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Modern fiction and the creation of the new woman Madame Bovary, Jude the obscure and Women in love /Ng, Yee-ling. January 1998 (has links)
Thesis (M.A.)--University of Hong Kong, 1998. / Includes bibliographical references (leaves 62-69). Also available in print.
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Dysfunctional families in the Wessex novels of Thomas Hardy /Schoenfeld, Lois Bethe. January 1900 (has links)
Thesis (Ph.D.)--University of Haifa, 2005. / Includes bibliographical references and index.
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Victorian agnosticism: Thomas Hardy's doomed universeStotko, Mary-Ann 30 November 2003 (has links)
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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The Truth about pawn promotion : the development of the chess motif in Victorian fictionDowney, Glen Robert 12 June 2017 (has links)
A close critical scrutiny of Anne Brontë’s The Tenant of Wildfell Hall, Thomas
Hardy’s A Pair of Blue Eyes, and Lewis Carroll’s Through the Looking-Glass reveals that
these texts are linked through their use of a chess metaphor, a device that symbolizes how
the central female characters of these works become stalemated in their efforts to achieve
autonomy. While the disparate but related paths these characters take can be likened to
the predetermined progress of a pawn that travels the length of a chessboard to become
a queen, what Brontë, Hardy, and Carroll all recognize is that this process of becoming
is by no means a fulfilling one. Rather, it only serves to reveal how trapped Helen,
Elfride, and Alice are within a game in which Victorian society designates them as
players of only secondary importance.
There is a general movement towards a more complex integration of the chess
motif as we move from Brontë to Hardy and finally, to Carroll. Brontë’s incidental chess
scene is reminiscent of Thomas Middleton’s use of a similar episode in Women Beware
Women, and shows less sophistication than what Hardy or Carroll achieve because her
moral realism lacks the creative touches found in either Hardy’s use of symbolic imagery
or Carroll’s use of the fantastic and the unorthodox. However, Brontë juxtaposes her chess game with Helen’s discovery of Huntingdon’s infidelity to demonstrate how her
heroine becomes trapped within a game that she is willingly coerced into playing.
If Brontë suggests that relationships are like chess games played according to rules
that seriously limit a woman’s ability to compete, Hardy goes to even greater lengths in
using chess to show how his Wessex universe operates as its own evolving game
environment, replete with obstacles and conflicts that prove catastrophic for a player as
unprepared as Elfride. Indeed, Hardy’s allusion to Shakespeare’s The Tempest is critical
in demonstrating how in matters of social game-playing, his heroine suffers from the
unsatisfactory education she receives from her controlling father. Hardy shows greater
sophistication than Brontë in using parallel chess episodes to comment on the progress of
Elfride’s relationships, and he even refers to a specific opening system in chess, the
Muzio Gambit, whose catalogue of moves prefigures Elfride’s romantic involvements
with Stephen and Henry, as well as the unavoidable problems she encounters from the
novel’s vengeful Black Queen, Mrs. Jethway. Unlike Brontë, Hardy recognizes that fate
is not so careful about giving individuals what they deserve, and that a character like
Elfride can pay a heavy price for her romantic misdemeanours.
However, neither Brontë nor Hardy achieves what Carroll does in Through the
Looking-Glass, a work that can be seen to follow in the tradition of Middleton’s A Game
at Chess, and which not only incorporates the game but structures its plot on the solution
to an unorthodox chess problem. If Brontë is to be celebrated for her honest portrayal
of a woman who becomes trapped in a destructive marriage, and Hardy can be
commended for showing how his heroine’s education in social game-playing undermines
her relationships with men, Carroll’s genius rests in his ability to illustrate these kinds
of experiences on a chess board through Alice’s dream of travelling across Looking-Glass
land to become a queen. He does not simply give us the impression that a girl’s progress
towards womanhood is like a pawn’s promotion in chess, but instead integrates these two concepts into a single experience. He also keeps the reader off guard by creating an unorthodox chess problem and a curious cast of characters, giving us a sense of being
caught in a game of our own. The result of all of this is that we are drawn into Carroll’s
games even as we view them as spectators, and the critical giddiness we experience in
the process both helps us to share a sense of Alice’s predicament in her frustrated quest
to find fulfilment, and allows us to appreciate the underlying thematic implications of the
chess motif in the narrative. / Graduate
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Victorian agnosticism: Thomas Hardy's doomed universeStotko, Mary-Ann 30 November 2003 (has links)
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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Environmental influence on character in the novels of Thomas HardyCollins, Patrick John January 1968 (has links)
No description available.
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Forms of release : the escape poetry of Hester Pulter, Anne Bradstreet, Thomas Hardy and Robert FrostHall, Louisa, 1982- 03 July 2014 (has links)
The four poets in this dissertation--Hester Pulter, Anne Bradstreet, Thomas Hardy, and Robert Frost--write poems that resist domestic confinement. In these poems, houses become prisons from which the poet must enact an escape. Pulter, Bradstreet, Hardy and Frost--writers drawn from two sides of the Atlantic and two different centuries--are nevertheless linked by the urge to create poems that will provide doorways to less confined states of existence. They are also linked by the formal strategies they use for the attainment of such poetic release, and by the scale of their rebellion against enclosing structures. All four poets make claustrophobic domestic spaces the topic of their poetry, but rather than writing their objections into the unbounded space of free verse, they mimic the confinement of small rooms in the restrained dimensions of their poems. Rather than discard the enclosure of poetry, they accept its confinement. Their forms of release, then, are more pointed; they emerge at brief instances, as opposed to making wholesale departures. Instead of using their poems to create boundless spaces, unrestricted by walls and ceilings and floors, they use their poems to create rooms similar to those occupied by their personae. In poems such as these, poetic freedom is less absolute than relative to the extent of confinement, and it is made sweeter by the awareness of inescapable limits. / text
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Rites of passage in selected Wessex novels of Thomas HardyBurton, Nancy Kay, 1938- January 1962 (has links)
No description available.
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Environmental influence on character in the novels of Thomas HardyCollins, Patrick John January 1968 (has links)
No description available.
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Courtship and marriage in the novels of Thomas Hardy.Zinger, Anna. January 1965 (has links)
Courtship and marriage are, perhaps, the most important of all the themes that run through Thomas Hardy's novels. In novel after novel he explores the intricate relationships of men and women and their attitudes towards marriage. To Hardy the struggles of human beings to keep, or even to understand, their marriage vows create probably the severest of all human dilemmas. [...]
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