Thomas Hardy, Sensationalism, and the Melodramatic Mode

Introduction: Thomas Hardy and the Melodramatic Imagination PART I: MELODRAMAS OF MASCULINITY – DESPERATE REMEDIES AND THE MAYOR OF CASTERBRIDGE 'I love you better than any man can': Sensation Fiction, Class, and Gender Role Anxiety in Desperate Remedies 'No man ever loved another as I did thee': Melodrama, Masculinity, and the Moral Occult (I) in The Mayor of Casterbridge PART II: SENSATIONAL BODIES, MELODRAMATIC SPECTACLES – FAR FROM THE MADDING CROWD AND A LAODICEAN 'Kiss me too, Frank….You will Frank kiss me too!': Sensationalism, Surveillance, and Gazing at the Body in Far from the Madding Crowd 'A mixed young lady, rather': Melodrama, Technology, and Dis/Embodied Sensation in A Laodicean PART III: MELODRAMAS OF MODERNITY AND CLASS STATUS – THE HAND OF ETHELBERTA AND JUDE THE OBSCURE 'Lady – not a penny less than lady': Social Satire, Melodrama, and the Sensational Fiction of Class Status in The Hand of Ethelberta Wherefore is light given to him that is in misery?': Sensationalist Tragedy, Melodramatic Modernity, and the Moral Occult (II) in Jude the Obscure Conclusion: Hardy, the Melodramatic Mode, and Victorian Fiction