail de réécriture permet à Hardy de se réapproprier la tradition à posteriori au fil des rééditions des trois œuvres. Les tensions avec le passé littéraire s'incarnent également au travers de la multiplicité et de l'interaction génériques caractéristiques des trois romans, qui renouvellent notre vison des genres utilisés. Ces œuvres-patchworks provoquent un processus de " défamiliarisation " par le biais de diverses combinaisons génériques. Thomas Hardy propose ainsi une écriture fragmentaire reflétant son non-conformisme. Cependant, les différents genres utilisés véhiculent des problématiques qui peuvent entrer en opposition. La coexistence va jusqu'à menacer l'unité des romans. Une écriture du décalage qui se caractérise par une poétique de l'excès et l'utilisation du hors norme garantit une certaine homogénéité à cet agrégat, et définit la nature du dialogue entre les trois romans et les textes du passéThomas Hardy's genre experimentation in Desperate Remedies (1871), The Return ofthe Native (1878) and A Laodicean (1881) mirrors the way the writer succeeds in differing from other voices in literature through the prism of a highly normative System. The three novels thus represent different steps in the generic evolution of the author's work during the first ten years of his literary career. The three novels are subject to several influences. The editorial pressure and the context of the monthly parts in magazines have a great impact on the generic orientation of the text. The author also seeks recognition and therefore follows in other famous writers' footsteps. This process of digestion and absorption of the literary tradition leaves traces in the novels. Yet, rewriting allows Hardy to appropriate tradition with the benefit of hindsight all along the subsequent editions of his works. The discrepancies with the literary tradition are also illustrated by generic multiplicity and interaction in the three novels which renew our vision of the genres Hardy uses. The idea of the novels as patchworks triggers a process of "defamiliarization" through diverse genre combinations. Thomas Hardy offers a fragmentary mode of writing, enabling him to break free from literary conventions. Nevertheless, the numerous genres he uses convey clashing concepts, structures, and themes. The coexistence of genres sometimes threatens the unity of thé novels. A way of writing which oversteps the generic norms, characterised by Hardy's poetics of excess, allows the patchwork to cohere and defines the nature of the dialogue between Hardy's novels and the literary texts belonging to the past
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Coulibaly, Oumar. "Les tensions du récit dans les nouvelles de Thomas Hardy." Montpellier 3, 1985. http://www.theses.fr/1985MON30061.
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Canton, Licia 1963. "The fate of the fallen woman in George Eliot and Thomas Hardy /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65544.
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Dillion, Jacqueline M. "Thomas Hardy : folklore and resistance." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5156.
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This thesis examines a range of folkloric customs and beliefs that play a pivotal role in Hardy's fiction: overlooking, sympathetic magic, hag-riding, tree ‘totemism', skimmington-riding, bonfire nights, mumming, May Day celebrations, Midsummer divination, and the ‘Portland Custom'. For each of these, it offers a background survey bringing the customs or beliefs forward in time into Victorian Dorset, and examines how they have been represented in written texts – in literature, newspapers, county histories, folklore books, the work of the Folklore Society, archival documents, and letters – in the context of Hardy's repeated insistence on the authenticity of his own accounts of these traditions. In doing so, the thesis both explores Hardy's work, primarily his prose fiction, as a means to understand the ‘folklore' (a word coined in the decade of Hardy's birth) of southwestern England, and at the same time reconsiders the novels in the light of the folkloric elements. The thesis also argues that Hardy treats folklore in dynamic ways that open up more questions and tensions than many of his contemporaries chose to recognise. Hardy portrays folkloric custom and belief from the perspective of one who has lived and moved within ‘folk culture', but he also distances himself (or his narrators) by commenting on folkloric material in contemporary anthropological terms that serve to destabilize a fixed (author)itative narrative voice. The interplay between the two perspectives, coupled with Hardy's commitment to showing folk culture in flux, demonstrates his continuing resistance to what he viewed as the reductive ways of thinking about folklore adopted by prominent folklorists (and personal friends) such as Edward Clodd, Andrew Lang, and James Frazer. This thesis seeks to explore these tensions and to show how Hardy's efforts to resist what he described as ‘excellently neat' answers open up wider cultural questions about the nature of belief, progress, and change.
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Estanove, Laurence. "La poésie de Thomas Hardy : une dynamique de la désillusion." Toulouse 2, 2008. http://www.theses.fr/2008TOU20059.
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On oublie souvent que Thomas Hardy est aussi, et même avant tout, poète. Si son œuvre poétique s’efface aux yeux du public devant la grandeur et la popularité de ses romans, elle n'en demeure pas moins essentielle à la compréhension de son écriture et de l'ensemble de son œuvre. La noirceur ironique de sa prose teinte ainsi également sa poésie, et en constitue même une force structurante : au sein du Wessex semi fictif qui sert de cadre tant aux romans qu'aux poèmes, dans le passage du rêve à une réalité qui ne peut que décevoir, se construit en effet une véritable dynamique de la désillusion, entre espoir et échec. C'est dans ce paradoxe apparent d'un désenchantement porteur, violent éveil de la conscience qui blesse et instruit dans le même temps, que s'exprime l'attachement de Hardy à son époque, et à la peinture de ce « malaise de la modernité » qu'induit notamment l'avènement de la science au détriment de la foi. Sa poésie de la désillusion se fait donc le reflet direct des bouleversements majeurs, idéologiques et socioculturels, qui marquent en Europe le passage du dix-neuvième au vingtième siècle, transition qui s'imprime jusque dans la matière de son langage poétique, entre tradition et modernitéBecause of the grandeur and popularity of his novels, Thomas Hardy's poetry is often disregarded; yet paying due attention to his verse is also central, if not fundamental, to the understanding of the workings of his multifaceted writing. The dark irony which is so characteristic of his prose also colours his poetry, and even gives it strength and cohesion: in the semi-fictional land of Wessex that shapes both novels and poems, the fatally disappointing shift from dreams to reality actually builds up the dynamics of disillusionment, between hope and failure. In that seemingly paradoxical idea of an active form of disenchantment, of a violent awakening of consciousness both painful and enlightening, Hardy shows his commitment to the concerns of his time, depicting as he does the “ache of modernism” that the rise of science and decline of faith created. His poetry of disillusionment thus offers an immediate illustration of the major ideological and socio-cultural turmoil which accompanied in Europe the transition from the nineteenth to the twentieth century – a transition shaping the very texture of his poetic language, between tradition and modernity
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Gadoin, Isabelle. "Construction de l'espace fictif dans les "Romans de caractère et d'environnement" de Thomas Hardy : Espace représenté et espace représentant." Paris 3, 1993. http://www.theses.fr/1993PA030112.
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Bantz, Nathalie. "Les Nouvelles de Thomas Hardy. Choix stratégiques d’une écriture sous contrainte." Thesis, Nancy 2, 2009. http://www.theses.fr/2009NAN21005/document.
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Thomas Hardy souhaitait que l’on se rappelât de lui comme poète. Sa réputation fut cependant bâtie sur ses romans. Partant de là, ses nouvelles, à la fois proches et différentes de sa production romanesque et poétique, offrent une perspective unique sur l’ensemble des écrits. Cette thèse se propose ainsi d’étudier les choix d’écriture en matière de discours narratif et de posture du narrateur. Il s’agit de comprendre de quelle façon les nouvelles, négligées au moins jusqu’aux travaux récents de Kristin Brady (The Short Stories of Thomas Hardy. Tales of Past and Present, 1982) et de Martin Ray (A Textual History of Hardy’s Short Stories, 1997), s’insèrent dans l’oeuvre et y trouvent leur juste place. Des analyses, menées au moyen de la narratologie de Genette ainsi que de la théorie de l’énonciation, montrent qu’une stratégie d’ensemble régit les choix en direction du narrateur. Il apparaît que toute ambivalence ou signe contradictoire surgissant ça et là relève encore de cette stratégie, laquelle est au service du projet d’écriture : raconter une histoire tout en faisant état de ce que Hardy nomme « les relations entre les sexes ». Au vu des contraintes et des codes auxquels la fiction et plus particulièrement le roman, doit se plier au cours de la période victorienne, une telle ambition semblerait vouée à l’échec, n’était la liberté offerte par la nouvelle, un genre dont l’étude formelle est alors en cours de développement. Au cours de l’étude, les nouvelles, en raison des différentes stratégies narratives qu’elles développent, émergent comme un espace médian faisant lien entre les romans et les poèmes : les premiers relèvent d’un genre alors trop codifié, et les seconds sont le lieu d’une liberté que l’auteur juge totale : « Perhaps I can express more fully in verse ideas and emotions which run counter to the inert crystallized opinion ».1 Au final, les nouvelles apparaissent comme une part essentielle de l’oeuvre, à égalité avec les romans et les poèmes qu’elles mettent en dialogue. Leur étude permet de comprendre les raisons qui ont incité l’auteur à mettre fin à sa carrière de romancier, alors même qu’il a poursuivi la rédaction de nouvelles jusqu’au début du vingtième siècle. Elle explique aussi pourquoi seule la poésie permettait à Hardy d’accomplir sa mission de raconteur d’histoires et d’observateur de la société de son temps. Enfin, et ce n’est pas le moindre de leur intérêt, les nouvelles offrent une occasion rare de considérer de plus près la figure qui abrite ce qui est communément appelé « l’auteur dans le texte »Thomas Hardy wanted to be remembered as a poet. His reputation, however, was built on his novels. In light of this, his short stories, both different from, and similar to, his novels and his poetry stylistically, offer a unique perspective on his writing as a whole. Accordingly, the purpose of this thesis is to study the choices the author made as regards the narrator’s posture and discourse. It ultimately aims at understanding how the short stories, long neglected and only quite recently brought into a new light by Kristin Brady’s The Short Stories of Thomas Hardy. Tales of Past and Present (1982) and Martin Ray’s A Textual History of Hardy’s Short Stories (1997), fit into the complete body of Hardy’s works. Analyses permitted by Gérard Genette’s theory of narratology and the French enunciation theory reveal that an overall strategy governs all the choices pertaining to the narrator, and that any contradictory or ambivalent sign is just part and parcel of that general scheme: to tell a story while offering the reader a snapshot of what Hardy called « the relation of the sexes ». Given the requirements that fiction, and more particularly the novel, had to meet in Victorian times, such a plan appears doomed to fail, were it not for the elbow room enabled by the short story, then a nascent genre. In the course of the study, Hardy’s short stories emerge as a middle ground between his novels and his poems in terms of the various narrative strategies they make it possible for the author to develop. By comparison, the novel is at that time far too coded as a genre to allow such liberties, and poetry is a completely free ground where Hardy can « express more fully […] ideas and emotions which run counter to the inert crystallized opinion ».2 Eventually, the short stories appear an essential part of Hardy’s works, on equal terms with his novels and his poems. They shed bright light on the reason why Hardy decided to put an end to his career as a novelist whereas he went on writing short fiction until the turn of the century. They also make it clear in what sense only poetry could fit what he wanted to accomplish both as a storyteller and as an observer of the society of his time. Last but not least, the short stories offer a rare opportunity to look closer to the figure which lies behind what we call « the author-in-the-text »
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Pedersen, Susan. "From dissent to diselief : Gaskell, Hardy, and the development of the English social realist novel." Master's thesis, Université Laval, 2010. http://hdl.handle.net/20.500.11794/21605.
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L’unitarienne Elizabeth Gaskell rejetait les doctrines anglicanes qui aliéneraient Thomas Hardy de sa religion. Elle était aussi championne de plusieurs penseurs qui exerceraient une forte influence sur les convictions d'Hardy. La continuité de la religion de Gaskell avec la vision du monde d'Hardy est évidente dans leurs écritures personnelles et aussi dans leurs romans. L'authenticité de voix que tant Gaskell que Hardy donnent aux caractères marginalisés, et spécialement aux femmes, provient aussi de leurs valeurs chrétiennes communes. Les convictions religieuses des deux auteurs et l'influence de la religion sur leurs travaux ont été abondamment étudiées, mais une comparaison entre elles doit encore être entreprise. Après avoir examiné les liens entre la foi de Gaskell et les convictions d'Hardy, je compare les attitudes des deux auteurs envers la classe dans North and South et The Woodlanders et leurs sympathies envers la femme tombée dans Ruth et Tess of the d’Urbervilles.As a progressive Unitarian, Elizabeth Gaskell rejected the Anglican doctrines that would later alienate Thomas Hardy from his religion. She also championed many of the thinkers who would exert a strong influence on Hardy’s beliefs. The connection between Gaskell’s religion and Hardy’s worldview is evident in their personal writings and in their novels. The authenticity of voice that both Gaskell and Hardy give to marginalized characters, specifically to women, also springs from their common Christian-based values. Both authors’ religious convictions and the influence of religion on their works have been extensively studied, but a comparison between them has yet to be undertaken. After examining the links between Gaskell’s Unitarianism and Hardy’s beliefs, I compare the two authors’ attitudes towards class in North and South and The Woodlanders and their sympathies with the fallen woman as expressed in Ruth and Tess of the d’Urbervilles to demonstrate their intellectual and artistic affinities.
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Lemardelé, Gildas. "Représentations diaboliques et infernales dans les romans de Thomas Hardy : emprunts et métamorphoses." Caen, 2013. http://www.theses.fr/2013CAEN1700.
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Au départ perçue comme pastorale (Under the Greenwood Tree, 1872, et Far From the Madding Crowd, 1874), l’œuvre romanesque de Thomas Hardy contient pourtant en germe des images diaboliques et infernales. Cette tendance s’affirme plus nettement à partir de The Return of the Native (1878), et dans Tess of the d’Urbervilles (1891), elle prend une importance structurelle. Cette thèse met en rapport les représentations diaboliques et les problématiques diverses liées aux bouleversements culturels et intellectuels qui ont marqué la seconde moitié du dix-neuvième siècle. Dans un premier temps, cette étude s’intéresse aux réécritures du mythe littéraire du Diable chez Hardy, puis dégage les significations possibles de ces représentations diaboliques et infernales. Celles-ci présentent une dimension religieuse : le diabolique sert à manifester une forme d’antichristianisme, qui renverse les éléments théologiques traditionnels. Leur teneur mythique recèle, quant à elle, une interprétation symbolique des mystères du mal et du chaos dans le monde : la dimension cosmologique de ces représentations diaboliques fait transparaître les influences, entre autres, du darwinisme et du pessimisme, ainsi que du conflit entre sciences et foi chrétienneAlthough Thomas Hardy’s early prose fiction (notably Under the Greenwood Tree, 1872, and Far From the Madding Crowd, 1874) has often been perceived in a pastoral light, it contains the germs of infernal and diabolical images. These became manifest in The Return of the Native (1878); and in Tess of the d’Urbervilles (1891) they took on a structural influence. The contribution of this thesis lies in relating the diabolical representations with the numerous issues resulting from the cultural and intellectual upheavals that marked the late nineteenth century. This study first focuses on Hardy’s rewritings of the literary myth of the Devil, and then goes on to suggest possible meanings for these diabolical and infernal representations. Such representations include a religious dimension: the diabolical is used to express a form of anti-Christian sentiment, which overturns traditional theological elements. As to their mythical content, it implies a symbolic interpretation of the mysteries of evil and chaos in the world: the influences, among others, of Darwinism and pessimism, as well as the conflict between science and the Christian faith transpire through the cosmological dimension of these diabolical representations
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He, Donghui. "Reconstructions of the rural homeland in novels by Thomas Hardy, Shen Congwen and Mo Yan." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ48645.pdf.
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Dolph, Annette R. "Forces of nature in the naturalistic novel : Dreiser and Hardy." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337192.
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This study refocuses the current critical discussion of determinism and character identity development in Theodore Dreiser's Sister Carrie, a predominantly "urban" novel, by juxtaposing the ways in which the natural world functions deterministically in Thomas Hardy's The Return of the Native and Theodore Dreiser's The Bulwark. First, a close reading of The Return of the Native suggests that characters' interactions with the natural world determine their identities by forcing shifts in perception and complicating their abilities to assert an identity apart from their environments. Then, a reading of The Bulwark—a novel in which Dreiser deals with the natural world quite directly—allows an exploration of how these same patterns of perception, understanding, and identity formation take shape in a text by Dreiser. The final chapter of this study synthesizes these readings of The Return of the Native and The Bulwark as a means of entry into an analysis of Sister Carrie's deterministic forces. Ultimately, attention to how the natural world influences characters through its timelessness and infinite size, as well as to how the natural world shapes a character's perspective and sense of self, adds to our understanding of the novel's determinism.Department of English
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Kandji, Mamadou. "Roman anglais et traditions populaires de Walter Scott à Thomas Hardy." Rouen, 1988. http://www.theses.fr/1988ROUEL047.
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La culture populaire, celle de la paysannerie de l’Angleterre est présente, de manière diffuse, dans le roman anglais du 19e siècle. Cette étude examine les aspects multiformes des coutumes, superstitions et pratiques populaires dans le roman anglais, de Scott à Hardy. Après avoir défini, de manière théorique d'abord, puis à l'aide d'exemples précis, l'héritage culturel antérieur au 19e siècle, l'étude s'efforce de montrer comment Scott, les sœurs Brontë, George Eliot et Thomas Hardy emploient et adaptent cette culture populaire à leurs créations romanesques. L'imprégnation dans l'enfance et la jeunesse a familiarisé les écrivains à cette culture orale, aux contes, légendes et ballades. Dans l'oeuvre de Scott, il s'agit d'une exploration des valeurs anciennes d’Ecosse, des coutumes des hautes-terres, par exemple, dans le contexte global de la récupération du merveilleux superstitieux. Avec les sœurs Brontë, c'est le fantastique des contes et ballades, celui du surnaturel; avec la différence que là où Charlotte se préoccupe davantage de fantaisie, de fantasmagorie, Emily se tourne vers les superstitions et le merveilleux des ballades populaires. La seconde partie du travail porte sur George Eliot et Thomas Hardy comme écrivains régionalistes, tous deux traitant du folklore, le plus souvent local, qu'ils appréhendent selon leur sensibilité personnelle. George Eliot prend du recul par rapport aux rites et coutumes qu'elle ne renie pas, mais dont elle déplore le travestissement. Dans ses œuvres, rites et coutumes fonctionnent comme un discours, un langage servant à illustrer la théorie qui lui est chère de la communauté bien intégrée. Avec Hardy, l'on voit le folklore à l'œuvre. L'auteur emploie les divertissements dans leurs formes les plus variées pour enrichir la substance de ses œuvres romanesques. Danses, fêtes populaires et rites agraires, tout cela est présent dans ses œuvres. Le rapprochement de toutes ces œuvres nous amène à la conclusion que le roman anglais du 19e siècle repose sur une solide tradition de culture populaire ; et que sa genèse est indissociable de celle-làAgarian popular culture is an important component of the nineteenth-century english novel. This thesis is an attempt to map out the manifestations of customs, beliefs and popular superstitions, in the english novel, from Walter Scott to Thomas Hardy. The first chapter of this dessertation deals with the cultural heritage. Next, follow the chapters on Scott, Emily, Charlotte Brontë, George Eliot and finally, Hardy who availed themselves of the popular culture they had known and observed, in order to give substance and depth to their fiction. Scott taps the customs, beliefs, of the scottish highlands aiming, in so doing, at the rivival of ancient popular culture. Whereas the Brontë sisters approach it differently. Charlotte is more sensitive to fantasay, fantasmagoria and mental issues ; Emily deals with the supernatural germane to the ballad tradition (fairies, ghost-lores, witchcraft and demonology). The second part of the dissertation reviews George Eliot and Hardy as regional novelists who explore the folklore and local customs of their respective midlands and dorsetshire. In george eliot's treatment, satire and irony take the lead over romanticism. In Hardy’s works one can observe the richness and depth of dorsetshire folklore : popular feasts, fair-grounds, superstitions, and sundry customs and beliefs are handled vividly. As a conclusion, the thesis states that the rise of the english novel is closely related to the genesis of folklore scholarship and popular culture
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Alexander, Elizabeth Chenoweth. "Alcoholism and the Family: The Destructive Forces in Hardy's Tess of the D'urbervilles." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500856/.
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This study examines the forces which shaped the main character--Tess Durbeyfield--in Hardy's novel in terms of the effects which her alcoholic family had upon her mental and emotional potential and which ultimately become the determining factors in her self-destruction. Using the elements and patterns set forth in the literature regarding the dynamics of the alcoholic family, I attempt to show that Hardy's novel may best be understood as the story of a woman whose life and destiny are controlled by the consequences of her father's alcoholism. This interpretation seems to account best for many elements of the novel, such as Tess's destruction, and provides a rich appreciation of Hardy's technique and vision.
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Cornon, Stéphanie. "La résurgence de la littérature médiévale et la représentation de l'imaginaire celte dans les oeuvres de Philippe Le Guillou et de Thomas Hardy." Paris 3, 2005. http://www.theses.fr/2005PA030065.
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En Angleterre et en Bretagne, la littérature sous l'influence de l'Irlande voisine, présente encore des reflets du passé légendaire de ces deux pays. Ainsi, la production écrite met en relief la survivance d'un imaginaire celte qui n'a jamais disparu. Fascinés par l'atmosphère intemporelle qui règne dans ces hauts bastions du légendaire celte, Philippe Le Guillou et Thomas Hardy développent dans leurs œuvres les composantes obsessionnelles de cet imaginaire hanté par des images cauchemardesques de destruction et d'engloutissement. Cependant, l'âme celte ne saurait être définie sans ce rapport passionnel qu'elle entretient avec le monde élémentaire. La mer et la forêt omniprésentes dans les œuvres de nos deux auteurs vont servir de cadre à ce travail de reprise de thèmes médiévauxIn England and in Brittany, literature under the influence of the neighbouring Ireland, still presents reflections of this two country's legendary past. The written production brings out the survival of a Celt imaginary which never disappeared. Fascinated by the timeless atmosphere which reigns in these bastions of Celt legendary, Philippe Le Guillou and Thomas Hardy develop in their works the obsessional components of this imaginary haunted by nightmarish images of destruction and engulfing. However, the Celt spirit can't be defined without its passionate relation with elementary world. The sea and the forest omnipresents in the works of this two writers are used as setting in this work of re-using medieval's themes
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Lopes, Christiane Maria. "A mulher na era vitoriana." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/24338.
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Panter, Marie. "Le roman, poème du monde. Victor Hugo, Theodor Fontane, Thomas Hardy." Thesis, Lyon, École normale supérieure, 2013. http://www.theses.fr/2013ENSL0856.
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Cette thèse porte sur la poétique du roman de Victor Hugo, Theodor Fontane et Thomas Hardy en s'appuyant plus spécifiquement sur l'étude de L'Homme qui rit (1869), Errements et Tourments (1888) et Tess d'Urberville (1891). En rapprochant ces trois romanciers majeurs mais tenus à l'écart des théories générales du roman, il s'agit de montrer le maintien d'une conception du roman moderne comme forme poétique du monde, s'inscrivant dans un horizon de pensée idéaliste, progressiste et critique. Hugo, Fontane et Hardy, romanciers qui se disent avant tout poètes, font le choix de faire du roman une tragédie, forme poétique du monde qui va à l'encontre du prosaïsme moderne et romanesque théorisé par Lukacs, à la suite de Hegel. Face au nihilisme et aux théories du roman réaliste qui voient le jour dans la seconde moitié du XIXe siècle et tentent de définir – au sens restrictif du terme – le genre romanesque, ils retrouvent le modèle du roman romantique et le redéfinissent face au roman réaliste. Leur poétique est alors fondée sur la « poiétisation » de la prose, autrement dit, sur l'imagination, le symbolique et le métaphorique. Ils affirment ainsi la spécificité et la possibilité d'une expérience poétique, c'est-à-dire subjective, héroïque et morale du monde, ainsi que la capacité du roman à produire un savoir poétique sur le monde et l'histoireThis thesis deals with the poetics of the novel in Victor Hugo, Theodor Fontane and Thomas Hardy, with a specific focus on The Man who Laughs (1869), Trials and Tribulations (1888) and Tess of the d'Urbervilles (1891). By bringing together these three novelists who are widely acknowledged as major writers yet ignored by general theories of the novel, this study will show how a vision of the modern novel as a poetic rendition of reality, with an idealist, progressive and critical background, has maintained itself. Hugo, Fontane and Hardy, three novelists who considered themselves to be poets first and foremost, opted to turn the novel into a tragedy, a poetic rendition of reality which stands in contrast with Lukacs’ post-Hegelian theories of the modern novel as a prosaic literary genre. In the face of nihilism and the theories of the realist novel which surfaced in the second half of the XIXth century and attempted to define – in the restrictive sense of the word – the genre of the novel, they turned back to the model of the Romantic novel and reinvented it at a time when the realist novel was preeminent. Their poetics was therefore based on the “poietisation” of prose, in other words, based on the imaginary, the symbolic and the metaphoric. This enabled them to assert the specificity and possibility of a poetic, that is to say subjective, heroic and moral experience of the world, as well as the ability of the novel to generate poetical knowledge about the world and history
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Loriaux, Emilie. "Rapports au langage de William Barnes et de Thomas Hardy : poésie et philologie." Thesis, Artois, 2016. http://www.theses.fr/2016ARTO0002.
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Cette thèse se donne pour but de réfléchir aux œuvres poétiques de deux hommes originaires du sud-ouest de l’Angleterre : Thomas Hardy (1840-1928), plus souvent connu pour ses romans, et l’intérêt certain qu’il porte pour les travaux du philologue contemporain William Barnes (1801-1886), lui-même poète. Ainsi, le précieux rapprochement avec Barnes, souvent tombé dans l’oubli des chercheurs qui étudient Hardy, vise à donner de l’envergure au sujet traité. La considération du glossaire de Barnes A Glossary of the Dorset Dialect with a Grammar, ainsi que ses autres œuvres en prose sert de support de référence à l'argumentation dans l'étude du langage hardyen. Toutefois, même si ces deux poètes sont profondément ancrés dans leur région, leurs poésies ne se limitent pas au patois du Dorset. Nous nous intéressons également aux divers registres de langue, et à l’interface entre la langue (anglo-) saxonne et les formes linguistiques plus tardives, qui, ensemble, constituent la richesse de la langue anglaise. Etant donné leurs possibles convergences, il semble fructueux de voir quel était l’impact des préoccupations philologiques et dialectales de Barnes sur la poésie de Hardy, sans oublier de puiser des exemples dans son œuvre romanesqueThe aim of this thesis is to compare the poetical works of two men born in the South-West of England : Thomas Hardy (1840-1928), more often known as a novelist, and his deep interest in the works of his contemporary, the philologist William Barnes (1801-1886), who also happened to be a poet. In this way, the valuable connection with Barnes, often consigned to oblivion among Hardy scholars, aims at giving more prominence to our subject. A thorough study of Barnes’s Glossary of the Dorset Dialect with a Grammar, as well as his other works in prose is the referential linchpin of our exploration of the latter’s language. Nevertheless, even though those two poets’ lives were deeply embedded in their region, their poetries are not restricted to the Dorset dialect. Our interest also lies in the various language registers and the interface between the (Anglo)-Saxon language and later varieties, which, put together, make up the wealth of English. Given their likely convergences, it seems profitable to see to what extent Barnes’ philological research (including his native dialect) impacted upon Hardy’s poetry, without forgetting to cull examples from the latter’s novels
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Laarman, Mathieu. "Fictions du naufrage, Naufragés de la fiction : poétiques du roman de l’échec : (Mary Shelley, Giovanni Verga, Thomas Hardy, Alain-Fournier, Louis Guilloux, Vitaliano Brancati)." Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100155/document.
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La présente étude s’appuie sur la confrontation de six œuvres françaises, anglaises et italiennes des XIXe et XXe siècles pour amorcer une réflexion sur la mise en scène de l’échec dans la fiction romanesque. Elle montre en premier lieu que les représentations de l’échec sont façonnées à la fois par le cheminement individuel de leurs auteurs et par les tensions sociales et politiques agitant leurs époques (l’Angleterre au lendemain de la Révolution Française puis à l’apogée de l’Ère industrielle et de la société victorienne ; la Sicile au sortir du Risorgimento puis l’Italie mussolinienne ; la France de la Belle Époque ou de l’entre-deux-guerres).La deuxième partie de cette thèse entend mettre en évidence trois aspects essentiels de la poétique des « romans de l’échec ». Elle s’attache tout d’abord à la distribution du temps, qui oscille entre linéarité et cyclicité, évoquant l’image du flux et reflux marin. Elle s’intéresse ensuite à la profusion de personnages velléitaires, déchiffrant leur rapport au monde à travers le prisme de leurs illusions livresques, à l’instar des protagonistes de Flaubert ou Dostoïevski. Elle met en lumière, enfin, la singulière dynamique qui conduit personnages et objets de fiction à échanger leurs attributs et fonctions : tandis que les premiers se trouvent ravalés au rang d’objets inutiles ou délaissés, les seconds conquièrent une existence autonome.Cet essai se conclut par un questionnement sur la charge subversive des romans de l’échec. La forme romanesque se révèle en effet douée d’une exceptionnelle faculté de résistance aux discours idéologiques et à l’esprit de système, dont elle déjoue insidieusement les aspirations néfastesThis study focuses upon a comparison of six works in French, English and Italian from the 19th and 20th centuries, in order to reflect upon the staging of failure in the novel form. Firstly, the study demonstrates how representations of failure are shaped both by the individual development of their authors, and by the social and political tensions of the period through which they lived (England after the French Revolution, and later at the height of the industrial revolution in the Victorian age; Sicily after the Risorgimento, and under Mussolini’s regime; France during the belle époque or the interwar years.)The second part of this thesis aims to highlight three principal aspects of the poetics of the ‘novel of failure’. This section focuses initially on the distribution of time – a temporality which oscillates between the linear and the cyclical, invoking the image of tidal ebbs and flows. Subsequently, the section emphasises the preponderance of weak-willed characters, who aim to decode their relationships to the world through the prism of their naïve and bookish illusions, in the manner of a Dostoyevskian or Flaubertian protagonist. Finally, this section seeks to illuminate the peculiar process that leads characters and objects of fiction to exchange their attributes and functions: while the former find themselves reduced to the level of useless or abandoned objects, the latter achieve an almost autonomous existence.The thesis concludes by engaging with the question of the subversive charge of the ‘novel of failure’. The novel form reveals itself to be endowed with an exceptional capacity for resistance to ideological discourses and mechanisms of socio-cultural control, whose detrimental aspirations it insidiously frustrates
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Kane, Bouna. "L'Interculturalité au regard du roman victorien et africain : essai d'analyse des romans de Chinua Achebe et Ngugi wa Thiong'o au miroir de Thomas Hardy et Joseph Conrad." Paris 3, 2008. http://www.theses.fr/2008PA030011.
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L’étude de l’hybridité culturelle en littérature est restée liée à la théorie qui définit les littératures postcoloniales en termes d’opposition avec l’Occident. Dans cette étude, nous avons tenté de porter un regard différent, en allant au-delà du « writing back to the center ». Nous ne négligeons pas les différentes positions révélées par la critique mais nous avons choisi, à travers cette approche comparative, de montrer que l’Afrique est un acteur à part entière d’une littérature universelle. En s’appropriant les techniques littéraires de Thomas Hardy et Joseph Conrad, les écrivains africains confirment la porosité des cultures et la communication entre des peuples d’horizons divers. En comparant le clan écossais et la tribu africaine, nous avons trouvé plusieurs similitudes en termes d’organisation sociale et de mode de vie. Comme Scott et Hardy, Ngugi et Achebe tirent la substance de leurs romans du folklore et des traditions populaires de leurs communautés. Les romanciers africains et victoriens ont une claire conscience du malaise de l’individu et montrent combien le destin peut être cruel envers luiThe study of cultural hybridity in literature remained tied to a theory which defines postcolonial literatures in terms of their oppositional relationship with the West. In this thesis, we attempted to go beyond the “writing back to the center”. We have not ignored the debate over standard criticism but we have chosen to demonstrate by means of this comparative study that the African novel is part of a larger fictional universe. By appropriating the techniques of the Victorian literary tradition associated with Thomas Hardy and Joseph Conrad, African writers create a useful device for developing greater understanding and improved communication among people from different cultural, racial and ethnic groups. We found striking similarities between the Scottish clan and the African tribe in terms of social organisation and way of life. Like Scott and Hardy, Ngugi and Achebe draw the substance of their novels from the folklore and popular traditions of their communities. African and Victorian novelists have a clear awareness of the human predicament and show how fate can be cruel to the individual
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Dunsmore, Patricia Berard. "Robert Louis Stevenson and Scotland: A most complicated relationship." CSUSB ScholarWorks, 1991. https://scholarworks.lib.csusb.edu/etd-project/847.
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Lloyd-Jones, Jan. "Hardy and comedy." Phd thesis, 2006. http://hdl.handle.net/1885/150558.
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Biggs, David J. (David John). "The piping of the shepherd : meaning as myth in the pastoral novels of Thomas Hardy." 1988. http://web4.library.adelaide.edu.au/theses/09ARM/09armb592.pdf.
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Biggs, David John. "The piping of the shepherd : meaning as myth in the pastoral novels of Thomas Hardy." Thesis, 1988. http://hdl.handle.net/2440/110509.
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Stotko, Mary-Ann. "Victorian agnosticism: Thomas Hardy's doomed universe." Thesis, 2003. http://hdl.handle.net/10500/1285.
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Thomas Hardy described himself as "churchy". Yet his later novels and poetry gave him the reputation of being an agnostic, an atheist and a heathen. He denied that there was any particular philosophy behind his work claiming that it was the result of impressions not convictions. However, I wish to show that Hardy's fiction and poetry expose specific religious beliefs and doubts, that gave rise to his notoriously pessimistic art.
By investigating the themes of sin, atonement and salvation, as reflected in the Mosaic Law and the New Testament against Hardy's mature novels, and examining Hardy's concept of God in his poetry, I aim to show that Hardy rejected the miraculous and the doctrine of redemption but retained a belief in the Biblical premiss that the earth is cursed and that humanity is governed by the Biblical Laws which dictate the consequences of sin.
Hardy depicts a universe in which humankind is cursed from birth, resides on a cursed earth and is denied the possibility of salvation or redemption. Hardy's profoundly pessimistic world view is a result of his inability to accept the Christian doctrines that offer man a means to rise above the curse of original sin. The characters and plots he created in his fiction were born out of doubt and despair. Consequently, his imaginative universe is permeated with doom and damnation.English Studies
M.A. (English)
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De, Klerk Hannelie. "Intertextuality in John Fowles's The French lieutenant's woman." Thesis, 2014. http://hdl.handle.net/10210/10788.
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Quatro, Michael Angelo. ""The sleep of the spinning top" : masculinity, labor, and subjectivity in Thomas Hardy's Jude the obscure." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3288.
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This paper explores and interrogates late Victorian anxieties concerning the issues of masculinity and labor, taking Thomas Hardy’s Jude the Obscure as a key text in this discourse. I argue that Hardy, drawing upon his own experiences, offers a meditation on the differing Victorian modes of masculinity outlined and embodied in the thought of John Henry Newman and Thomas Carlyle, and in doing so, constructs a dialectical tension between already outmoded, yet remarkably persistent, answers to the questions and pressures of modernity. Through the use of one of the text’s central images—that of Christminster and its accompanying Gothic architecture—Hardy creates an opposition between an idealized intellectual labor and the earthy reality of manual labor. Both forms—figured in either the heroic and organic terms of Carlyle or the reserved, tradition-bound reaction of Newman—represent the ideal that allows Jude to live, but also the force that leads to his death. Therefore, in the clash between the ideal and real, the dialectic fails to deliver a possible synthesis, and instead spirals restlessly in the darkened gaps of self-negation. At the same time, because the specter of a crude social and biological Darwinism consciously haunts the edges of the story, the dialectic never stops demanding a synthesis if Jude is to discover the grounding for a fully integrated identity or ethics. The central question for Hardy thus becomes one of form: For a modern masculine subjectivity to take hold, external social forms must have a connective vitality with interior dispositions, a proposition that Hardy views as a near impossibility.text
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Gibson, Lindsay Gail. "Luminous Pasts: Artificial Light and the Novel, 1770-1930." Thesis, 2016. https://doi.org/10.7916/D8Z89CDT.
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Over the course of the nineteenth century, gaslight supplanted the candles and oil lamps that had brightened Europe and America for centuries, and, by 1900, electricity would attain decisive dominance over both. In their narrative figurations of lighting, however, novels of the same period often arrest this march of progress, lingering in an Arcadian past organized around the rhythms of the solar day and the agricultural year. Mining works by Frances Burney, George Eliot, Thomas Hardy, Marcel Proust, and others, my dissertation argues that novelists employ obsolete lighting technologies not merely to provide historical texture, but to express narrative impulses that run counter to the realist mode, to dramatize transgressive forms of ambition within the rural communities they depict, and sometimes even to voice ambivalence about the commercial constraints of the serial form. Characters in these novels who avail themselves of artificial illumination alter the rhythm of the workday in order to satisfy desires inconsistent with the interests and pursuits sanctioned by their neighbors: by the light of lamps and candles, they pursue cross-class romance, literary aspirations, or professional goals that fall outside the parameters dictated by social class and the historical moment. For Proust’s narrator, this entails a series of adjustments to his evening schedule over the course of the Recherche, first to accommodate an aristocratic social calendar, and, later, to facilitate the nocturnal composition of his own novel. In Eliot’s case, the inclination to stay awake after nightfall—whether the illicit romantic fantasies of a Hetty Sorrel or the workmanlike resolve of an Adam Bede—constitutes a meaningful challenge to the author’s narrative realism. By examining the formal innovations these technologies provoke in nineteenth-century fiction, my research unearths a pervasive counter-realist tendency in novels often famed for their fidelity to the protocols of realist representation.
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Smallwood, Christine. "Depressive Realism: Readings in the Victorian Novel." Thesis, 2014. https://doi.org/10.7916/D88W3BXV.
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This dissertation makes two arguments: First, it elaborates a depressive genealogy of the Victorian novel that asserts a category of realism rooted in affect rather than period or place. Second, it argues for a critical strategy called "depressive reading" that has unique purchase on this literary history. Drawing on Melanie Klein's "depressive position," the project asserts an alternative to novel theories that are rooted in sympathy and desire. By being attentive to mood and critical disposition, depressive reading homes in on the barely-contained negativities of realism. Through readings of novels by William Makepeace Thackeray, Anthony Trollope, Thomas Hardy, and Charlotte Brontë, it explores feelings of ambivalence, soreness, and dislike as aesthetic responses and interpretations, as well as prompts to varieties of non-instrumentalist ethics. In the final chapter, the psychological and literary strategy of play emerges as a creative and scholarly possibility.