余婧，现任教于东南大学外国语学院，于2020年获得新加坡国立大学英语文学博士学位。研究兴趣为托马斯·哈代、英国19世纪文学、文化社会学、文化空间、移民与跨文化研究、女性主义，相关研究成果相继在Essays in Criticism、The Thomas Hardy Journal、The Hardy Society Journal等学术期刊发表。已完成“英国19世纪乡土文学中的世界共同体想象研究”项目。
目錄：
Table of Contents
List of Figures/vii
Acknowledgement/ix
Abbreviations/xiii
Introduction
The Significance of the Local: Form， Cosmopolitanism and Thomas Hardy’s Wessex Novels/1
Chapter One
Narrating the War: Conflicting Patriotism and Cosmopolitanism in The Trumpet-Major/41
Chapter Two
The Idea of Hybridity: Debatable Ethnic Hierarchy and Cosmopolitan Reality in Far from the Madding Crowd and The Mayor of Casterbridge/81
Chapter Three
Desiring Body: Jude the Obscure and Emerging Cosmopolitanism/142
Chapter Four
“Nothing is Permanent but Change”: Travel， Wessex Tourism， and The Woodlanders/187
Conclusion/237
Bibliography/246
內容試閱：
Acknowledgement
This work is based on my Ph.D. dissertation， and it owes much to many people’s support， guidance， patience and kindness. I am grateful， first and foremost， to my supervisor， Professor Geoffrey A. Baker， for his incredible patience and meticulous guidance. He read and reread my entire thesis and encouraged me to get it published as a book when I graduated from the National University of Singapore. His academic support has always been a source of intellectual inspiration for me. I also thank my thesis examiners， Associate Professor Tamara S. Wagner， Associate Professor Anne M. Thell， and Professor Ralph Pite， for their insightful and constructive suggestions for its improvement. Special thanks go to Professor Robbie B. H. Goh for his thoughtful comments and generous assistance throughout these years in NUS. I am indebted to Professor Dustin E. Friedman for his intellectual support. His stimulating seminar courses， “Victorian Aestheticism”， and critical knowledge deepened my understanding of Victorian cultural studies. I have also benefitted from courses by Professor John W. Phillips and Dr. Gilbert Yeoh， whose constructive criticism helped shape my thinking in the early stages of the research. I am particularly thankful to Dr. Tania Roy and Dr. Jin Xiaotian for their unfailing support and encouragement in times of need. I am grateful to Dr. Susan W. L. Ang for her insights and important suggestions on early drafts of my thesis. It has always been a great pleasure and privilege to undertake the tutoring task and to work with them.
Colleagues at the School of Foreign Languages at Southeast University provide assistance， cheer， and fertile ground for intellectual and professional development. My special thanks go to Professor Chen Meihua， Professor Liu Kehua， Professor Hu Yonghui， and Professor Huang Wenying for their support and encouragement， which are indispensable for a young researcher to initiate her work in a new environment. I also thank Yu Youye， Gu Qianping， Zhao Xueyu， Ma Xingcheng， Feng Jie， Chen Wenxue， Tian Yuan， Zhang Licheng， Wang Tianyu， Bao Min， Wu Meng， and Guo Yishuang， who make such merry company in SEU.
I wish to express my gratitude to the Thomas Hardy Society of Great Britain for providing me the opportunity and bursary to participate in the Thomas Hardy Festival and Conference in Dorchester in July 2018. My thanks to Professor Mary Rimmer， Dr. Tony Fincham， Mike Nixon， Sue Clarke， and Helen Gibson， all of whom created a friendly and hospitable environment for conference attendees. I am also especially thankful to Mr. Phillip Mallett， Professor Jane Thomas， Dr. Rena Jackson， Dr. Tracy Hayes， and Andrew Hewitt for showing an interest in my work， sharing their ideas， and organizing activities.
This work would not have been possible without help from my friends， one of whom I am particularly thankful for. I sincerely appreciate Li Rui’s unfailing assistance even before my journey to Singapore for the doctorate degree. He was always willing to aid me in searching for reading materials I could not find elsewhere and firmly believed me when I was intellectually stuck. I also thank Lu Zhengwen， Kim Sumin， Christian Gross， Mandy LO， Ma Ninghao and Greta Li， my friends at NUS， whose spiritual support helped me through a difficult time in the early stages of the academic venture.
I thank Sandra Powlette at the British Library for permitting me to use the image of “Map of the Wessex of the Novels and Poems” (1912). I am also grateful to Anna Butler at Dorset County Museum， who provided assistance and granted me permission to reproduce an image of “The Wessex of the Novels and Poems” (1895) that I photographed on a visit to the Museum in 2018.
My sincere appreciation goes to editor Bao Chunrui and other peer reviewers from Shanghai Academy of Social Sciences Press for their meticulous reading and editing the manuscript. In particular， without Ms. Bao’s generous assistance and coordinating throughout the whole process， this work would not be possible. Before this project becomes wholly as a book， parts of it were published in various contexts. An early draft of Chapter One appeared in the April issue of Essays in Criticism， whose editor Dr. Freya Johnston provided insightful comments. Parts of Chapter Three were published in the 2019 Spring issue of The Hardy Society Journal. Parts of Chapter Four were addressed at the 2017 Annual Meeting of the American Comparative Literature Association and published three years later in the Autumn issue of The Thomas Hardy Journal. I want to thank Dr. Levente T. Szabo. and Dr. Karin Koehler， for their comments and suggestions. A fraction of Chapter Two appears in the recent issue of The Hardy Society Journal in 2023， through which Dr. Tracy Hayes gave me valuable advice.
Finally， I thank my husband， Gao Wei， for his help， encouragement， and company， which have brought constant support and joy throughout the writing process. And my parents， too. Their love has always been the bedrock of my academic life. This book is dedicated to them.
This project is supported by the Fundamental Research Funds for the Central Universities NO.3217002217A1.
Summary
This book examines cosmopolitanism in Thomas Hardy’s Wessex novels and argues that this concept is closely interwoven with nationalism， ethnicity， gender， and class issues. To this end， my study conducts a strategic formalist analysis of whether and when the literary forms in Hardy’s prose conflict and comply simultaneously with the social forms， like discipline and order， in Victorian England. I contend that formal encounters produce cosmopolitanism at a material and ethical level. By examining various forms of cosmopolitanism in their links to nationalism， ethnicity， gender， and class issues， and more importantly， by interpreting how they are shaped and why they matter in the Wessex novels， my research aims to add to existing research on Thomas Hardy and to show cosmopolitanism in greater complexity than is evident in the works of Victorian authors more typically engaged on this topic.
In Chapter One， I seek to reveal that through its theatrical performance and sensational scenes， The Trumpet-Major invites a political reading which enables one to understand how cosmopolitanism emerges. Through multiple encounters between these melodramatic elements and the Victorian military discipline， social order and control， Hardy’s open scrutiny of wartime obligations， patriotism and his silent acquiescence to England’s imperialist politics become manifest. In Chapter Two， I explore the production of an ethic cosmopolitan philosophy—appeal for more hospitality to non-English ethnic groups—in Far from the Madding Crowd. The invisible Gypsy in this novel， I argue， facilitates an allegorical reading that brings forward Hardy’s harsh critique of social oppression of the non-English Other and how the general public was engaged in that oppression. Also， I suggest that Hardy employs a discursive hybrid voice and a marriage plot in Far from the Madding Crowd to unveil and ridicule Victorian ethnocentrism. This Chapter furthers to look at Hardy’s notion of hybridity that refers to an accommodation of the Self and the Other. To this end， I explore， first， a narrative of immigration to an English rural community in The Mayor of Casterbridge and demonstrate that this immigration contributes to the local development of cross-cultural hybridization. Second， I shall also point out that Hardy’s notion of hybridity appeals to a fabricated ethnic identity that ultimately undermines any racial idea of purity or authenticity. In Chapter Three， I consider Arabella Donn in Jude the Obscure as an enabler of cosmopolitanism at a material and ethical level. By examining her barmaid work， resistance against maternity， and transnational marriage， I suggest that Arabella， due to her experience and practice， is portrayed as a node creating networked relationships that simultaneously contest and comply with the Victorian gender binary form. Yet， I argue that the formal encounter leads to a material cosmopolitanism and cosmopolitan ethic. That is， it is through this encounter that a growing capitalist market， tolerance， and understanding of different values may become possible. In Chapter Four， I examine the cartographical language in Hardy’s Wessex maps that have been added to each novel publication. I will place a particular focus on distinctions between the 1895 map， an initially-drawn version by Hardy himself， and the 1912 version. Moreover， I connect their distinctions with rhetoric in Hermann Lea’s tourist guidebook， whose popularity in the early 20th century can be， though not entirely， attributed to Hardy’s assistance. To engage the tourist issue with the textual interpretation of Wessex novels， I also look into the descriptive language and a narrative of Dr. Fitzpiers’s change of attitude to the local rural community in The Woodlanders. I suggest that these different kinds of literary forms encounter the rural/non-rural social binary in a specific way， which produces a cosmopolitan ethic—a reflexivity on one’s stereotypical views of the rural authenticity.
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