Thomas Hardy, Sensationalism, And The Melodramatic Mode by R. NemesvariThomas Hardy, Sensationalism, And The Melodramatic Mode by R. Nemesvari

Thomas Hardy, Sensationalism, And The Melodramatic Mode

byR. Nemesvari

Hardcover | April 5, 2011

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Thomas Hardy, Sensationalism, and the Melodramatic Mode provides the first full-length study of sensationalist and melodramatic elements in Hardy’s novels.  Through a discussion of six of Hardy’s texts, this book demonstrates the ways in which he uses the melodramatic mode to advance his critique of established Victorian cultural beliefs through the employment of non-realistic plot devices and sensational “excess.” 

Richard Nemesvari is a Professor and Dean of Arts at St. Francis Xavier University.
Title:Thomas Hardy, Sensationalism, And The Melodramatic ModeFormat:HardcoverDimensions:258 pagesPublished:April 5, 2011Publisher:Palgrave Macmillan USLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0230621465

ISBN - 13:9780230621466


Table of Contents

Introduction: Thomas Hardy and the Melodramatic Imagination * Part I: Melodramas of Masculinity--Desperate Remedies and The Mayor of Casterbridge * “‘I love you better than any man can’”: Sensation Fiction, Class, and Gender Role Anxiety in Desperate Remedies * “‘No man ever loved another as I did thee’”: Melodrama, Masculinity, and the Moral Occult (I) in The Mayor of Casterbridge * Part II: Sensational Bodies, Melodramatic Spectacles--Far from the Madding Crowd and A Laodicean * “‘Kiss me too, Frank . . . You will Frank kiss me too!’”: Sensationalism, Surveillance, and Gazing at the Body in Far from the Madding Crowd * “‘A mixed young lady, rather’”: Melodrama, Technology, and Dis/Embodied Sensation in A Laodicean * Part III Melodramas of Modernity and Class Status--The Hand of Ethelberta and Jude the Obscure * “‘Lady--not a penny less than lady’”: Social Satire, Melodrama, and the Sensational Fiction of Class Status in The Hand of Ethelberta * “‘Wherefore is light given to him that is in misery?’”: Sensationalist Tragedy, Melodramatic Modernity, and the Moral Occult (II) in Jude the Obscure