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The first attempt to produce a Thomas Hardy Dictionary was made in 1911, before many of his finest poems had even been written, and since then there have been many attempts to produce reference works on his works and his life. None, however, can claim the authority and comprehensiveness ofthis Oxford Reader's Companion to Hardy. Under the editorial direction of Professor Norman Page, more than 40 of the world's most prominent experts on Hardy have been brought together to combine their insights and understandings of all aspects of Hardy studies. The result is a unique synthesis of knowledge, incorporating different nationalinterests and traditions of scholarship, investigating Hardy's life, work, and influences, and the historical context in which he wrote. As well as the assurance of sound scholarship and the convenience of the companion format, there are unexpected delights for the browser, such as entries on alcohol, humour, and pets. The Oxford Reader's Companion to Hardy is an indispensable bible for the Hardy scholar and the Hardy readeralike.
A systematic exploration of Thomas Hardy's imaginative assimilation of particular Victorian sciences, this study draws on and swells the widening current of scholarly attention now being paid to the cultural meanings compacted and released by the nascent 'sciences of man' in the nineteenth century. Andrew Radford here situates Hardy's fiction and poetry in a context of the new sciences of humankind that evolved during the Victorian age to accommodate an immense range of literal and figurative 'excavations' then taking place. Combining literary close readings with broad historical analyses, he explores Hardy's artistic response to geological, archaeological and anthropological findings. In particular, he analyzes Hardy's lifelong fascination with the doctrine of 'survivals,' a term coined by E.B. Tylor in Primitive Culture (1871) to denote customs, beliefs and practices persisting in isolation from their original cultural context. Radford reveals how Hardy's subtle reworking of Tylor's doctrine offers a valuable insight into the inter-penetration of science and literature during this period. An important aspect of Radford's research focuses on lesser known periodical literature that grew out of a British amateur antiquarian tradition of the nineteenth century. His readings of Hardy's literary notebooks disclose the degree to which Hardy's own considerable scientific knowledge was shaped by the middlebrow periodical press. Thus Thomas Hardy and the Survivals of Time raises questions not only about the reception of scientific ideas but also the creation of nonspecialist forms of scientific discourse. This book represents a genuinely new perspective for Hardy studies.
Within weeks of Thomas Hardy’s return to his native Dorchester in June 1883, he began to compile his ’Facts’ notebook, which he kept up throughout the years when he was writing some of his major work - The Mayor of Casterbridge, The Woodlanders, Tess of the d’Urbervilles and Jude the Obscure. From his intensive study of the Dorset County Chronicle for 1826-1830, he noted and summarised into 'Facts' (with the help of his first wife, Emma) hundreds of reports, many of them suggestive 'satires of circumstance', for possible use in his fiction and poems. Along with extensive reading in memoirs and local histories, this immersion in the files of the old newspaper involved him in a wider experience - the recovery and recognition of the unstable culture of the local past in the post-Napoleonic war years before his birth in 1840, and before the impact of the modernising of the Victorian era. 'Facts' is thus a unique document amongst Hardy's private writings and is here for the first time edited, the text transcribed in 'typographical facsimile' form, together with substantial annotation of the entries and critical and textual introductions.
In this, the first book-length study of astronomy in Hardy's writing, historian of science and literary scholar Pamela Gossin brings the analytical tools of both disciplines to bear as she offers unexpected and sophisticated readings of seven novels that enrich Darwinian and feminist perspectives on his work, extend formalist evaluations of his achievement as a writer, and provide fresh interpretations of enigmatic passages and scenes. In an elegantly crafted introduction, Gossin draws together the shared critical values and methods of literary studies and the history of science to articulate a hybrid model of scholarly interpretation and analysis that promotes cross-disciplinary compassion and understanding within the current contention of the science/culture wars. She then situates Hardy's own deeply interdisciplinary knowledge of astronomy and cosmology within both literary and scientific traditions, from the ancient world through the Victorian era. Gossin offers insightful new assessments of A Pair of Blue Eyes, Far from the Madding Crowd, The Return of the Native, Two on a Tower, The Woodlanders, Tess of the D'Urbervilles, and Jude the Obscure, arguing that Hardy's personal synthesis of ancient and modern astronomy with mythopoetic and scientific cosmologies enabled him to write as a literary cosmologist for the post-Darwinian world. The profound new myths that comprise Hardy's novel universe can be read as a sustained set of literary thought-experiments by which he critiques the possibilities, limitations, and dangers of living out the storylines that such imaginative cosmologies project for his time - and ours.
For over a hundred years stories about photographs and photography have reflected the profound uncertainties and inconclusive endings of the modern world. For many writers, photography, supposedly the most realistic of the arts, turns out to be the most ambiguous. As Jane Rabb observes in her introduction, a number of the stories in this collection involve mysteries, perhaps because photography has a capacity for both documentary reality and moral and psychological ambiguity. Many nineteenth-century writers represented here, including Thomas Hardy and Sir Arthur Conan Doyle, helped make short fiction as respectable as the novel. Some of them were even serious photographers themselves. The twentieth century is arguably a golden age for both the short story and photography. This collection includes examples from a worldly group of writer--Eugène Ionesco, Julio Cortá¡zar, Michel Tournier, and Italo Calvino, as well as the Chinese writer Bing Xin and John Updike, Cynthia Ozick, and Raymond Carver. In this wide range of stories, varying from sentimental to obsessive, to sinister, to tragic and even fatal, the reader will find provocative examples of the confluence of the short story and photography, both once considered the bastard stepchildren of literature and art.