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and Chapters on Sir Walter Scott Published in 2001
In addition to
The Scott Newsletter (nos. 38-39), this year saw the publication
of one special issue of a journal exclusively devoted to Scott studies.
The Spring 2001 number of Studies in Romanticism, edited
by Ian Duncan, Ann
Rowland, and Charles
Snodgrass, was entitled Scott, Scotland and Romantic
Nationalism. It drew on papers presented at the Sixth Meeting
of the International Scott Conference, University of Oregon, July
1999, and addressed the recent turn in romanticist scholarship to
issues of national identity and nationalism. For details of the
individual articles, see Craig, Lynch,
Zahra A. Hussein. 'Adjusting the Borders of Self: Sir Walter
Scott's "The Two Drovers"', Papers on Language &
Literature, 37 (2001), 65-84.
how 'The Two Drovers'
delineates an exemplary paradigm of the dynamics and problematics
of regional border-crossing.
Ala A. ‘Historicity, the Child, & Scott's Historical
Novel’, in Original Subjects: The Child, the Novel, and
the Nation (Harvard, Mass.: Harvard University Press. 2001),
and Old Mortality
as 'national education narratives', casting Edward Waverley and
Henry Morton as children and the omniscient narrator as a guiding
national father, who both narrates the life of the protagonist
and provides a formulaic narrative prescription for the lives
of his fellow citizens.
Stephen. ‘Scott's Pageants: The Example of Kenilworth’,
Studies in Romanticism, 40 (2001), 99-107.
Scott's use of pageantry in Kenilworth
to his stage-management of George IV's Edinburgh visit of 1822.
Arata shows how the performativity of pageant functions as 'reformed'
history in the service of future political agendas.
Nancy. ‘La morale borghese e il paradosso dell’individualismo’,
in Il romanzo. 1, La cultura del romanzo, ed.
Franco Moretti (Turin: Einaudi, 2001), pp. 272-306.
(pp. 286-91), a discussion of Waverley
and of Mary Shelley's Frankenstein, which identifies
both novels with a turn against individualism on the part of bourgeois
morality, where, in order to enter the modern social order, the
individual had to renounce what was most essential to their individuality.
This chapter was re-published in English
translation in 2006.
Ian. 'Globalit, Inc.; Or, the Cultural Logic of Global
Literary Studies', PMLA, 116 (2001), 158-72.
an analysis of Fredric Jameson's The Political Unconscious
(1981) which suggests it may be viewed as a rewriting of Scott's
representation of the heterochronic theory of time articulated
by the 'philosophical historians' of the Scottish Enlightenment.
is cited as an illustration of the Enlightenment 'discovery' of
a set of temporal irregularities in the map of Scotland, zones
of the non-contemporary in the chart of the contemporaneous.
Iain Gordon. 'Three's Company: Chambers and the "Most
Romantic Young Lady"', Scott Newsletter, 38 (2001),
Robert Chambers's introduction of 'Miss Inglis of Musselburgh'
to Scott, and a letter from Chambers to Miss Inglis showing that
what appeared to be a chance meeting had been arranged in great
Margaret. '"The King of England ... loved to look
upon a MAN": Melancholy and Masculinity in Scott's Talisman’,
Modern Language Quarterly, 62 (2001), 19-41.
that Scott not only pre-empts contemporary analysis of a 'crisis
in masculinity' but codifies the language in which it is expressed.
In The Talisman's
mobile, 'gender-bending' Saladin, he suggests, however, a resolution
to that crisis.
Miranda J. ‘Scott, History and the Augustan Public
Sphere’, Studies in Romanticism, 40 (2001), 123-35.
Scott's negotiation of a way out of the dichotomy between Jacobitism
and Jacobinism as romantic ideologies for Scotland in The
Frederick. ‘Sir Walter Scott and the Literary Pirates’,
in Thomas de Quincey: Knowledge and Power (Basingstoke;
New York: Palgrave Macmillan, 2001), pp. 43-66.
De Quincy's translation of Alexis's Walladmor (1824),
a novel originally presented in German as a new translation from
Pérez, Gemma de. 'Kenilworth 1821-¿1999?',
in La lingüística aplicada a finales de siglo: ensayos
y propuestas, ed. Isabel de la Cruz Cabanillas, et al., 2 vols
(Alcalá de Henares: A.E.S.L.A. and Universidad de Alcalá
de Henares, 2001), II, 789-95.
Spanish translations of Kenilworth.
Cairns. 'Scott's Staging of the Nation', Studies in
Romanticism, 40 (2001), 13-28.
that Benedict Anderson's account of the cultural politics of nation
formation in Imagined Communities (1983) does not do
justice to Scott, whose novels present a vast investigation of
the new forms of the nation to which the nineteenth century gave
Robert. ‘Walter Scott and European Union’,
Studies in Romanticism, 40 (2001), 137-52.
that Scott's writings, with their transnational reception and
influence, engage questions fundamental to current debates about
European identity and union.
Julian Meldon. 'Roseneath: Scotland or "Scott-land"?:
A Reappraisal of The Heart of Midlothian', Studies
in Scottish Literature, 32 (2001), 26-36.
that the fourth 'Roseneath' volume of The
Heart of Midlothian is not, as often thought, inferior
to its predecessors. Far from presenting an idyllic vision of
a unified, law-abiding, 'Scott-land', it provides a coherent climax
to a highly ironic view of the true state of mid-eighteenth-century
Scotland and reveals Scott as far more ambivalent to the 1707
Union than previously supposed. A revised version appears in D'Arcy's
Subversive Scott: The Waverley
Novels and Scottish Nationalism (2005), pp. 150-62.
John. ‘The Collision of Two Worlds: Sir Walter Scott's
Ivanhoe and Moorish Spain’, in 1492: The Poetics
of Diaspora (London; New York, 2001), pp. 34-65.
to explain the notorious anachronism by which Rebecca and Isaac
leave twelfth-century England for fifteenth-century Granada. Argues
that Scott deliberately drew attention to the imminent fall of
the Moorish kingdom, the last remnant of a multi-cultural and
pluralist alternative to the European nation-state.
George A. '”The Ordinary Rules of the Pavé”:
Urban Spaces in Scott's Fortunes of Nigel’, Studies
in the Novel, 33 (2001), 416-29.
that Scott's fascination with borders and thresholds manifests
itself in the discontinuities and dissymmetries of his urban social
spaces. At times, Scott historicizes space more fully in the collapsed,
hybrid space of his urban scenes than even in his more highly
varnished Scottish landscapes.
Simon. ‘The Geography of Violence: Historical Fiction
and the National Question’, Novel, 34 (2001), 294-308.
Quentin Durward amongst other historical novels, arguing
that literary theory has done scant justice to historical fiction,
which offers a more profound and troubling representation of the
passages of modernity than either the 'literature of apocalyptic
self-consciousness' or the literature of bourgeois domesticity.
Amy J. 'The Link to Historical Romance', in Sublime
Desire: History and Post-1960s Fiction (Baltimore, Md.; London:
John Hopkins University Press, 2001), pp. 181-220.
(pp. 10-16) Scott's historical romances as caught between radically
different conceptions of history, supporting the Scottish philosophers'
universalist theories of history while tying them to a nationalism
symbolized in the material sublime (imaged in the Highlands and
other 'vanishing' societies). It is the tension between empirical
assumptions about history and nostalgic romanticism for past cultural
forms which makes Scott an important ancestor of postmodern historical
Amy J. 'Sorting out Connections: The Historical Romance
in Hyper-Reality', in Sublime Desire: History and Post-1960s
Fiction (Baltimore, Md.; London: John Hopkins University Press,
2001), pp. 3-45.
particular emphasis on Redgauntlet,
identifies Scott as a forerunner of the post-colonial metahistorical
romance (pp. 211-19) in his concern with politicized regionalism,
nostalgia for and revaluation of community and native cultures,
reappraisal of the value of orality as a way of telling history
and preserving culture, and recognition of the ethical dilemna
of colonial history.
Simon. '"Never Mind the Value, What about the Price?";
Or, How Much Did Marmion Cost St. John Rivers?', Nineteenth-Century
Literature, 56 (2001), 160-97.
(pp. 191-97) a discussion of the gift of an edition of Marmion
made by St. John Rivers to Jane Eyre in Charlotte Brontë's
novel, which illustrates how knowledge of the costs and prices
of books can illuminate our understanding of both book history
and literature. Establishes that it would have represented a significant
expenditure and value to both parties, thus casting a new light
on one of the most intriguing relationships in nineteenth-century
Simon. 'Sir Walter, Sex and the SoA', in Re-Constructing
the Book: Literary Texts in Transmission, ed. Maureen Bell,
Shirley Chew, Simon Eliot, Lynette Hunter, and James L. W. West
III (Burlington, VT: Ashgate, 2001), pp. 100-11.
Kate. ‘Libri in viaggio: diffusione, consumo e romanzo
nell’Ottocento’, in Il romanzo. 1, La cultura
del romanzo, ed. Franco Moretti (Turin: Einaudi, 2001), pp.
a discussion (pp. 545-50) of the diffusion and enduring popularity
of Scott's work in the Americas. This chapter was not included
in the English translation of Il romanzo, The Novel
(Princeton: Princeton University Press, 2006).
Cathrine. ‘Wandering Narratives and Wavering Conclusions:
Irreconciliation in Frances Burney's The Wanderer and Walter
Scott's Waverley’, European Romantic Review,
12 (2001), 429-56.
that each novel at its conclusion represents political stability
through the bodies and sentiments of its principal women characters
but signals persistent doubt as to the success and finality of
the domestic/national peace that they supposedly signify. The
implications are that for Burney, there may be no post-revolutionary
society for women, just as for Scott there is no domestic stability
as long as Scotland is bound to England.
Martin M. 'Bartoline Saddletree: Pedant or Legal Expositor?',
Scott Newsletter, 38 (2001), 3-7.
literary sources in George Ruggle's Latin drama Ignoramus
(1615) and John Crowne's comedy City Politiques (1682),
argues that Bartoline Saddletree, the lay lawyer in The
Heart of Midlothian, is not merely the butt of Scott's
satire but also a structurally necessary and remarkably accurate
expositor of legal technicalities.
Lidia. '”Poor wounded names”: Lucy Ashton e
Tess dei d'Urberville', in Oltreconfine: lingue e culture tra
Europa e mondo, ed. Antonio Pasinato (Corigliano Calabro; Cosenza:
Meridiana Libri, 2001), pp. 133-46.
study of the heroines of The
Bride of Lammermoor and of Thomas Hardy's Tess of
the d'Urbervilles (1891).
Ana Lucia de Souza. 'Língua, literatura e poder',
Cadernos do CNFL, 4.9 (2001), 65-75.
article comparing the use of vernacular Scots in Scott's Waverley
and Irvine Welsh's Trainspotting (1993) within their
respective historical contexts. Also published online at: <http://www.filologia.org.br/anais/anais%20iv/civ09_7.htm>
[accessed 6 October 2009].
Ana Lucia de Souza. 'A tradicão e o nacional em
The Antiquary, de Walter Scott', Revista do GELNE,
3.1 (2001), 1-3.
Brazilian article stressing Scott's belief in maintaining a distinct
Scottish national identity through the preservation of tradition,
as evidenced by The
Antiquary. Also published online at: <http://www.gelne.ufc.br/revista_ano3_no1_37.pdf>
[accessed 6 October 2009].
Denis. 'Walter Scott et Jean Giono, une parenté',
Jean Giono, 55 (2001), 85-97.
study of Scott and the twentieth-century French novelist Jean
Andrew. ‘The Peregrinations of “Auld Robin
Gray” and Eugénie Grandet’, Études
écossaises, 7 (2001), 195-207.
the possible influence of Lady Anne Lindsay's poem "Auld
Robin Gray" on Balzac's novel Eugénie Grandet
(1833). Analyzes Scott's role in bringing the poem to Balzac's
attention by citing it in The
Pirate and publishing it as a contribution to the Bannatyne
Club in 1825.
Robert P. ‘Gender and the Place of Culture in Scott's
St Ronan's Well', Scottish Studies Review, 2.1
that in St Ronan's
Well Scott makes himself, and his female literary rivals,
double in a series of tropes for cultural authority in
its relation to gender and the market.
Richard D. 'The Indian Colonel: William Russell of Ashestiel
and Scott's Guy Mannering', Scott Newsletter,
38 (2001), 8-14.
that William Russell of Ashestiel, who married Scott's half-aunt
Jane Rutherford, may have been a prototype for the title character
in Guy Mannering.
Richard D. 'Scott, Saint Ronan's Well, and the
Haliburtons', Scott Newsletter, 38 (2001), 15-17.
to the possible source of Scott's tale of 'dark domestic guilt'
discussed in Jackson 2000c, suggests that Scott's discovery that
Helen Milne's mother was a Haliburton might have made a strong
personal impression on Scott, whose grandmother was a Haliburton.
Scott published the genealogical study Memorials of the Haliburtons
in 1824 shortly after the appearance of St
Paul. 'Delacroix and Modern Literature', in The Cambridge
Companion to Delacroix, ed. Beth S. Wright (Cambridge: Cambridge
University Press, 2001), pp. 130-53.
(pp. 130-34) a discussion of Delacroix's Self-Portrait as
Ravenswood where he projects his own erotic anxieties onto
the hero of Scott's The
Bride of Lammermoor. Goes on to identify Quentin
Durward and Ivanhoe
as the inspiration behind further paintings by Delacroix. Suggests
that the themes of both novels relate to the structure of national
feeling in the aftermath of the Napoleonic Wars.
Ian. 'Homicide and Personal Justice in Scott's Ivanhoe:
An Evolutionary Psychological Perspective', Interdisciplinary
Literary Studies, 2 (2001), 29-43.
Claudia L. '"Let Me Make the Novels of a Country":
Barbauld's The British Novelists (1810/1820)', Novel,
34 (2001), 163-79.
a discussion of Scott's Lives of the Novelists, originally
written as prefaces to Ballantyne's Novelists' Library (1821-24).
Jack. ‘"We are five-and-forty": Meter and
National Identity in Scott’, Studies in Romanticism,
40 (2001), 85-98.
Scott's splitting of poetic form and content along nationalist
lines -- into Scots meter and English language -- in the Letters
of Malachi Malagrowther. A later version appeared in
Kerkering's The Poetics
of National and Racial Identity in Nineteenth-Century American
Literature (2003 ).
Benjamin. 'Die Natur- und Landschaftsschilderung im historischen
Roman der spanischen Romantik: Ein Aspekt der Scott-Rezeption?',
Germanisch-Romanische Monatsschrift, 51 (2001), 303-22.
Scott's pivotal role in the rise of the Spanish historical novel,
one might expect its major practitioners Escosura, Espronceda,
and Gil y Carrasco to model their descriptions of nature and landscape
on Scott's. Close scrutiny reveals, however, that their approach
to describing nature is highly eclectic, with Anne Radcliffe and
Rousseau proving at least as influential as Scott.
Stewart. 'Writers: Pens Mightier than Swords', in When
Scotland Ruled the World: The Story of the Golden Age of Genius,
Creativity and Exploration (London: HarperCollins, 2001), pp.
(pp. 115-19) an overview of Scot's achievements 'as a great writer,
a great human being, and a great Scotsman'.
Celeste. ‘Understanding Media in 1805: Audiovisual
Hallucination in The Lay of the Last Minstrel', Studies
in Romanticism, 40 (2001), 49-70.
how, given the prevalent understanding of poetry as a specifically
oral medium, poetry was able to claim any but a marginal position
(antiquarian or domestic) in Romantic print culture. Argues that
The Lay of the
Last Minstrel influentially adopts orality as its ostensible
content. The medium of print thus becomes recognizable as a medium
by its attempt to 'deliver' audiovisual information.
Yoon Sun. ‘Giants in the North: Douglas,
the Scottish Enlightenment and Scott's Redgauntlet’,
Studies in Romanticism, 40 (2001), 109-21.
Scott's revisitation in Redgauntlet
of the Enlightenment ideal of civic virtue that was at stake in
the eighteenth-century Edinburgh controversy over John Home's
tragedy Douglas (1756).
Laurent. 'Histoire et apprentissage dans Waverley
de Walter Scott: lire avec Lukács, Derrida et Ferguson',
in Ecriture(s) de l'histoire (Angers: CRILA, 2001).
Jayne. ‘The Type of a Kind, or, The Lives of Dryden’,
Eighteenth-Century Life, 25.2 (2001), 3-18.
that Scott's 1808 edition of Dryden's works -- and the biographical
sketch which prefaces it -- is a major, if rarely acknowledged,
bridge to Scott's influential vision of history. That vision is
characterized by two things: a powerful sense of individuals as
shaped by historical events, and an equally powerful assumption
that the past can be reanimated not just by the imagination of
the living but also by its ironic juxtaposition with the present
from which it is by definition missing.
John. 'From Caesarea to Athens: Greek Revival Edinburgh
and the Question of Scottish Identity within the Unionist State',
Journal of the Society of Architectural Historians, 60
(pp. 142-46) the relationship between the Greek Revival school
of architecture and the Scots Baronial style pioneered by Scott
at Abbotsford. Attributes
their co-existence through much of the nineteenth-century to their
common fascination with the Picturesque and Primitive and to the
dual nature of post-Union Scottish identity, both British (expressed
via the Greek Revival) and Scottish (expressed via the Baronial).
Alison. 'The Edinburgh Edition of the Waverley Novels and
the Manuscript Holdings of the National Library of Scotland', Folio,
2 (Spring 2001), 8-11 <http://www.nls.uk/media/22681/folio02.pdf>
[accessed 22 February 2011]
how work on the Edinburgh Edition of the Waverley Novels, an ‘ideal
first edition’ of Scott’s fiction, has been facilitated
by the National Library of Scotland’s unique Scott holdings:
the original manuscripts and annotated proofs of many of Scott’s
works, the ‘Interleaved Set’ that Scott used for revising
and correcting his works for the ‘Magnum Opus’ edition
of 1829-33, Scott’s own correspondence, and, finally, the
papers of James and John Ballantyne and of Scott’s publisher
Stefania. 'Walter Scott in Italia, ossia, Un autore di
tendenza nel paese di Corilla Olimpica', in Belli e l'Ottocento
europeo: romanzo storico e racconto fantastico nello 'Zibaldone'
(Rome: Bulzoni, 2001), pp. 27-155.
Scott's reception in Italy and, in particular, by the Roman poet
G.G. Belli. Luttazi records passages transcribed from Scott in
Belli's Zibaldone (or notebook) and suggests that Scott
may have exerted an influence on Belli's use of dialect, interest
in superstitions and demonology, and on his anti-clerical satire.
Deidre. ‘Gothic Libraries and National Subjects’,
Studies in Romanticism, 40 (2001), 29-48.
Scott's role in instituting the discipline of literary studies
and the category of 'English literature' in the early nineteenth
Ross. ‘Scattered Ruins of Evidence: Non-Eventworthy
History in Old Mortality and The Brownie of Bodsbeck’,
Studies in Hogg’s World, 12 (2001), 56-79.
that the incorporation of non-eventworthy history in Hogg's novel
Brownie of Bodsbeck (1818) is
a challenge to the 'official' representation of history in Old
Mortality, giving voice to a marginalised class and offering
an alternative impression of the past that explores the operation
of power on ordinary people.
Duncan. '"A Journey through England and Scotland":
Wilkie and Other Influences on French Art of the 1820s', British
Art Journal, 2.3 (2001), 28-35.
that the importance of Scott and Wilkie for the French artists
Delacroix, Horace Vernet, Ary Scheffer, and R. P. Bonington lay
in their development of Thomas Reid's theory that painting dealt
not with ideas but with the intuitive apprehension of immediate
reality. They inspired a new historical art concerned with the
accurate representation of the psychology of a narrative through
the observation and naturalistic description of expression and
B. J. 'A Scottish Sexto in Fours and Twos', The Library,
7th ser., 2 (2001), 286-89.
a type-facsimile of a 1611 edition of The Letting of Humours
Blood in the Head Vaine by Samuel Rowlands, printed by James
Ballantyne in Edinburgh in 1814 with an introduction by Sir Walter
Shawn. ‘Walter Scott's Romantic Archaeology: New/Old
Abbotsford and The Antiquary’, Studies in Romanticism,
40 (2001), 233-51.
that in The Antiquary
and Abbotsford gothic
stories within stories house genealogical information needed to
render the past into redeeming and consoling narratives. Both
The Antiquary and Abbotsford are extensions of Scott's
antiquarian passions, yet, with antiquarian paraphernalia from
dismantled legitimate buildings and antique iconography, Scott
systematically imposes a mythological identity of himself as a
Peter J. '"The birthday of typography": A Response
to Celeste Langan', Studies in Romanticism, 40 (2001),
response to Langan's reading of The
Lay of the Last Minstrel in ‘Understanding
Media in 1805'.
Maureen M. ‘Eating Scotland: Nation and Gender in
Millais's Order of Release’, Wordsworth Circle,
32 (2001), 43-48.
that the popular success of Millais's painting of a Jacobite prisoner
(1852-53) illustrates the receptivity of the 19th-century English
public to Scott's presentation of the 1745 Uprising as a thrilling
performance of primal masculinity and the crucial role that Scotland
came to play in a gendered conception of England itself.
Richard. ‘Inundations of Time: A Definition of Scott's
Originality’, ELH, 68 (2001), 419-68.
that Scott's version of historical fiction is the outgrowth not
precisely of an interest in ages gone by but of the give-and-take
between two different models of presentness exemplified by Joseph
Strutt's Queen-Hoo Hall (1808) and Maria Edgeworth's
national tales. (These ideas are further explored in Richard Maxwell's
The Historical Novel in
Europe, 1650-1950 (2009).)
Robert. 'What Is a Romantic Novel?', Novel, 34
particular reference to Ivanhoe,
characterizes Scott (pp. 196-98) as the writer of ‘anti-philosophical
romances’ that obscure rather than lay open ideological
conflict. Argues that Scott inverts the philosophical romance
of William Godwin, replacing a narrative which exposes fractures
in a culture’s foundational moment with a nationalist narrative
of evolving legitimacy. A revised
and expanded version appears in Robert Miles's Romantic
Michael Valdez. ‘Magical Realism at World's End’,
Literary Imagination, 3 (2001), 105-33.
that magic realism exemplifies the same cultural logic that structures
and undergirds Scott's historical romances. With illustrations
concludes that both historical romance and magic realism are compensatory
sentimental fictions that allow, indeed encourage, readers to
indulge in nostalgic longing and an imaginary return to a vanished
or vanishing world. Click here
for an online version published by Margin.
Richard. 'Portrait of an Obsession: The Corson Collection
and the Walter Scott Digital Archive', Scott Newsletter,
39 (2001), 3-7.
of the Scott scholar James C. Corson, description of the Corson
Collection of Sir Walter Scott material which he donated to
Edinburgh University Library,
and introduction to the site designed around that collection,
the Walter Scott Digital Archive.
Malcolm. ‘Peebles v. Plainstanes; Jarndyce v. Jarndyce;
Scott v. Dickens’, Neophilologus, 85 (2001), 457-75.
that a comparison between the treatment of law cases in Redgauntlet
and Bleak House (1852-53) highlights crucial differences,
as well as surprising similarities, between Scott and Dickens,
and illustrates the essential characteristics of the social realist
and symbolist traditions in the European novel which they respectively
helped to create.
Sharon. ‘Writing to Sir Walter: The Letters of Mary
Bryan Bedingfield’, Cardiff Corvey, 7 (2001) <http://www.cf.ac.uk/encap/corvey/articles/cc07_n02.html>
[accessed 9 June 2008]
discussion of the correspondence between Scott and the little-known
poet and novelist Mary Bryan Bedingfield.
Frauke. '"Woefully Deficient in Knowledge of Costume
and Manners": Scott's English Predecessors', Erfurt Electronic
Studies in English, 11 (2001) <http://www.uni-erfurt.de/eestudies/eese/eese.html>
[accessed 29 August 2006]
Scott's debt in Waverley
to earlier historical novels by Mrs E. M. Foster, Sophia Lee,
Anna Maria Mackenzie, and Mrs Barnby.
Ann. ‘Hybridity: The Case of Sir Walter Scott’,
in Imperfect Histories: The Elusive Past and the Legacy of Romantic
Historicism (Ithaca, NY: Cornell University Press, 2001),
on Old Mortality,
analyzes the ways in which Scott uses his freedom as a novelist
to combine historical evidence with fictitious events. Argues
that deviations from evidence reflect a political parti pris and
hence the limits of Scott's engagement with the alterity of the
W. D. A. 'Sir Walter Scott: The Welsh Connection', Scott
Newsletter, 39 (2001), 7-16.
a) Scott's works with a Welsh theme or setting (The
Betrothed) or which allude to Welsh Arthurian literature
(The Bridal of
'Thomas the Rhymer'),
b) his friendship with the Welsh scholar Rev. John Williams, whom
he chose as tutor to his son Charles, c) Scott's visit to North
Wales in 1825, and d) the unexplained link between Scott's mother-in-law
Élie Charlotte Charpentier and Wyrriot Owen.
Michael E. '"Unguarded Gaiety": Catholicism in
Walter Scott's The Monastery and The Abbot', in
The Lure of Babylon: Seven Protestant Novelists and Britain's
Roman Catholic Revival (Macon, GA: Mercer University Press,
2001), pp. 15-55.
opening chapter argues that while The
Monastery and The
Abbot ultimately reject Roman Catholicism as primitive,
superstitious, and divisive, Scott shows that it offers its adherents
expansiveness, exuberance, and humour which they indulge at the
expense of stiff Protestants, and that it preserves a praiseworthy
sense of awe, reverence, and mystery.
Mark L. ‘Waging Battle: Ashford v. Thornton, Ivanhoe
and Legal Violence’, in Medievalism and the Quest for
the 'Real' Middle Ages, ed. Claire A. Simmons (London: Frank
Cass, 2001), pp. 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. An earlier
version appeared in the journal Prose Studies (2000).
John D. 'Ivan Who?: A Second Look at the Other Book that
Is Supposed to Have Started the Civil War', in Finding Colonial
Americas: Essays Honoring J. A. Leo Lemay, ed. Carla Mulford
and David S. Shields (Newark, DE; London: University of Delaware
Press, 2001), pp. 415-33.
Twain famously blamed Ivanhoe
for inspiring a specious chivalry and heightened sense of honour
in Southern American readers which led directly to the US Civil
War. More recently it has been accused of contributing to the
Spanish-American War of 1898 (H. S. Canby) and to the enthusiasm
with which many enlisted for the First World War (Amy Kaplan).
Seelye argues that a careful consideration of Scott's attitude
towards the chivalric tradition shows that the book has been badly
A. G. 'Visiting the Ruins at Paestum', Scott Newsletter,
38 (2001), 14-15.
the treatment of the Roman ruins at Paestum (Italy) in Scott's
Kathryn. 'Scottish Editing as Conjectural History', Scottish
Studies Review, 2.1 (2001), 109-19.
article on four volumes in The Edinburgh Edition of the Waverley
(1997), Guy Mannering
(1999), and The
Fair Maid of Perth (1999).
Emília. 'Egy regény metamorfózisa:
Nicolai-opera az Ivanhoe-ból', Theatron,
1 (2001), 1-37.
Carl Otto Nicolai's Il templario, an operatic adaptation
Emília. 'A Scott-regények kanonizálódása
Magyarországon. 1. rész', Désirée,
[accessed 30 May 2008]
part of an article on the canonization of Scott in Hungarian literary
criticism. For the second part, see Szaffner
Emília. 'Waverley: Romance or Novel?',
Key Notions in English Studies, 2 (2001), 171-86.
Horst, Robert. ‘Scott, the Great Conveyancer: The
Exemplum of Rob Roy’, in The Fortunes of the
Novel: A Study in the Transposition of a Genre (New York: Peter
Lang, 2001), pp. 205-42.
Scott's role in the transposition of the novel genre from Spain
Michael. 'Sur quelques éléments intertextuels
des Paysans: Balzac, Walter Scott et Théophile Gautier',
Année Balzacienne, 2 (2001), 283-304.
intertextual allusions to Waverley
in Balzac's unfinished novel Les Paysans (1844).
Enrica. ‘Romance and History in Waverley’,
in Athena's Shuttle: Myth, Religion, Ideology from Romanticism
to Modernism, ed. Franco Marucci and Emma Sdegno (Milan: Cisalpino,
2001), pp. 93-111.
that the opening chapters of Waverley
describing the 'evils of a defective education' are no 'false
start' (James Anderson), but that the Bildung theme is
essential to the design of Waverley and to Scott’s
original conception of the historical novel.
Elizabeth. 'Scott, Crawford, and the Highland Romance',
in Rapt in Plaid: Canadian Literature and Scottish Tradition
(Toronto; London: University of Toronto Press, c2001), pp. 43-65.
Scott's influence on the Canadian poet Isabella Valancy Crawford
Elizabeth. 'Scott, Findley, and the Borders', in Rapt
in Plaid: Canadian Literature and Scottish Tradition (Toronto;
London: University of Toronto Press, c2001), pp. 66-84.
Scott's influence on the Canadian novelist and playwright Timothy
Mary. 'Old Mortality: Editor and Narrator', in
Master Narratives: Tellers and Telling in the English Novel,
ed. Richard Gravil (Aldershot: Ashgate, c2001), pp. 37-46.
how Scott's editorial apparatus in Old
Mortality, with its presumption of scholarly and historical
documentation, and antiquarian addenda, ironically undercuts the
authority of the narrative itself. The plurality and unreliability
of authorities invoked by the paratexts is mirrored in the narrative
itself in which the protagonists pursue rival ideals which are
undermined by the violence used to achieve them.
Alexander. ‘History, as between Goethe’s Hamlet
and Scott’s’, in Hamlet in His Modern Guises (Princeton,
NJ: Princeton University Press, c2001), pp. 71-101.
that in its engagement with Hamlet, Scott's Redgauntlet
owes a debt to Goethe's Wilhelm Meisters Lehrjahre (1795).
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