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Notes Introduction 1. See, for instance, Peter Widdowson, ‘Hardy and Critical Theory’, in Dale Kramer, ed., The Cambridge Companion to Thomas Hardy (Cambridge: Cambridge University Press, 1999), pp. 73–92; Norman Page, ed., Oxford Reader’s Companion to Hardy (Oxford: Oxford University Press, 2001), pp. 75–89; Geoffrey Harvey, The Complete Critical Guide to Thomas Hardy (Farnham: Ashgate Publishing, 2010); Phillip Mallett, ed., Thomas Hardy in Context (Cambridge: Cambridge University Press, 2013). 2. Narratology may be defined as a discipline which incorporates both theory and method, and deals with narrative representation of all kinds. Monika Fludernik, An Introduction to Narratology, trans. Patricia Häusler-Greenfield and Monika Fludernik (London and New York: Routledge, 2010), p. 9, argues that the preci- sion of terminology helps towards clearer interpretations of texts, while its most prominent feature is its implicit universal validity. For critical history and dis- cussion, see James Phelan and Peter J. Rabinowitz, eds., A Companion to Narrative Theory (Malden, MA and Oxford: Blackwell, 2005); Peter Hühn et al., Handbook of Narratology (Berlin and New York: Walter de Gruyter, 2009); Greta Olson, ed., Current Trends in Narratology (Berlin and New York: Walter de Gruyter, 2011). 3. Michael Riffaterre, ‘Describing Poetic Structures: Two Approaches to Baudelaire’s “Les Chats”’, Yale French Studies 36.7 (1966), 200–42. Reprinted in Jacques Ehrmann, ed., Structuralism (Garden City, NY: Doubleday, 1970), pp. 188–230. 4. Michael Toolan, Narrative Progression in the Short Story: A Corpus Stylistic Approach (Amsterdam: John Benjamins, 2009), p. 22. 5. Toolan, p. 23. 6. Dale Kramer, Thomas Hardy: The Forms of Tragedy (London: Macmillan, 1975), p.
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