An Ecocritical Reading of Hardy’s The Woodlanders: Supernature and EcoGothic
In The Woodlanders Thomas Hardy builds a kaleidoscopic vision of nature and the environment thanks to shifting modes of representation and the use of multiple generic perspectives, each one of which entails a specific discourse on ecology. Reworking Romantic aesthetics, using the supernatural and th...
Wedi'i Gadw mewn:
| Cyhoeddwyd yn: | URI:https://journals.openedition.org/fathom, |
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| Prif Awdur: | |
| Fformat: | Article ou chapitre numérique |
| Iaith: | Anglais |
| Cyhoeddwyd: |
FATHOM
2023
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| Pynciau: | |
| Mynediad Ar-lein: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Crynodeb: | In The Woodlanders Thomas Hardy builds a kaleidoscopic vision of nature and the environment thanks to shifting modes of representation and the use of multiple generic perspectives, each one of which entails a specific discourse on ecology. Reworking Romantic aesthetics, using the supernatural and the fantastic forms and ecoGothic or adding a fairy-tale dimension to his novel, helps Hardy unfold a complex, idiosyncratic ecocritical vision which goes beyond the mere use of nature as a backdrop to his novels. In The Woodlanders, Hardy ceaselessly addresses the question of “belonging” or “not belonging”, of consuming nature or being part of it. Through a subtle generic interplay, using well-identified topoi (the woods, the tree, the hut) and turning them into supernatural images, Hardy asserts in his 1887 novel that the human and the non-human cannot be considered as distinct. |
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