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JungheeChangThis paper examines the intertextuality between the Victorian visual art and Thomas Hardy's novels focusing on the Pre-Raphaelite paintings and Hardy's Jude the Obscure. Pictorial representation was the dominant cultural mode in Victorian period and it was related to the growing expansion of imagery and display in the contemporary society. The Victorian novelists were interested in the reconfigurations of contemporary visual arts into their narrative texts by using the innovative techniques and themes of the visual arts.Hardy's novels contain a lot of narratives which effectively combine his visual imagination with innovative techniques he found in the visual arts. He led the readers' new interpretations of what they saw and read by expanding his narratives beyond the boundary of realism. Throughout Hardy's literary career the paintings of Pre-Raphaelites played an important part in the innovation and development of his literary techniques and themes. The Pre-Raphailites' paintings transgress the conventional gender boundaries and in his redrawing of their paintings Hardy follows their techniques and principles of aestheticism. Especially Hardy chose to reconfigure the Pre-Raphaelites' representation of gender in his Jude the Obscure. The Pre-Raphaelites' paintings show the androgynous character or ambiguity of gender, which is reconfigured in the representation of Sue Bridehead. The various modes used in the representation of Sue can be interpreted as Hardy's challenges to the Victorian gender ideology. Through the process of reconfiguring in the character of Sue the androgynous figures of the Pre-Raphaelites' paintings, Hardy contributes to the revision of contemporary discourses on gender.
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Victorian visual art,pre-Raphaelite art,Thomas Hardy,Edward Burne-Jones,intertextuality,gender,realism
