High culture and popular culture in Far from the Madding Crowd
The fluctuation between highbrow and lowbrow literature seems to be at the heart of Thomas Hardy’s career as a novelist, torn between success and artistic uprightness as he was. The early Far from the Madding Crowd (1874) represents a case in point of such a dilemma. Indeed, the spread of serialised...
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| Опубликовано в: : | URI:https://journals.openedition.org/fathom, |
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| Формат: | Article ou chapitre numérique |
| Язык: | Anglais |
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FATHOM
2016
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| Предметы: | |
| Online-ссылка: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:fathom_529 |
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openedition |
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openedition-oai:revues.org:fathom_529 https://doi.org/10.4000/fathom.529 urn:doi:10.4000/fathom.529 en https://journals.openedition.org/fathom/529 2016-04-28T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/gai4 All rights reserved High culture and popular culture in Far from the Madding Crowd FATHOM Association française sur les études sur Thomas Hardy info:eu-repo/semantics/reference/issn/2270-6798 URI:https://journals.openedition.org/fathom Blin-Cordon, Peggy tragédie culture populaire érudition savant/populaire genre littéraire roman à sensation mélodrame pastoralisme tragedy popular culture highbrow/lowbrow genre sensation novel melodrama pastoralism The fluctuation between highbrow and lowbrow literature seems to be at the heart of Thomas Hardy’s career as a novelist, torn between success and artistic uprightness as he was. The early Far from the Madding Crowd (1874) represents a case in point of such a dilemma. Indeed, the spread of serialised literature, mainly thanks to the advent of sensation fiction, enabled Hardy to “write a good story”, and sensational and melodramatic episodes in Far from the Madding Crowd show many similarities with other lowbrow novels of the time, full of unexpected twists. Even though the dominant genres of the pastoral and the tragic prevail in Far from the Madding Crowd, proving that Hardy initiated a transition with other more respectable genres, lower forms allowed him to convey a disruptive discourse within the book, and to create an original mix between high and popular forms which will later become one of his hallmarks. L’ambiguïté entre culture savante et culture populaire semble se trouver au cœur de la carrière de Thomas Hardy le romancier, tiraillé entre succès public et respectabilité artistique. Far from the Madding Crowd (1874), un de ses premiers romans, est un bon exemple d’un tel dilemme. En effet, le succès grandissant de la littérature en feuilletons, en grande partie dû au triomphe du « sensation novel », permet à Hardy d’ « écrire une bonne histoire », comme en attestent les épisodes mélodramatiques et ceux relevant du « sensation novel » dans le roman, qui présentent de nombreux points communs avec d’autres romans de l’époque appartenant à la littérature populaire pleine de rebondissements. Même si les genres de la pastorale et de la tragédie l’emportent dans Far from the Madding Crowd, attestant du fait que Hardy entame là une transition certaine avec une littérature dite plus respectable, la littérature de masse lui permet d’apporter un discours subversif dans son roman, et de créer un mélange original entre des genres littéraires populaires et nobles, mélange qui deviendra plus tard une de ses marques de fabrique. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
tragédie culture populaire érudition savant/populaire genre littéraire roman à sensation mélodrame pastoralisme tragedy popular culture highbrow/lowbrow genre sensation novel melodrama pastoralism |
| spellingShingle |
tragédie culture populaire érudition savant/populaire genre littéraire roman à sensation mélodrame pastoralisme tragedy popular culture highbrow/lowbrow genre sensation novel melodrama pastoralism Blin-Cordon, Peggy High culture and popular culture in Far from the Madding Crowd |
| description |
The fluctuation between highbrow and lowbrow literature seems to be at the heart of Thomas Hardy’s career as a novelist, torn between success and artistic uprightness as he was. The early Far from the Madding Crowd (1874) represents a case in point of such a dilemma. Indeed, the spread of serialised literature, mainly thanks to the advent of sensation fiction, enabled Hardy to “write a good story”, and sensational and melodramatic episodes in Far from the Madding Crowd show many similarities with other lowbrow novels of the time, full of unexpected twists. Even though the dominant genres of the pastoral and the tragic prevail in Far from the Madding Crowd, proving that Hardy initiated a transition with other more respectable genres, lower forms allowed him to convey a disruptive discourse within the book, and to create an original mix between high and popular forms which will later become one of his hallmarks. |
| author |
Blin-Cordon, Peggy |
| author_facet |
Blin-Cordon, Peggy |
| author_sort |
Blin-Cordon, Peggy |
| title |
High culture and popular culture in Far from the Madding Crowd |
| title_short |
High culture and popular culture in Far from the Madding Crowd |
| title_full |
High culture and popular culture in Far from the Madding Crowd |
| title_fullStr |
High culture and popular culture in Far from the Madding Crowd |
| title_full_unstemmed |
High culture and popular culture in Far from the Madding Crowd |
| title_sort |
high culture and popular culture in far from the madding crowd |
| publisher |
FATHOM |
| publishDate |
2016 |
| container_title |
URI:https://journals.openedition.org/fathom |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/fathom.529 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/fathom/529 |
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1877242622487035904 |