"On n'est pas dans le futurisme, mais dans un drame bourgeois ou un thriller atmosphérique"
This critical study of Hardy's short stories provides a thorough account of the ruling preoccupations and recurrent writing strategies of his entire corpus as well as providing detailed readings of several individual texts. It relates the formal choices imposed on Hardy as contributor to Blackwood's Magazine and other periodicals to the methods he employed to encode in fiction his troubled attitude towards the social politics of the West Country, where most of the stories are set. No previous criticism has shown how the powerful challenges to the reader mounted in Hardy's later stories reveal the complexity of his motivations during a period when he was moving progressively in the direction of exchanging fiction for poetry.
* Unique in providing a comprehensive criticism of Hardy's entire output of short stories.
* Full, detailed, close readings of a number of key stories make this useful as a potential teaching resource.
* Draws on the work of social historians to make clear the background of social and political unrest in Dorset that is partly uncovered and partly hidden in Hardy's portrayals of his fictional Wessex.
* Offers fascinating insights into Hardy's near-obsession in his mature phase with the marriage contract, and with its legal binding of erratic men and women.
Il n'y a pas encore de discussion sur ce livre
Soyez le premier à en lancer une !
"On n'est pas dans le futurisme, mais dans un drame bourgeois ou un thriller atmosphérique"
L'auteur se glisse en reporter discret au sein de sa propre famille pour en dresser un portrait d'une humanité forte et fragile
Au Rwanda, l'itinéraire d'une femme entre rêve d'idéal et souvenirs destructeurs
Participez et tentez votre chance pour gagner des livres !