• ANNOUNCEMENTS (INCLUDES QUOTE OF THE WEEK AND NEWS STORY OF THE WEEK)
  • THE EASY (COLOUR-CODED) GUIDE TO HOW TO REFERENCE A BOOK OR AN INTERNET SITE
  • COURSE INFORMATION
    • COURSE INFORMATION - ACADEMIC SUPPORT
    • COURSE INFORMATION - LEARNING OUTCOMES
    • COURSE INFORMATION - BLOOM'S TAXONOMY OF KNOWLEDGE
    • COURSE INFORMATION - BA1 HISTORICAL AND THEORETICAL STUDIES
    • COURSE INFORMATION - BA2 HISTORICAL AND THEORETICAL STUDIES
    • COURSE INFORMATION - BA3 HISTORICAL AND THEORETICAL STUDIES
  • PROJECT BRIEFS, INFORMATION AND SUBMISSION DATES
    • BA2 PROJECT BRIEFS AND SUBMISSION DATES
    • BA3 PROJECT BRIEFS AND SUBMISSION DATES
    • PROJECT BRIEF - RESEARCH FILE
    • PROJECT BRIEF - CRITICAL RESEARCH REPORT
    • PROJECT INFORMATION - CRITICAL RESEARCH REPORT STRUCTURE GUIDELINES
    • PROJECT BRIEF - REFLECTIVE JOURNAL
    • PROJECT BRIEF - ANNOTATED BIBLIOGRAPHY - NON-ASSESSED
    • PROJECT BRIEF - RESEARCH PROPOSAL needs doing...
    • PROJECT BRIEF - LITERATURE REVIEW - NON-ASSESSED
    • PROJECT BRIEF - GROUP SEMINAR PRESENTATION AND RESEARCH PRESENTATIONS 1, 2 AND 3 >
      • PROJECT BRIEF - GROUP SEMINAR PRESENTATION - NON-ASSESSED
      • PROJECT BRIEF - RESEARCH PRESENTATION 1 - ANNOTATED BIBLIOGRAPHY AND RESEARCH PROPOSAL needs visuals
      • PROJECT BRIEF - RESEARCH PRESENTATION 2 - INTRODUCTION, LITERATURE REVIEW, METHODOLOGY
      • PROJECT BRIEF - RESEARCH PRESENTATION 3 - DISCUSSION AND EVALUATION
  • REFERENCING - HARVARD PLEASE!
    • REFERENCING - WHAT IS REFERENCING?
    • REFERENCING (HARVARD) - USING CITATIONS AND QUOTATIONS
    • REFERENCING (HARVARD) - REFERENCE LIST/BIBLIOGRAPHY
    • REFERENCING (HARVARD) - HOW TO REFERENCE ANYTHING
  • BA1 CLASS READINGS AND VISUALS
    • BA1 CLASS READINGS - INTRODUCTION TO FASHION THEORY GROUP SEMINAR PRESENTATIONS >
      • BA1 CLASS READING - INTRODUCTION TO FASHION THEORY - CONSPICUOUS CONSUMPTION (THE REGULATION OF FASHION) GROUP SEMINAR PRESENTATION (THE HISTORICAL ONE)
      • BA1 CLASS READING - INTRODUCTION TO FASHION THEORY - CONSUMER CULTURE (BEAU BRUMMELL) GROUP SEMINAR PRESENTATION (THE PERSONAL ONE)
      • BA1 CLASS READING - INTRODUCTION TO FASHION THEORY - TRICKLE-DOWN/BUBBLE-(TRICKLE)-UP (JEANS) GROUP SEMINAR PRESENTATION (THE EASY ONE)
      • BA1 CLASS READING - INTRODUCTION TO FASHION THEORY - GENDER AND SEXUALITY (STILETTOS) GROUP SEMINAR PRESENTATION (THE SEXY ONE)
      • BA1 CLASS READING INTRODUCTION TO FASHION THEORY - SEMIOTICS (TIES) GROUP SEMINAR PRESENTATION (THE DIFFICULT ONE)
    • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY >
      • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY - CONSPICUOUS CONSUMPTION (THE REGULATION OF FASHION)
      • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY - CONSUMER CULTURE (BEAU BRUMMELL)
      • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY - TRICKLE-DOWN/BUBBLE-(TRICKLE)-UP (JEANS)
      • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY - SEMIOTICS (STILETTOS)
      • BA1 CLASS VISUALS - INTRODUCTION TO FASHION THEORY - SEMIOTICS (TIES)
    • BA1 CLASS READINGS - INTRODUCTION TO TEXTILES AND CULTURE GROUP SEMINAR PRESENTATIONS >
      • BA1 CLASS READING - INTRODUCTION TO TEXTILES AND CULTURE - THE FABRIC OF EXISTENCE (TEXTILES IN HUMAN CONSCIOUSNESS) GROUP SEMINAR PRESENTATION
      • BA1 CLASS READING - INTRODUCTION TO TEXTILES AND CULTURE - THE TIES THAT BIND (SOCIAL MEANINGS) GROUP SEMINAR PRESENTATION
      • BA1 CLASS READING - INTRODUCTION TO TEXTILES AND CULTURE - CLOTH AND TEMPORAL POWER (MONEY, TRADE, STATUS AND CONTROL) GROUP SEMINAR PRESENTATION
      • BA1 CLASS READING - INTRODUCTION TO TEXTILES AND CULTURE - CLOTH AS COMMUNICATION (MEANING, MESSAGES AND BEAUTY) GROUP SEMINAR PRESENTATION
      • BA1 CLASS READING - INTRODUCTION TO TEXTILES AND CULTURE - TEXTILES AND THE SPIRIT (SACRED, SPIRITUAL AND HEALING SIGNIFICANCE) GROUP SEMINAR PRESENTATION
  • BA2 CLASS READINGS AND VISUALS
    • BA2 CLASS READINGS - FASHION IN SOCIETY GROUP SEMINAR PRESENTATIONS >
      • BA2 CLASS READING - FASHION IN SOCIETY - VEILING GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - FASHION IN SOCIETY - THE SECOND HAND MARKET GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - FASHION IN SOCIETY - FEMINISM AND FASHION GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - FASHION IN SOCIETY - HOMOSEXUAL FASHION GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - FASHION IN SOCIETY - JAPANESE STREET FASHION GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - FASHION IN SOCIETY - FASHION IN INDIA GROUP SEMINAR PRESENTATION
    • BA2 CLASS VISUALS - FASHION IN SOCIETY >
      • BA2 CLASS VISUALS - FASHION IN SOCIETY - THE SECONDHAND MARKET
      • BA2 CLASS VISUALS - FASHION IN SOCIETY - JAPANESE STREET FASHION
      • BA2 CLASS VISUALS - FASHION IN SOCIETY - INDIAN FASHION
    • BA2 CLASS READINGS - TEXTILES IN SOCIETY GROUP SEMINAR PRESENTATIONS >
      • BA2 CLASS READING - TEXTILES IN SOCIETY - WEAVING AS POLITICAL SYMBOL (YOU ARE GOING TO LOVE THIS ONE) GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - TEXTILES IN SOCIETY - THE SUBVERSIVE STITCH GROUP SEMNAR PRESENTATION
      • BA2 CLASS READING - TEXTILES IN SOCIETY - GANDHI AND KHADI CLOTH GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - TEXTILES IN SOCIETY - THE FEMALE TRADITION OF TEXTILES GROUP SEMINAR PRESENTATION
      • BA2 CLASS READING - TEXTILES IN SOCIETY - KNITTING AS ART GROUP SEMINAR PRESENTATION
    • BA2 CLASS VISUALS - TEXTILES IN SOCIETY >
      • BA2 CLASS VISUALS - TEXTILES IN SOCIETY - WEAVING AS POLITICAL SYMBOL
      • BA2 CLASS VISUALS - TEXTILES IN SOCIETY - THE FEMALE TRADITION OF TEXTILES
      • BA2 CLASS VISUALS - TEXTILES IN SOCIETY - THE SUBVERSIVE STITCH
  • BA3 CLASS READINGS
    • BA3 CLASS READING - THE FIVE STAGES OF REFLECTIVE WRITING
  • THEORY READINGS AND VISUALS (GENERAL REFERENCE TO SUPPORT YOUR RESEARCH)
    • THEORY READING - WHY STUDY FASHION?
    • THEORY READING - WHAT IS A THEORY?
    • THEORY READING - INTRODUCTION TO BA1 FASHION THEORY
    • THEORY READING - FASHION CYCLES (CONSPICUOUS CONSUMPTION, TRICKLE-DOWN/UP/ACROSS)
    • THEORY READING CLASS VISUALS - FASHION CYCYES (CONSPICUOUS CONSUMPTION, TRICKLE-DOWN/UP/ACROSS)
    • THEORY READING - KEY TERMS IN FASHION THEORY
    • THEORY READING - TEXTILE METAPHORS
  • FICTION READINGS (FOR WHEN YOU ARE BORED)
    • FICTION READING - ELIZABETH JANE HOWARD'S 'THE BEAUTIFUL VISIT'
    • FICTION READING - ANITA BROOKNER'S 'PROVIDENCE'
    • FICTION READING - RUMER GODDEN'S 'BLACK NARCISSUS'
    • FICTION READING - THE BROTHERS GRIMMS' 'HOW SOME CHILDREN PLAYED AT SLAUGHTERING'
    • FICTION READING - THOMAS HARDY'S 'JUDE THE OBSCURE' - THE PIG SLAUGHTERING (NOT FOR VEGETARIANS OR THE FAINTHEARTED)
    • FICTION READING - THE BROTHERS GRIMMS' 'RUMPELSTILTSKIN'
    • FICTION READING - GREEK MYTHOLOGY'S 'THESEUS AND THE MINOTAUR'
    • FICTION READING - GREEK MYTHOLOGY'S 'PROKNE AND PHILOMELA'
    • FICTION READING - DAWN FRENCH'S 'A TINY BIT MARVELLOUS'
  • MATHS READINGS (FOR WHEN YOU ARE REALLY BORED)
    • MATHS READING - PI (FOR GEEKS)
    • MATHS READING - ON LABOUR'S PROPOSAL TO MAKE MATHS COMPULSORY POST-16 (HE'S GOT A POINT)
    • MATHS READING - WHY WE NEED PYTHAGORAS (WHAT DOES LILY ALLEN KNOW?) ​
    • MATHS READING - FORMULA FOR WORKING OUT AGATHA CHRISTIE WHODUNNIT (I THOUGHT THIS WAS AN APRIL FOOL)
    • MATHS READING - ORDER AND PATTERN AS THE BASIS OF EVERYTHING (ARTY) ​
    • MATHS READING - WRITER SHIRLEY CONRAN'S MATHS EBOOK FOR GIRLS (I FAILED MATHS TWICE)
    • MATHS READING - RELATIVITY VERSUS QUANTUM MECHANICS (I ACTUALLY UNDERSTOOD SOME OF THIS)
    • MATHS READING - WHY WE SHOULD ALL LEARN COMPUTER CODING (VERY LONG... IF YOU MANAGE TO GET TO THE END OF IT I WILL BUY YOU A DRINK)
    • MATHS READING - DO WE REALLY NEED MATHS? (SAYS IT ALL)
    • MATHS READING - THE 'BEAUTY' OF EINSTEIN (I LOST THE WILL TO LIVE)
  • MY RESEARCH BLOGS AND RESEARCH PINTEREST
  • MY REFLECTIVE JOURNAL
  • DYSLEXIA (INCLUDES THE BRITISH DYSLEXIA ASSOCIATION ADULT CHECKLIST)
  • ARE YOU STRESSED?
    • ARE YOU STRESSED? - WRITERS' BLOCK
    • ARE YOU STRESSED? - MANAGING STRESS
    • ARE YOU STRESSED? - PINTEREST FOR STRESS
  • TO DO
  • REFERENCES
  • BA2 BUSINESS STUDIES - GLOBAL AND ENVIRONMENTAL
    • BA2 BUSINESS STUDIES PROGRAMME - GLOBAL AND ENVIRONMENTAL
    • BA2 BUSINESS STUDIES PROJECT BRIEF - GLOBAL FASHION AND TEXTILE MANUFACTURING REPORT 2014-15
    • BA2 BUSINESS STUDIES CLASS - GLOBAL AND ENVIRONMENTAL - INTRODUCTION TO CORPORATE SOCIAL RESPONSIBILITY
    • BA2 BUSINESS STUDIES CLASS - THE ALTERNATIVE PROJECT BRIEF
    • BA2 BUSINESS STUDIES CLASS - GLOBAL AND ENVIRONMENTAL - PEST AND CSR
    • BA2 BUSINESS STUDIES CLASS - GLOBAL AND ENVIRONMENTAL - ETHICS AND DISSERTATION
    • BA2 BUSINESS STUDIES CLASS READING - GLOBAL AND ENVIRONMENTAL - GLOBALIZATION ​
    • BA2 BUSINESS STUDIES CLASS READING - GLOBAL AND ENVIRONMENTAL - ENVIRONMENTAL
    • BA2 BUSINESS STUDIES CLASS READING - GLOBAL AND ENVIRONMENTAL - ETHICAL
  • THE REFERENCING TEST
  BCOT BA Textiles for Fashion
Historical and Theoretical Studies theory classes and readings.

FICTION READING - THOMAS HARDY'S JUDE THE OBSCURE, (PART THE FIRST: AT MARYGREEN, CHAPTER X) - THE PIG SLAUGHTERING (NOT FOR VEGETARIANS OR THE FAINTHEARTED). This chapter describes the slaughtering of a pig. This would have been a routine event in rural Britain in the 19th C (see HOW THE CHILDREN PLAYED AT SLAUGHTERING). 

JUDE THE OBSCURE (PART THE FIRST: AT MARYGREEN, CHAPTER X). THOMAS HARDY. 1896.


The time arrived for killing the pig which Jude and his wife had fattened in their sty during the autumn months, and the butchering was timed to take place as soon as it was light in the morning, so that Jude might get to Alfredston without losing more than a quarter of a day.

The night had seemed strangely silent. Jude looked out of the window long before dawn, and perceived that the ground was covered with snow - snow rather deep for the season, it seemed, a few flakes still falling.

'I'm afraid the pig-killer won't be able to come,' he said to Arabella.

'O, he'll come. You must get up and make the water hot, if you want Challow to scald him. Though I like singeing best.'

'I'll get up,' said Jude. 'I like the way of my own county.'

He went downstairs, lit the fire under the copper, and began feeding it with bean-stalks, all the time without a candle, the blaze flinging a cheerful shine into the room; though for him the sense of cheerfulness was lessened by thoughts on the reason of that blaze - to heat water to scald the bristles from the body of an animal that as yet lived, and whose voice could be continually heard from a corner of the garden. At half-past six, the time of appointment with the butcher, the water boiled, and Jude's wife came downstairs.

'Is Challow come?' she asked.

'No.'

They waited, and it grew lighter, with the dreary light of a snowy dawn. She went out, gazed along the road, and retuning said, 'He's not coming. Drunk last night, I expect. The snow is not enough to hinder him, surely!'

'Then we must put it off. It is only the water boiled for nothing. The snow may be deep in the valley.'

'Can't be put off. There's no more victuals for the pig. He ate the last mixing o' barley meal yesterday morning.'

'Yesterday morning? What has he lived on since?'

'Nothing.'

'What - he has been starving?'

'Yes. We always do it the last day or two, to save bother with the innards. What ignorance, not to know that!'

'That accounts for his crying so. Poor creature!'

'Well - you must do the sticking - there's no help for it. I'll show you how. Or I'll do it myself - I think I could. Though as it is such a big pig I had rather Challow had done it. However, his basket o' knives and things have been already sent on here, and we can use 'em.'

'Of course you shan't do it,' said Jude. 'I'll do it, since it must be done.'

He went out to the sty, shovelled away the snow for the space of a couple of yards or more, and placed the stool in front, with the knives and ropes at hand. A robin peered down at the preparations from the nearest tree, and, not liking the sinister look of the scene, flew away, though hungry. By this time Arabella had joined her husband, and Jude, rope in hand, got into the sty, and noosed the affrighted animal, who, beginning with a squeak of surprise, rose to repeated cries of rage. Arabella opened the sty-door, and together they hoisted the victim on to the stool, legs upward, and while Jude held him Arabella bound him down, looping the cord over his legs to keep him from struggling.

The animal's note changed its quality. it was not now rage, but the cry of despair; long-drawn, slow and hopeless.

'Upon my soul I would sooner have gone without the pig than have had this to do!' said Jude. 'A creature I have fed with my own hands.'

'Don't be such a tender-hearted fool! There's the sticking-knife - the one with the point. Now, whatever you do, don't stick un too deep.'

'I'll stick him effectually, so as to make short work of it. That's the chief thing.'

'You must not!' she cried. 'The meat must be well bled, and to do that he must die slow. We shall lose a shilling a score if the meat is red and bloody! Just touch the vein, that's all. I was brought up to it, and I know. Every good butcher keeps un bleeding long. He ought to be eight or ten minutes dying, at least.'

'He shall not be half a minute if I can help it, however the meat may look,' said Jude determinedly. Scraping the bristles from the pig's upturned throat, as he had seen the butchers do, he slit the fat; then plunged in the knife with all his might.

' 'Od damn it all!' she cried, 'that ever I should say it! You've over-stuck un! And I telling you all the time - '

'Do be quiet, Arabella, and have a little pity on the creature!'

'Hold up the pail to catch the blood, and don't talk!'

However unworkmanlike the deed, it had been mercifully done. The blood flowed out in a torrent instead of in the trickling stream she had desired. The dying animal's cry assumed it's third and final tone, the shriek of agony; his glazing eyes riveting themselves on Arabella with the eloquently keen reproach of a creature recognising at last the treachery of those who had seemed his only friends.

'Make un stop that!' said Arabella. 'Such a noise will bring somebody or other up here, and I don't want people to know we are doing it ourselves.' Picking up the knife from the ground whereon Jude had flung it, she slipped it into the gash, and slit the windpipe. The pig was instantly silent, his dying breath coming through the hole.

'That's better,' she said.

'It is a hateful business!' said he.

'Pigs must be killed.'

The animal heaved in a final convulsion, and, despite the rope, kicked out with all his last strength. A tablespoonful of black clot came forth, the trickling of red blood having ceased for some seconds.

'That's it; now he'll go,' said she. 'Artful creatures - they always keep back a drop like that as long as they can!'

The last plunge had come so unexpectedly as to make Jude stagger, and in recovering himself he kicked over the vessel in which the blood had been caught.

'There!' she cried, thoroughly in a passion. 'Now I can't make any blacktop. There's a waste, all through you!'

Jade put the pail upright, but only about a third of the whole steaming liquid was left in it, the main part being splashed over the snow, and forming a dismal, sordid, ugly spectacle - to those who saw it as other than an ordinary obtaining of meat. The lips and nostrils of the animal turned livid, then white, and the muscles of  his limbs relaxed.

'Thank God!' Jude said. 'He's dead.' (Hardy, 1978, pp.108-11).



REFERENCE

Hardy, T. (1978 [1896]) Jude the Obscure. Harmondsworth: Penguin.
Powered by Create your own unique website with customizable templates.