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and Chapters on Sir Walter Scott Published in 2000
Michael. '”Engelland” als Metapher: Walter
Scott, Augustin Thierry und das mittelalterliche England in Conrad
Ferdinand Meyers Novelle Der Heilige', in The Novel
in Anglo-German Context: Cultural Cross-Currents and Affinities:
Papers from the Conference Held at the University of Leeds from
15 to 17 September 1997, ed. Susanne Stark (Amsterdam: Rodopi,
2000), pp. 195-211.
Scott's role in prompting the Swiss writer Conrad Ferdinand Meyer
to write a novella Der Heilige (1879) about Thomas à
Becket and medieval England.
Carolyn F. ‘Home and Nation in The Heart of Midlothian',
Studies in English Literature, 40 (2000), 621-34.
that the much-criticized fourth volume of The
Heart of Midlothian covertly challenges both the politics
of patronage and the ideology of feminine domestic isolation.
Stephanie L. '"Our fathers were of Saxon race":
Robin Hood, King Arthur, and the Rise of Anglo-Saxon Racialism',
in Myth and National Identity in Nineteenth-Century Britain:
The Legends of King Arthur and Robin Hood (Oxford: Oxford University
Press, 2000), pp. 125-61.
a discussion of Ivanhoe
Irene Basey. '"The Vision of Enchantment's Past":
Walter Scott Rescripts the Revolution in Marmion', Scottish
Studies Review, 1 (2000), 63-77.
that Scott's attempts to reformulate a value system dismantled
by the French Revolution draw on the values of medieval Catholicism
and elevate brotherhood to a sacrament implemented through the
process of storytelling and sacralized vocabulary.
Barbara, and John Ramage. ‘Meg Dods:
Before the Curtain’, International Journal of Scottish
Theatre, 1.2 (2000).
the relationship between two manuscript versions of an 'Address'
written by Scott for the actor Charles Mackay to deliver in character
as Meg Dods, the formidable landlady in St.
Jean. 'La Violence: ingrédient fondamental de la
conception des romans historiques celto-saxons', in Regards
populaires sur la violence, ed. Mireille Piarotas (Saint-Étienne:
Publications de l'Université de Saint-Étienne.
study of the function of violence in Scott's The
Fair Maid of Perth, Stevenson's Catriona and
Melvyn Bragg's Credo; pagination unknown.
Jean. 'Waverley pastiché!: étude
de Allan Cameron de J. Pagnon & A. Callet’, Études
écossaises, 6 (1999-2000), 159-71.
the 1841 novel Allan Cameron by Javelin Pagnon and Auguste
Callet which was initially presented as a translation of a recently
discovered manuscript by Scott. For Berton, the novel (set in
1651 as Charles II seeks to regain his father's throne) occupies
a midpoint between forgery and pastiche.
Valentina. '"Nouther right spelled nor right setten
down": Scott, Child and the Hogg Family Ballads', in The
Ballad in Scottish History, ed. Edward J. Cowan (East Linton:
Tuckwell, 2000), pp.116-41.
whether Hogg was right in Familiar Anecdotes of Sir Walter
Scott (1834) to criticize the treatment of the Hogg family
ballads in Minstrelsy
of the Scottish Border.
Iain Gordon. ‘Collecting Scott for Scotland, 1850-2000’,
The Book Collector, 49 (2000), 502-34.
the collection of Scott papers held by the National
Library of Scotland.
Miranda J. ‘Bastard Romance: Scott, Hazlitt, and
the Ends of Legitimacy’, in British Fiction and the Production
of Social Order, 1740-1830 (Cambridge: Cambridge University
Press, 2000), pp. 186-234.
that Scott's later romances, especially The
Bride of Lammermoor and St.
Ronan's Well, provisionally remedy an ideological problem,
a legitimation crisis unresolved since the 1790s. A new model
of legitimacy brings conservative historical ideologies of nation
and family together with a liberal end to political history, uniting
them in an endless economic and political modernity made possible
John J., Jr. ‘The Homoerotic Subtext in Scott's The
Fortunes of Nigel: The Question of Evidence’, CLIO,
29 (2000), 295-323.
that in The Fortunes
of Nigel Scott consciously made homosexual inclinations
and behaviour central to his representation of James I and VI
and of his court in England.
Jeanne. ‘Monumental Images: Scott and the Creation
of Scotland’, in Heritage and Museums: Shaping National
Identity, ed. J. M. Fladmark (Shaftesbury: Donhead, 2000),
that paintings of veterans of Culloden by Sir
David Wilkie and Colvin Smith embody the reconciliation between
past and present sought by Scott and look towards a future in
which it would be possible to be simultaneously a Highlander,
a Scot, and a Briton.
C. S. ‘The Unheard Narrative: Sir Walter Scott and
the Exclusion of Cultural Evidence from Self-Defense Claims’,
University of Chicago Law School Roundtable, 7 (2000), 295-324.
that in 'The Two Drovers',
where the judge excludes cultural evidence in support of a claim
of self-defence to a charge of murder, Scott raises questions
relevant to contemporary U.S. courts when confronting violations
of U.S. Law by recent immigrants whose cultural expectations are
vastly different from those upon which American law is based.
Argues that both in Scott and in contemporary America, the judge's
use of his/her narrative authority to exclude cultural evidence
based on irrelevance or lack of objective reasonableness may in
fact be a normatively-based decision which reduces objectivity
in legal decision-making.
Jerome. 'Clerical Liberalism: Walter Scott's World Picture',
in Romanticism at the End of History (Baltimore, MD.; London
: Johns Hopkins University Press, c2000), pp. 153-75.
that the historical significance of Waverley
lies in its production of a 'world picture' (in Heidegger's terms),
in which Scott 'moots the monarchical problematic of sovereign
cause and subject effect in favor of the liberal idiom of presupposition
Daniel. 'Ivanhoe et Les Chouans: lecture
des dénouements de deux romans historiques', in Le Roman
historique: récit et histoire, ed. Daniel Couégnas
and Dominique Peyrache-Leborgne (Nantes: Editions Pleins Feux, 2000),
the dénouements of Ivanhoe
and Balzac's 1829 novel Les Chouans.
Philip. 'Adapting the National Myth: Stage Versions of
Scott's Ivanhoe', in Reading Adaptations: Novels and
Verse Narratives on the Stage, 1790-1840 (Manchester; New York:
Manchester University Press, 2000), pp. 77-120.
that theatrical adaptations of Ivanhoe
problematize many of the notions of heroic behaviour found in
Scott's novel and foreground those aspects of the original (particularly
concerning the presentation of Isaac and Rebecca) which implicitly
bring into question its apparently simple celebration of national
and cultural unity.
Philip. '"Another and the same": Repetition and
Representation in Adaptations of Scott's The Lady of the Lake',
in Reading Adaptations: Novels and Verse Narratives on the Stage,
1790-1840 (Manchester; New York: Manchester University Press,
2000), pp. 44-76.
by considering the vociferous critical debate sparked by the success
of Scott's The Lady
of the Lake, which led to an important reassessment of
the criteria used to determine literary value and to a tentative
and largely implicit series of distinctions between 'high' and
'low' culture. Goes on to review a number of adaptations of the
poem and to describe how generic reformulation of the narrative
suggests different and competing ways of representing notions
of the individual in the early nineteenth century.
Richard. ‘Walter Scott and Anti-Gallican Minstrelsy’,
in The Politics of Romantic Poetry: In Search of the Pure Commonwealth
(Basingstoke; New York: Palgrave Macmillan, 2000), pp. 92-109.
that war with France prompted Scott in The
Lay of the Last Minstrel and Marmion
to develop a rhetoric in which difference, the difference pre-eminently
between the Scots and the English, could be celebrated as the
ground of a higher unity. This chapter reworks an identically
titled article in ELH, 66 (1999).
Kirsten.'“Return no more!”: Highland Emigration
and Romantic Nostalgia', Literature and History, 9.1 (2000),
the relationship between nostalgia and Highland emigration in
two rhetorically suggestive poems, known and admired by Scott:
Anne Grant’s ‘The Highlanders’ (1802) and James
Grahame’s The Sabbath (1804).
David. 'Walter Scott, Julius Caesar, Flambard and Prince
Anatole: JB at Elsfield, 1932', John Buchan Journal, 22
John Buchan's 1932 biography of Scott, which Daniell considers
Buchan's finest work.
Julian Meldon. 'Wilkie Collins and Scotland', in Terranglian
Territories: Proceedings of the Seventh International Conference
on the Literature of Region and Nation, ed. Susanne Hagemann
(Frankfurt am Main: Peter Lang, 2000), pp. 187-96.
a discussion of Wilkie Collins's lifelong passion for Scott, 'the
Prince, King, Emperor, God Almighty of novelists'. Underlines
the significance of his 1842 tour of Scotland in the company of
his artist father William Collins who had been commissioned to
illustrate an edition of the Waverley Novels (and who had personally
known Scott), Finally detects echoes of Scott in a number of Collins's
Alexander. 'Swerving from Walter Scott: The Captain's
Daughter as a Metahistorical Novel', Elementa, 4 (2000),
the influence of Scott on Pushkin's 1836 novel Kapitanskaia
dochka (The Captain's Daughter).
Scott, James Hogg and Scottish Gothic’, in A Companion
to the Gothic, ed. David Punter (Oxford; Malden, MA: Blackwell,
2000), pp. 70-80.
Scott's verse and fiction within a Scottish Gothic tradition which
associates the national with the uncanny or supernatural, with
particular reference to The
Lay of the Last Minstrel and Waverley.
Walther. 'Übersetzungen vertonter und Vertonungen
übersetzter Texte: Mozarts La finta gardiniera und
Schuberts Lieder aus Walter Scotts Fräulein vom See',
Editio, 13 (2000), 41-54.
Schubert's song-settings from The
Lady of the Lake.
Gary. ‘Irresolute Ravishers and the Sexual Economy
of Chivalry in the Romantic Novel’, Nineteenth-Century
Literature, 55 (2000), 340-68.
the different ways in which Ivanhoe
and James Fenimore Cooper’s The Last of the Mohicans
(1826) deal with the contradictions attendant on the contemporary
ideology of ‘chivalry’. In each 'chivalry' fails to
protect women as it is not disinterested but dependent on sexual
Juliet. ‘Highland Histories: Jacobitism and Second
Sight’, CLIO, 30.1 (2000), 51-77.
to illustrate an argument that eighteenth-century discourse on
second sight was highly politicized, persistently linking second
sight and Jacobitism through a process of cultural association.
Juliet. ‘Vortigern, Rowena, and the Ancient Britons:
Historical Art and the Anglicization of National Origin’,
Eighteenth-Century Life, 24.1 (2000), 1-21.
essay presents Ivanhoe
as the culmination of a process whereby the Welsh legend of Rowena
and Vortigern, which originally asserted the primacy of the Welsh
people and mourned the loss of their birthright to the Saxon conqueror,
evolved into an English national foundation myth.
Michael. '‘”To Foist Thy Stale Romance”:
Scott, Antiquarianism, and Authorship', in Romanticism and the
Gothic: Genre, Reception, and Canon Formation (Cambridge: Cambridge
University Press, 2000), pp. 163-200.
Scott's attempts in Minstrelsy
of the Scottish Border, The
Lay of the Last Minstrel, Marmion,
and The Doom of Devorgoil to transform himself from disciple
of Matthew 'Monk' Lewis to antiquarian scholar and national bard.
Lidia. ‘Literary Giants and Black Dwarfs’,
Scottish Studies Review, 1 (2000), 78-93.
The Black Dwarf
as the 'intentional representation of a Timon-like personality
endowed with a Byronic and, possibly, Scottian awareness of physical
Lidia. ‘Mary Shelley and Walter Scott: The Fortunes
of Perkin Warbeck and the Historical Novel’, in Mary
Shelley's Fictions, ed. Michael Eberle-Sinatra (Basingstoke;
New York: Palgrave Macmillan, 2000), pp. 150-63.
the influence of Scott on Shelley's historical novel The Fortunes
of Perkin Warbeck (1830).
Hans Vilmar. ‘Ein Feld von Differenzierungen: zur
kritisch-produktiven Scott-Rezeption von Arnim bis Fontane’,
in Beiträge zur Rezeption der britischen und irischen Literatur
des 19. Jahrhunderts im deutschsprachigen Raum, ed. Norbert
Bachleitner (Amsterdam; Atlanta, GA: Rodopi, 2000), pp. 479-500.
the critical and creative reception of Scott's work in the German-speaking
world throughout the nineteenth century.
Peter. ‘Das Geheimnis des schwarzen Ritters oder
Scott und Immermann’, in The Novel in Anglo-German Context:
Cultural Cross-Currents and Affinities: Papers from the Conference
Held at the University of Leeds from 15 to 17 September 1997,
ed. Susanne Stark (Amsterdam: Rodopi, 2000), pp. 117-28.
in the preface to his translation of Ivanhoe
(1826) and in the translation itself, Karl Immermann displays
a critical attitude to Scott's model of historical fiction. In
his own novel Epigonen (1836) he uses motifs from Ivanhoe
both to criticize Scott's methods and to satirize the 19th-century
Ana Lucia de Souza. 'Língua, literatura e poder',
Revista da Fundação Educacional Rosemar Pimentel,
3.3 (2000), 46-55.
article comparing the use of vernacular Scots in Scott's Waverley
and Irvine Welsh's Trainspotting (1993) within their
respective historical contexts.
Ana Lucia de Souza. 'Literatura e identidade nacional lingüística:
Walter Scott e Irvine Welsh', Revista do GELNE, 2.1 (2000),
Brazilian article comparing the use of Scots as a literary medium
in Scott's The
Antiquary and Irvine Welsh's Ecstasy (1996).
Scott is characterized as a writer who maintains that Scottish
traditions and national identity can be preserved within the United
Kingdom, while Welsh is seen as representative of a new school
of Scottish writing, fighting, with the pen, for Scotland's political
Ana Lucia de Souza. 'A questão da identidade nacional
lingüística em Walter Scott e Irvine Welsh', in VII
Congresso Internacional da ABRALIC: Terras e gentes (Salvador:
on the question of linguistic national identity in Scott and Irvine
Welsh, originally given as a paper at the 7th Annual Meeting of
the Brazilian Comparative Literature Association (Associação
Brasileira de Literatura Comparada). Pagination unknown.
Anthony. 'Walter Scott and Medievalism', in English
Romanticism (London: Minerva, 2000), pp. 109-23.
the treatment of medieval Christianity, knighthood, and chivalry
in The Lay of the
Last Minstrel, Ivanhoe,
and The Talisman.
Robert P. 'Enlightenment, Agency and Romance: The Case
of Scott's Guy Mannering', Journal of Narrative Theory,
30.1 (2000), 29-54.
the role of romance plot-structure in its relation to Scott's
realist project, taking romance to be not simply an extra-realistic
principle but historical realism's opposite and antidote.
Richard D. 'A Case of Palsy', Scottish Literary Journal,
27 (2000), 9-21.
conflicting accounts of the cerebral seizure suffered by Scott
on 15 February 1830. Suggests that it may have been a transient
ischaemic attack (TIA).
Richard D. 'George Crabbe and Scott's Saint Ronan's
Well', Scott Newsletter, 36 (2000), 7-23.
Scott's debt to Crabbe in St
Ronan's Well and other novels.
Richard D. 'Scott, Melrose and Saint Ronan's Well',
Scott Newsletter, 37 (2000), 8-23.
that Melrose may have been a model, as much as Innerleithen, for
Scott's St. Ronan, and discusses the possibility that the tale
of 'dark domestic guilt' which inspired Scott's novel
may have involved two inhabitants of Darnick by Melrose, Helen
and Elizabeth Milne.
Catherine A. ‘Hawthorne's Scotland: Memory and Imagination’,
Symbiosis, 4, 133-51.
Scott's influence on Hawthorne's shorter fiction, arguing that
Hawthorne rejects Scott's faith in folk-memory and in the reality
of a communal past.
Catherine A. ‘Scott's The Heart of Midlothian
and the Disordered Memory’, in Memory and Memorials, 1789-1914:
Literary and Cultural Perspectives, ed. Matthew Campbell, Jacqueline
M. Labbé, and Sally Shuttleworth (London; New York: Ashgate,
2000), pp. 30-45.
that the plot of The
Heart of Mid-Lothian depends on the precarious witness
of Madge Wildfire's disordered mind. Pitting competing eighteenth-century
ideas of memory and imagination against each other, Scott ultimately
vindicates the wayward workings of the imagination in opposition
to the precepts of Scottish Common Sense philosophy.
Steven E. 'Satiric Performance in The Black Dwarf',
in Satire and Romanticism (New York, NY.: St Martin’s
Press, 2000), pp. 71-110.
how far Thomas J. Wooler's satirical weekly The Black Dwarf
(1817-24) may have been inspired by Scott's novel
of the same name.
Lionel. '”Nigel” and “Peveril”:
Scott and Gender Roles', English Language Notes, 37.3 (2000),
how in both The Fortunes
of Nigel and Peveril
of the Peak young feudal aristocrats are forced to accept
the aid of talented and experienced women of whose powers they
have no inkling. Both novels question the value of masculine combat
and control and posit the increasing importance in the modern
world of virtues traditionally considered feminine.
Philippe. ‘L'Institution du corpus imaginaire gaélique
dans la littérature écossaise: MacPherson [sic] et
Scott, entre idéologie et synecdoque culturelle’, Études
écossaises, 6 (1999-2000), 129-45.
the 'cultural synecdoche' by which a part of Scotland, the Highlands,
came to stand for the whole. First emerging in the work of James
'Ossian' Macpherson, the synecdoche is granted official status
by Scott through the novel Waverley,
his involvement in the Celtic Society, and his organization of
George IV's Edinburgh visit of 1822. Also examines the mixture
of scorn and fascination in Scott's reception of Ossian.
Laurent. 'La Metáphore filée métatextuelle
et le détours de la connaissance: analyse d'un cas dans Waverley
de Walter Scott', La Licorne, 54 (2000), 263-70.
Andrew. ‘Conciliation, Resistance and the Unspeakable
in The Heart of Mid-Lothian’, Philological Quarterly,
79 (2000), 69-90.
that in the steadfast refusal of the Covenanters to accept the
necessity of betrayal in The
Heart of Mid-Lothian, Scott could find an admirable model
of resistance, but one at odds with his own conciliatory stance.
The undeclared project of the novel might be described as an attempt
to bridge the gulf between conscientious resistance and polite
Joanna. ‘Scott’s Hi/story Telling: A Postmodern
Reading of Kenilworth’, Studia Anglica Posnaniensia,
35 (2000), 285-91.
that Walter Scott’s Kenilworth
combines two literary traditions: realist and self-conscious.
Not only does the novel recreate the world of Elizabethan England
but it also provides a metahistorical commentary on the process
of recreation itself.
Magnus. ‘Sir Walter Scott: “The Wizard of the
North”’, in Scotland: The Story of a Nation
(New York: Atlantic Monthly Press, 2000), pp. 632-62.
volume emerged from a BBC Radio Scotland series (1998) which used
of a Grandfather as a framework. The biographical chapter
on Scott himself places particular emphasis on his debt to the
Enlightenment, the building of Abbotsford,
the discovery of the Regalia of Scotland (1818), George IV’s
visit to Scotland (1822), and the financial crash of 1825-26.
as Scott’s masterpiece, a ‘much more powerful and
profound “Jacobite” novel’ than Waverley.
Michel. ‘Distance, écart, rupture dans Waverley’,
Études écossaises, 6 (1999-2000), 147-57.
that the themes of spatial and temporal distance and rupture which
underlie the Waverley Novels, and especially Waverley
itself, present a challenge to the Lukácsian notion of
a 'classic form' of the historical novel where a Hegelian dialectic
leads to synthesis..
W. R., and Warren U. Ober.
'Alice Munro's "Hold Me Fast, Don't Let Me Pass" and "Tam
Lin"', ANQ, 13.3 (2000), 44-48.
parallels between Alice Munro's short story and the ballad 'Tam
Lin'. Several stanzas are quoted by Munro, generally from Scott's
transcription in Minstrelsy
of the Scottish Border.
Chris Ann. ‘Le Grand Jeu and the Great Game: The
Politics of Play in Walter Scott's Waverley and Rudyard
Kipling's Kim’, JNT: Journal of Narrative Theory,
30 (2000), 163-86.
that in both novels the Great Game functions as a metaphoric code
word for the relationship between England and her annexed colonies.
Richard. ‘Pretenders in Sanctuary’, Modern
Language Quarterly, 61 (2000), 287-358.
as part of an argument that the narrative of pretenders in sanctuary
lies at the heart of the historical novel as a genre. The affinity
between royal ambition and asylum produces foundational insights
-- not only about pretenders but also about relations between
history and fiction in a world of emerging mass-democratic movements.
(These ideas are further explored in Richard Maxwell's The
Historical Novel in Europe, 1650-1950 (2009).)
Caroline. 'Dead Letter? A Walter Scott Manuscript at the
University of Wyoming', Scott Newsletter, 37 (2000), 2-8.
a letter from Scott to Jane Porter, dated 6 October 1831.
Caroline. ‘The Fourth Peril of James Hogg: Walter
Scott and the Demonology of Minstrelsy’, Studies in Hogg
and his World, 11 (2000), 39-55.
Hogg's The Three Perils of Man, as a riposte and 'prequel'
to The Lay of the
Last Minstrel and the Wizard Michael Scott's role in
the novel as a coded commentary on Scott, the 'Wizard of the North'.
Jerome J. 'Reading Fiction/Teaching Fiction: A Pedagogical
Experiment', Pedagogy, 1 (2000), 143-65.
interpretation of a pedagogical experiment designed to address
undergraduate problems with the critical reading of classic novels
and related postgraduate difficulties with teaching them. The
novels used were Scott's The
Bride of Lammermoor and Nathaniel West's Day of the
Locust. This article was written in collaboration with John
Griffith, Jennifer Kremer, Rebecca L. Kroeger, Brooks Moriarty,
Jason Pikler, Bennett Simpson, and Kate Stephenson.
Fiona. 'Cadres narratifs et préfaces scottiens:
l’H/histoire dans les Waverley Novels', in Le Roman historique:
récit et histoire, ed. Daniel Couégnas and Dominique
Peyrache-Leborgne (Nantes: Editions Pleins Feux, 2000), pp. 96-108.
Scott's narrative framing devices and prefaces.
Janette. ‘Alfred de Vigny à Abbotsford: un
bijou dans la brume d'Écosse’, Bulletin des Amis
d’Alfred de Vigny, 29 (2000), 67-76.
Vigny's meeting with Scott in Paris, 1826, during which he presented
Scott with a copy of his novel Cinq-Mars (1826), and
discusses the provenance of a second work by Vigny, Poèmes
(1822), in the Abbotsford Library.
Janette. ‘Sir Walter Scott and the French Press:
Paris 1826’, Scottish Tradition, 25 (2000), 26-52.
French press coverage of Scott's visit to Paris in 1826 in order
to research The
Life of Napoleon Bonaparte and discusses his French literary
reputation in the years leading up to 1826.
Rennie. ‘A Prospect of Perth’, Scots Magazine,
153 (2000), 388-92.
Scott's 'ridgy eminence', a viewpoint on the Wallace Road from
which Scott first glimpsed Perth and which is depicted in The
Fair Maid of Perth.
Stephen. 'Marschner's Villains, Monomania, and the Fantasy
of Deviance', Cambridge Opera Journal, 12 (2000), 109-34.
other characters, analyses Bois-Guilbert in Der Templer und
die Jüdin (1829), an operatic adaptation of Ivanhoe,
which, like other Marschner operas, foregrounds the inner life
of the villain. Studies Marschner's villains against the background
of early nineteenth-century pathology, and particularly the syndrome
of 'monomania'. Marschner's music, which partially 'heroicizes'
the villains in keeping with the contemporary rise of the sympathetic
villain, parallels efforts to redefine the nature of madness.
Jane. ‘The Early Publication History of Scott's Minstrelsy
of the Scottish Border’, Papers of the Bibliographical
Society of America, 94 (2000), 551-64.
newly discovered correspondence between Scott and his publishers
Cadell & Davies and Longman & Rees.
Andrew. ‘The Odd Couple: Christian Isobel Johnstone's
Reviews of Maria Edgeworth and Walter Scott’, Scottish
Literary Journal, 27 (2000), 22-38.
articles by the Scottish novelist Christian Isobel Johnstone in
Tait's Edinburgh Magazine and The Schoolmaster and
Edinburgh Weekly Magazine (both 1832).
John, and Wade Newhouse. ‘History,
Romance, and the Sublime Sound of Truth in Ivanhoe’,
Studies in the Novel, 32 (2000), 267-95.
that allusions to contemporary history in Ivanhoe
help to generate a debate over the discursive powers of history
versus romance, and the rhetorical problems of decorum within
each choice of discourse. They also intimate a political justification
for Scott's narrative choices that is directly tied to this novel's
philosophical meditation on the grounds of truth in language.
Peter. ‘The Descent of Odin: Wordsworth, Scott and
Southey among the Norsemen’, Romanticism, 6 (2000),
that of all British Romantics, Scott showed the keenest interest
in Old Norse literature, incorporating its heroes and legends
into his fiction (The
and poetry (The
Lay of the Last Minstrel) and producing works of scholarship
('Abstract of the Eyrbyggja Saga'). Mortensen's argument
that Harold the Dauntless
is Scott's most significant treatment of Nordic themes, reversing
earlier literary value judgements on Nordic heroism, is developed
in his British Romanticism
and Continental Influences (2004).
Andrew. ‘Understanding the Land in Scot(t)land’,
in Terranglian Territories: Proceedings of the Seventh International
Conference on the Literature of Region and Nation, ed. Susanne
Hagemann (Frankfurt am Main; Oxford: Peter Lang, 2000), pp.631-40.
the construction of Scotland as 'Scottland' in the Victorian period
when the impact of forms of visual media and the development of
mass tourism first effectively permitted the international marketing
of an image of Scotland.
Stefan. ‘"Sechsunddreissig Könige für
einen Regenschirm": Heinrich Heines produktive Rezeption britischer
in Beiträge zur Rezeption der britischen und irischen Literatur
des 19. Jahrhunderts im deutschsprachigen Raum, ed. Norbert
Bachleitner (Amsterdam; Atlanta, GA: Rodopi, 2000), pp. 409-42.
is often regarded as virulently antagonistic to Scott on the strength
of his Englische Fragmente (1827) where Scott is attacked
as the enemy of Napoleon and of liberty. Niehaus shows, however
(pp. 421-27) that Heine's earlier writings evince considerable
admiration for the founder of the historical novel, and that he
would later rank Scott second only to Shakespeare among English
poets. It was Scott's portrayal of Heine's idol in The
Life of Napoleon Buonaparte that provoked a short-lived
Macháin, Pádraig. ‘Sir Walter Scott's
Irish Manuscript’, Scottish Gaelic Studies, 20 (2000),
an 18th-century Irish Gaelic MS presented to Scott by John Brinkley
in 1825. Part of the Abbotsford Library collection, it is a miscellany
containing grammatical and genealogical matter.
Pam. ‘A Taste for Scottish Fiction: Christian Johnstone's
Cook and Housewife's Manual’, European Romantic
Review, 11 (2000), 248-58.
a manual written by Christian Isobel Johnstone in the persona
of Meg Dods, the landlady in Scott's St.
Ronan's Well. Focuses on the preface which takes the
form of a discussion between Meg, several other Scott characters,
and Dr Redgill from Susan Ferrier's novel Marriage (1818).
Mark Salber. '"The Comedy of Middle Life": Francis
Jeffrey and Literary History', in Society and Sentiment: Genres
of Historical Writing in Britain, 1740-1820 (Princeton, NJ:
Princeton University Press, 2000), pp. 259-94.
Tatjana. 'O engleskim prijevodima narodne pjesme "Hasanaginica"',
Muzika, July-Dec. 2000, 71-73.
a discussion of 'Lamentations of the Faithful Wife of Asan Aga',
Scott's translation of the Bosnian oral ballad ‘Hasanaginica’
which he prepared from an intermediary translation by Goethe.
Todd. 'An Unpublished Letter of Sir Walter Scott', Notes
and Queries, 47 (2000), 299-301.
and discusses a letter in the Allison-Shelley
Collection at Pennsylvania State University complimenting
two known letters of introduction for Scott's amanuensis Henry
Leah. ‘Postscript: Scott and the Literary-Historical
Novel’, in The Anthology and the Rise of the Novel (Cambridge:
Cambridge University Press, 2000), pp. 48-66.
Scott's 'historicization of genre' in Redgauntlet
as it moves from epistolary fiction to memoir to third person
Alexander. ‘Die Bekannten und die beiden "großen
Unbekannten": Scott, der historische Roman und sein Einfluß
auf Charles Sealsfield’, in Beiträge zur Rezeption
der britischen und irischen Literatur des 19. Jahrhunderts im deutschsprachigen
Raum, ed. Norbert Bachleitner (Amsterdam; Atlanta, GA: Rodopi,
2000), pp. 443-77.
Scott's influence on the Austrian-born historical novelist Charles
Sealsfield (pseudonym of Karl Postel), who wrote in both English
Angus. ‘Culture and Capital: Dublin's Swift and Edinburgh's
Scott’, in English Literatures in International Contexts,
ed. Heinz Antor and Klaus Stierstorfer (Heidelberg: Winter, c2000),
Eléonore. 'Balzac et les modèles scottiens:
l'exemple des Chouans', in Le Roman historique: récit
et histoire, ed. Daniel Couégnas and Dominique Peyrache-Leborgne
(Nantes: Editions Pleins Feux, 2000), pp. 134-55.
Scott's influence on Balzac's 1829 novel Les Chouans.
Diego. 'The Nation as Progress Text in Scott's The
Vision of Don Roderick', in Poetic Castles in Spain: British
Romanticism and Figurations of Iberia (Amsterdam; Atlanta,
GA.: Rodopi, 2000), pp. 106-15.
the part played by The
Vision of Don Roderick in the construction of myths of
the nation before, during, and after the Peninsular War.
Andrew. '"Utter indifference"?: The Anglo-Saxons in
the Nineteenth-Century Novel', in Literary Appropriations of
the Anglo-Saxons from the Thirteenth to the Twentieth Century,
ed. Donald Scragg and Carole Weinberg (Cambridge: Cambridge University
Press, 2000), pp. 157-73.
that the influence of Ivanhoe
on Victorian writers (Bulwer, Disraeli, Kingsley) ought to be
seen less in terms of race and racial conflict than in terms of
a new emphasis on national identity (which stresses racial admixture
over racial difference).
Mark L. ‘Waging Battle: Ashford v. Thornton, Ivanhoe
and Legal Violence’, Prose Studies, 23 (2000), 61-86.
that in Ivanhoe,
Scott enters a debate on the role of the real or imagined heritage
of medieval law sparked by Abraham Thornton's successful plea
to defend himself by Wager of Battle in 1817. A revised
version appeared in Medievalism and the Quest for the
'Real' Middle Ages, ed. Claire A. Simmons (2001).
Joachim. 'Scottishness: The Representation of a Frame of
Mind’, Journal for the Study of British Cultures,
7 (2000), 29-38.
a development in the understanding of Scottishness and typically
Scottish features by looking into auto- and hetero-stereotypes
in different periods of Anglo-Scottish relationships. Considers
Scott's role in the formulation of a Romantic view of Scotland
centred on the Highlands, and the impact of his work on the marketing
of Scotland for the nineteenth-century tourist industry.
Stuart. ‘Reading the Tangible Past: British Tourism,
Collecting, and Memory after Waterloo’, Representations,
69 (2000), 9-37.
Scott's The Field
of Waterloo and Paul's
Letters to His Kinsfolk among other literary representations
of the battlefield of Waterloo.
Elizabeth. 'Scott and the Crusades', in The New Crusaders:
Images of the Crusades in the Nineteenth and Early Twentieth Centuries
(Aldershot: Ashgate, c2000), pp. 112-30.
and Count Robert
Jonah. ‘Hazlitt, Scott, Lockhart: Intimacy, Anonymity,
and Excess’, in Desire and Excess: The Nineteenth Century
Culture of Art (Princeton; Oxford: Oxford University Press,
c2000), pp. 93-129.
how tension between intimate knowledge and admiration shaped major
19th-century literary biographies including Lockhart's Memoirs
of the Life of Sir Walter Scott, Bart. (1837-38) and Robert
Chambers’s Illustrations of the Author of Waverley
(1825). In Scott's case, anonymity helps to maintain an aura of
divinity which biographical curiosity might otherwise erode. Notes
similar tensions in Scott’s own Lives of the Novelists
(1821-24) between a Johnsonian tone of magisterial public judgement
and a fascination with the idiosyncracies of the artistic character
derived from Isaac D’Israeli.
Clare A. ‘Scottish Waste as Romantic Problem’,
Wordsworth Circle, 31.2 (2000), 89-93.
the theme of wasteland in The
Bride of Lammermoor and the Victorian reinstatement of
Scotland as Romantic wilderness.
Edward C., III. ‘Walter Scott, Literary History and
the "Expressive" Tenets of Waverley Criticism’,
Papers on Language and Literature, 36 (2000), 357-76.
that the habit of reading the Waverley Novels as expressions or
projections (of the moral order, the human heart, or history)
has sealed Scott's fate as a second-rate novelist for several
generations of critics. Plots a path leading from Carlyle through
Walter Bagehot, Virginia Woolf, E.M. Forster, Edwin Muir, and
George Lukács to Harry E. Shaw.
Hartmut. ‘Britische-deutsche Romanlektüren im
frühen neunzehnten Jahrhundert: Hoffmann und Scott zum Beispiel’,
in The Novel in Anglo-German Context: Cultural Cross-Currents
and Affinities: Papers from the Conference Held at the University
of Leeds from 15 to 17 September 1997, ed. Susanne Stark (Amsterdam:
Rodopi, 2000), pp. 103-16.
cross-currents between the British and German history of the novel
in the early nineteenth century, focussing on Scott and E.T.A.
Horst, Robert. 'Elective Affinities: Walter Scott and Miguel
de Cervantes', in Cervantes for the 21st Century = Cervantes
para el siglo XXI: Studies in Honor of Edward Dudley, ed. Francisco
La Rubia Prado (Newark, DE: Juan de la Cuesta, 2000), pp. 199-220.
the extraordinary 'kinship' between Scott and Cervantes, showing
how both structure their stories around the interplay between
novel and romance.
B. J. ‘A Scott-Hogg Dialogue about Religion’,
in Studies in Hogg and his World, 11 (2000), 25-38.
Hogg's The Brownie of Bodsbeck (1818) has often been
approached as a response to Scott's Old
Mortality. Tysdahl focuses, however, on how far Scott's
the Canongate, and The
Fair Maid of Perth might be read as a response to Hogg's
religious discourse in The Private Memoirs and Confessions
of a Justified Sinner (1824).
John Powell. ‘Wordsworth and Friendship’, Coleridge
Bulletin, 15 (2000), 27-40.
(pp. 28-29) a discussion of Wordsworth's friendship with Scott.
Andrew. 'Protectors of Northern Arts', in The Vikings
and the Victorians: Inventing the Old North in Nineteenth-Century
Britain (Cambridge: D.S. Brewer, 2000), pp. 60-88.
Scott's contribution to the diffusion and reception of Old Norse
literature in the nineteenth century, with particular reference
to Harold the Dauntless,
Count Robert of Paris,
and Scott's 'Abstract of the Eyrbyggja Saga'.
Matthew. 'The Allure of the Improbable: Fingal, and the
Testimony of the "Echoing Heath"', PMLA, 115
the influence of James 'Ossian' Macpherson's Fingal on
Scott's treatment of progress and 'improvement' in Waverley.
Gillen D'Arcy. ‘Working holiday: Turner as Waverley
Tourist’, Wordsworth Circle, 31.2 (2000), 83-88.
J. M .W. Turner's illustrations for the Cadell edition of The
Poetical Works of Sir Walter Scott (1833-34).
Everett. ‘The Hero of Sensibility in a Commercial
Romance: Scott's Rob Roy’, in Passionate Encounters
in a Time of Sensibility, ed. Maximillian E. Novak and Anne
Kostelanetz Mellor (Newark: Delaware University Press; London: Associated
University Presses, 2000), pp. 221-46.
that Rob Roy
shows how exploitation of the cult of feeling functioned to expand
the world of capitalism. At the same time, however, the novel
contests the marriage of sensibility and commerce through its
overt nostalgia for a pre-capitalist world.
Everett. ‘Personal Identity, Narrative, and History:
The Female Quixote and Redgauntlet’, Eighteenth-Century
Fiction, 12 (2000), 369-90.
with Charlotte Lennox's The Female Quixote (1752) as
an attempt to reconcile personal and civil identity.
Lisa. 'The Politics of Eschatological Prophecy and Dryden's
1700 The Secular Masque', Eighteenth Century,
41 (2000), 185-203.
a critique of Dryden's The Secular Masque which challenges
the still widely accepted interpretation offered by Scott in his
1808 edition of Dryden's Works which linked the gods depicted
to English monarchs of the seventeenth century. Seen in its cultural
context, the work can be viewed as a politically motivated satire
intended to express hope for the removal of William III from the
throne and the restoration of James II.
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