Reading Hardy's Landscapes locates the essential energy of the novels in the descriptive details as much as in the story. The emphasis is on the author's habits of vision and imagination. It is instinctive in Hardy to locate his tales between the huge abstractions of time and space and the minute particularities of nature - a leaf, a minnow, a gnat. His human dramas unfold in a landscape and are part of that landscape, caught up in larger patterns of movement and change.

"Hardy was a landscape novelist, who painted enduring pictures of a real outdoor world that formed the stage upon which his characters lived out their tragic lives. Incorporating extracts from Hardy's poems and novels such as Return of the Native, Far From the Madding Crowd and Under the Greenwood Tree, this book consists of a series of walks through Hardy's landscapes. It allows the reader to appreciate not only the beauty and wonder of the natural world but also the unique contribution that Thomas Hardy has made to our ability to interpret that world. Hardy's landscapes are at once specific and general; based on real places and scenes, but purposefully distanced and disguised. The author argues that Hardy's Wessex is actually a very narrow territory and in doing so he calls into question a number of accepted identifications of Wessex locations and proposes new ones. Follow in the footsteps of Jude, Tess and Clym and live and breathe the very essence of Thomas Hardy's world."--Publisher's description.

Examining representations of physical and metaphorical landscape in Charlotte Bront1/2, George Eliot and Thomas Hardy, Henson explores the way gender attitudes are expressed, both in descriptions of physical and metaphorical landscape and in the idea of nature, through the gendered voices of the narrators. Henson looks at the influence of changing aesthetic theory, arguing that factors such as scientific enquiry and industrialization changed the representation of landscape and of Englishness in these 'realist' novels."

Paul Hardy shares the delights and beauty of working with a medium that is versatile, exciting and inspiring. This colourful, practical guide illustrates the techniques of applying pastel to a variety of paper surfaces, from field sketching and composing a painting to painting skies, trees, water and reflections. Step-by-step demonstrations show the reader how to paint a series of landscapes from a moody moorland pastoral scene to a gently flowing river, aglow with the warm colours of autumnal trees. The artist is rewarded as fields, trees and flowers spring to life when pastel is applied to paper.

An exploration of the way English literature has interacted with architectural edifices and the development of landscape as a national style from the Middle Ages to the 19th Century. Analyzing texts in relation to cultural artefacts, each chapter demonstrates the self-conscious production of English consciousness as its most enduring history.

This book examines Thomas Hardy's representations of the road and the ways the archaeological and historical record of roads inform his work. Through an analysis of the uneven and often competing road signs found within three of his major novels - The Return of the Native, Tess of the D'Urbervilles, and Jude the Obscure - and by mapping the road travels of his protagonists, this book argues that the road as represented by Hardy provides a palimpsest that critiques the Victorian construction of social and sexual identities. Balancing modern exigencies with mythic possibilities, Hardy's fictive roads exist as contested spaces that channel desire for middle-class assimilation even as they provide the means both to reinforce and to resist conformity to hegemonic authority.

Examining a wide range of representations of physical, metaphorical, and dream landscapes in Charlotte Brontë, George Eliot, and Thomas Hardy, Eithne Henson explores the way in which gender attitudes are expressed, both in descriptions of landscape as the human body and in ideas of nature. Henson discusses the influence of eighteenth-century aesthetic theory, particularly on Brontë and Eliot, and argues that Ruskinian aesthetics, Darwinism, and other scientific preoccupations of an industrializing economy, changed constructions of landscape in the later nineteenth century. Henson examines the conventions of reading landscape, including the implied expectations of the reader, the question of the gendered narrator, how place defines the kind of action and characters in the novels, the importance of landscape in creating mood, the pastoral as a moral marker for readers, and the influence of changing aesthetic theory on the implied painterly models that the three authors reproduce in their work. She also considers how each writer defines the concept of Englishness against an internal or colonial Other. Alongside these concerns, Henson interrogates the ancient trope that equates woman with nature, and the effect of comparing women to natural objects or offering them as objects of the male gaze, typically to diminish or control them. Informed by close readings, Henson's study offers an original approach to the significances of landscape in the 'realist' nineteenth-century novel.