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Bbm:978-1-137-36772-3/1.Pdf 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. 91. 7. Meir Sternberg, Expositional Modes and Temporal Ordering in Fiction (Baltimore and London: Johns Hopkins University Press, 1978), p. 17. 8. F. K. Stanzel, A Theory of Narrative, trans. Charlotte Goedsche with Preface by Paul Hernadi (Cambridge: Cambridge University Press, 1984), pp. 63–78 (pp. 65–9). 9. Michael J. Colacurcio, ‘Introduction: The Spirit and the Sign’, in Colacurcio, ed., New Essays on ‘The Scarlet Letter’ (Cambridge: Cambridge University Press, 1985), p. 15. 10. Inderjeet Mani, The Imagined Moment: Time, Narrative, and Computation (Lincoln: University of Nebraska Press, 2010), advocates computational models, involving a database of timelines, to promote an empirical discipline of literary studies of time. 11. Martin Humpál, The Roots of Modernist Narrative: Knut Hamsun’s Novels ‘Hunger’, ‘Mysteries’, and ‘Pan’ (Oslo: Solum Forlag, 1998), p. 11. 12. Joseph Warren Beach, The Technique of Thomas Hardy (New York: Russell & Russell, 1962 [1922]), p. viii. 218 Notes 219 13. Kramer, p. 9. 14. Kramer, p. 10, quoting Florence Emily Hardy, The Life of Thomas Hardy, 1840–1928 (London: Macmillan, 1962), p. 363. Henceforth Life. 15. Thomas Hardy, Preface to The Dynasts (London: Macmillan, 1965), p. xxv. 16. Life, p. 291. 17. Life, p. 95. 18. See Joseph Warren Beach, The Technique of Thomas Hardy (New York: Russell & Russell, 1962); J. Hillis Miller, Thomas Hardy: Distance and Desire (Cambridge, MA: Belknap, 1970); Jean Brooks, Thomas Hardy: The Poetic Structure (London: Elek, 1971); Ian Gregor, The Great Web: The Form of Hardy’s Major Fiction (London: Faber, 1974); Dale Kramer, Thomas Hardy: The Forms of Tragedy (London: Macmillan, 1975); Jeannette King, Tragedy in the Victorian Novel: Theory and Practice in the Novels of George Eliot, Thomas Hardy and Henry James (Cambridge: Cambridge University Press, 1978); Peter J. Casagrande, Unity in Hardy’s Novels: ‘Repetitive Symmetries’ (Lawrence: Regents Press of Kansas, 1982); Penny Boumelha, Thomas Hardy and Women: Sexual Ideology and Narrative Form (Brighton: Harvester Press, 1982); Kristin Brady, The Short Stories of Thomas Hardy: Tales of Past and Present (London: Macmillan, 1982); J. Hillis Miller, Fiction and Repetition: Seven English Novels (Oxford: Blackwell, 1982); Irving Howe, Thomas Hardy (Basingstoke: Macmillan, 1985); Peter J. Casagrande, Hardy’s Influence on the Modern Novel (Basingstoke: Macmillan, 1987); Simon Gatrell, Hardy the Creator: A Textual Biography (Oxford: Clarendon Press, 1988); Sheila Berger, Thomas Hardy and Visual Structures: Framing, Disruption, Process (New York: New York University Press, 1990); Rosemary Sumner, A Route to Modernism: Hardy, Lawrence, Woolf (Basingstoke: Macmillan, 2000); Sophie Gilmartin and Rod Mengham, Thomas Hardy’s Shorter Fiction: A Critical Study (Edinburgh: Edinburgh University Press, 2007); Julian Wolfreys, Thomas Hardy (Basingstoke: Palgrave Macmillan, 2009). 19. These would include Gérard Genette, Narrative Discourse: An Essay in Method, trans. Jane E. Lewin (Oxford: Blackwell, 1980) [Proust]; Torsten Pettersson, Consciousness and Time: A Study in the Philosophy and Narrative Technique of Joseph Conrad, Acta Academiae Aboensis, Ser. A, Humaniora; vol. 61, no. 1 (Åbo: Åbo akademi, 1982); Jakob Lothe, Conrad’s Narrative Method (Oxford: Oxford University Press, 1989); Ansgar Nünning, Grundzüge eines kommuni- kationstheoretischen Modells der erzählerischen Vermittlung: die Funktionen der Erzählinstanz in den Romanen George Eliots (Trier: Wissenschaftlicher Verlag, 1989); Michael J. Toolan, The Stylistics of Fiction: A Literary-Linguistic Approach (London: Routledge, 1990) [Faulkner]; J. Hillis Miller, Literature as Conduct: Speech Acts in Henry James (New York: Fordham University Press, 2005); Sara Håkansson, Narratorial Commentary in the Novels of George Eliot, Lund Studies in English 114 (Lund: Lund University, 2009). 1 Trainspotting in Wessex: Temporal Transparency in Desperate Remedies 1. Thomas Hardy, Desperate Remedies, edited with Introduction and Notes by Patricia Ingham, Oxford World’s Classics (Oxford: Oxford University 220 Notes Press, 2009), p. 161; 2.2.1. Henceforth DR. References, such as 3.2.4, denote Volume 3, chapter 2, subsection 4. 2. George Bradshaw, Bradshaw’s Monthly General Railway and Steam Navigation Guide for Great Britain and Ireland (Manchester and London: Bradshaw, 1864), p. 21. 3. See Gérard Genette, Paratexts: Thresholds of Interpretation, trans. Jane E. Lewin (Cambridge: Cambridge University Press, 1997), p. 315 [1987]. 4. See Pamela Dalziel, ‘Exploiting The Poor Man: The Genesis of Hardy’s Desperate Remedies’, JEGP 94.2 (1995), 220–32. 5. This represents the first instance of the important role of architecture in Hardy’s novels. Mrs Jedway, mother of Elfride’s ex-lover, is killed by a falling church tower in the later A Pair of Blue Eyes. 6. As in the vignette of the Higgins’ poverty-stricken rooms in Hoxton (3.3.4). 7. A terminal point, prescribed time-limit or deadline which heightens narra- tive tension. See D. L. Higdon, Time and English Fiction (London: Macmillan, 1977), pp. 74–105. 8. See also Wolfgang Schivelbusch, The Railway Journey: The Industrialization and Perception of Time and Space in the 19th Century (Leamington Spa: Berg Publishers, 1986); Nicholas Daly, Literature, Technology, and Modernity, 1860–2000 (Cambridge: Cambridge University Press, 2004); Trish Ferguson, ‘Hardy’s Wessex and the Birth of Industrial Subjectivity’, in Ferguson, ed., Victorian Time: Technologies, Standardizations, Catastrophes (Basingstoke: Palgrave Macmillan, 2013), pp. 57–76. 9. See J. B. Bullen, The Expressive Eye: Fiction and Perception in the Work of Thomas Hardy (Oxford: Clarendon Press, 1986), pp. 193–5, 197–9, 257–8; Annie Escuret, ‘Thomas Hardy and J. M. W. Turner’, in Lance St John Butler, ed., Alternative Hardy (Basingstoke: Macmillan, 1989), pp. 205–25. 10. Peter Ackroyd, Dickens (London: Sinclair-Stevenson, 1990), p. 959. 11. Wilkie Collins, No Name, edited with Introduction by Virginia Blain, Oxford World’s Classics (Oxford: Oxford University Press, 1990), p. 1 [1862]. In a Letter of Dedication to his Basil; A Story of Modern Life, edited with Introduction and Notes by Dorothy Goldman, Oxford World’s Classics (Oxford: Oxford University Press, 2008), pp. 3–6 [1862], Collins distin- guishes between ‘the Actual’ and ‘the Ideal’, stressing the need for a balance between quotidian verisimilitude and melodramatic flights, a blending of the kind likely to appeal to Hardy in DR. 12. Anon. rev. of DR, in R. G. Cox, Thomas Hardy: The Critical Heritage (London: Routledge & Kegan Paul, 1978), pp. 1–2 [1871]. 13. Sir George Douglas, in F. B. Pinion, Thomas Hardy, Art and Thought (London: Macmillan, 1978), p. 1. 14. Albert Guerard, Thomas Hardy: The Novels and Stories (Cambridge, MA: Harvard University Press, 1949), p. 12. 15. K. Z. Moore, ‘The Poet Within the Architect’s Ring: Desperate Remedies, Hardy’s Hybrid Detective–Gothic Narrative’, Studies in the Novel 14.1 (1982), 31–42. 16. Joseph Warren Beach, The Technique of Thomas Hardy (New York: Russell and Russell, 1962), p. 18. 17. Peter Widdowson, Hardy in History: A Study in Literary Sociology (London: Routledge, 1989), p. 219. Notes 221 18. Mary Rimmer, ed., Desperate Remedies (London: Penguin Books, 1998), p. xx. Her argument may be substantiated by the marked decline of the Sensation Novel after its peak during the 1860s, and Hardy’s own shift towards pas- toral and autobiographical material in Under the Greenwood Tree (1872) and A Pair of Blue Eyes (1873), though he does not relinquish ‘Gothic’ themes and motifs. 19. Julian Wolfreys, Dickens to Hardy 1837–1884: The Novel, the Past and Cultural Memory in the Nineteenth Century (Basingstoke: Palgrave Macmillan, 2007), p. 244. 20. S. Onega and J.
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