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and Chapters on Sir Walter Scott Published in 2002
In addition to The
Scott Newsletter (no. 40), this
year saw the publication of one special issue of a journal exclusively
devoted to Scott studies. Vol. 13, no. 3 of the European Romantic
Review, edited by Bruce
was entitled Romantic Enlightenment: Sir Walter Scott and the
Politics of History. It drew on papers given at a conference
held in Los Angeles, May 2000, organized by Frederick Burwick and
Robert Maniquis with the support of the UCLA
Center for 17th- and 18th-Century Studies and the William
Memorial Library. For details of the individual articles, see Millgate, Alexander,
Alexander, J. H. ‘The "Amanuensis of History" in
the Franco-Burgundian Novels’, European Romantic Review,
13 (2002), 239-47.
Discusses Hazlitt's description of Scott as 'the amanuensis of
truth and history' in his essay 'Sir Walter Scott' with reference
to Quentin Durward and Anne
Alexander, J. H. 'Anecdotes to Familiar
Anecdotes', Studies in Hogg’s World, 13
the revision of James Hogg's memoir of Scott from the unpublished
Anecdotes of Sir W. Scott to the published Familiar
Anecdotes of Sir Walter Scott (1834).
Alker, Sharon. ‘The Business of Romance: Mary Brunton and
the Virtue of Commerce’, European Romantic Review, 13 (2002),
Discusses how Scott and Brunton envision the
relationship between commerce
An analysis of Brunton's novel Discipline (1813) shows
that two sectors of society excluded from an active role
in Scott’s modern commercial society are central to Brunton’s
vision of a commercial Britain: the Scottish Highlands and
women of gentility.
English Novel Set in the Arab World: A Cultural Perspective', Abhath
al-Yarmouk. Literature & Linguistics Series, 20.2
three major novels set in the Middle East: Scott's
The Talisman, Disraeli's Tancred, and Marmaduke Pickthall's
Said, the Fisherman.
Anderson, Robert. ‘The Wizard of the North’,
and Chivalry (Rickmansworth: Elgar Editions, 2002), pp. 52-73.
On Scott's contribution to the nineteenth-century cult of chivalry
and his impact on Elgar.
Norbert. 'Wilhelm Müller und Walter
Scott', in Müller - Schubert - Heine, Marlowe - Byron
- Scott: Wilhelm Müller als Vermittler der englischen Literatur:
Zwei Symposien der Internationalen Wilhelm-Müller-Gesellschaft
Berlin 1997 und 2000 (Berlin: Internationale Wilhelm-Müller-Gesellschaft
2002), pp. 31-56.
German and Austrian reception in the first half of the 19th
century, focusing particularly on reviews by the poet Wilhelm Müller,
favourable to the early Waverley novels, but critical of Ivanhoe and
subsequent works. Also discusses Müller's hostility
to free translations and
of Scott's epic poems
and his early identification of Alexis' novel Walladmor as
a mystification. Finally consideres
Scott's influence on Müller's verse, particularly 'The
Eve of St. John' on 'Der
Ritter und die Dirne'.
Alyson. ‘In and Around the Borders of the
Nation in Scott's Guy Mannering', Nineteenth-Century Contexts,
24 (2002), 397-415.
Argues that the richness of the landscape in Guy Mannering and
apparent emptiness of its heroes are both generated by dissonances
between the representation of Scotland as a historically grounded
and limited locality and its conception as an element in the systems
that link the different parts of the United Kingdom and the growing
Barbara. 'Alternativen zur Windschattenfahrt: Amerikanische
Antworten auf Scott', in Der frühe amerikanische historische
Roman im transatlantischen Vergleich (Frankfurt am Main; New York:
influence on the early North American historical novel. Unseen,
Frederick. ‘Competing Histories in the Waverley
Novels’, European Romantic Review, 13 (2002), 261-71.
Through an analysis of The
Bride of Lammermoor, Burwick argues
that, far from grounding his fiction in rationalist history, Scott
occult, folkloric history (legends, myths, prophecies) to be no
less reliable a means of determining historical cause and effect.
Mark. 'Sect and Secular Economy in the Irish National
Tale', in Religion, Toleration, and British Writing, 1790–1830 (Cambridge:
Cambridge University Press, 2002), pp. 122-60.
Includes a comparative study of the Irish 'National Tale' and
Scott's Waverley Novels.
Kerry Dean. ‘"Diagnosing the
'Sir Walter Disease": American Architecture in the Age of
Romantic Literature’, Mosaic, 35.4 (2002), 121-42.
Discusses the impact of Scott's fiction and of Abbotsford on the
architect Alexander Jackson Davis.
Daffron, Benjamin Eric. ‘Anglo-Scot Sympathies: Walter Scott's
Redgauntlet’, in Romantic Doubles: Sex and Sympathy
in British Gothic Literature, 1790-1803 (Brooklyn: AMS Press, 2002),
Argues that Waverley charts Britain's political path from conflict
to unity as a gradual turn from treasonous to patriotic male sympathy.
Redgauntlet, conversely, is a Gothic critique of Waverley's imperial
fantasy, staging a shift from patriotic to treasonous male sympathy,
in which friendship and marriage prove inadequate to resolve homoerotic
tension and to reconcile warring parties.
Daleski, H. M. ‘Narrating History in Scott and Dickens’,
Dickens Studies Annual, 32 (2002), 37-48.
Compares how Scott and Dickens treat their historical sources
in The Heart of Midlothian and Barnaby
Dobson, Michael, and Nicola
J. Watson. ‘The
Private Lives of the Virgin Queen’ and 'Good Queen Bess and
Merrie England', in England's
Elizabeth: An Afterlife in Fame and Fantasy (Oxford: Oxford
University Press, 2002), pp. 179-115, 116-46.
Chapters 2-3 both contain
discussions of Kenilworth.
Renzo. 'Light and Motion', in Geography of the
Gaze: Urban and Rural Vision in Early Modern Europe, trans. Lydia
of Chicago Press, 2002), pp. 115-34.
(pp. 130-32) a discussion, with examples from Ivanhoe and The
Bride of Lammermoor, of Scott's influence on landscape
painting. Influenced by Archibald Allison's theory of psychological,
associative vision, Scott sought to convey the presence of
history in landscape by uncovering its uncontaminated
character, stressing the primordial and
wild over all attempts at refinement or manipulation.
First appeared in Italian in 1994.
Ian. ‘Primitive Inventions: Rob
Roy, Nation, and
World System’, Eighteenth-Century Fiction, 15
Argues that Rob
Roy is neither a historical or national novel
in the sense established by Waverley but
offers a different kind of imaginative access to a British
historical modernity constituted
internally as well as externally by its imperial practice:
limning the unrecognizable forms of the present rather than
consolatory flight to the past.
Duncan, Ian. ‘Waverley’,
in Il romanzo. 2, Le forme, ed. Franco Moretti
(Turin: Einaudi, 2002), pp. 135-42.
Analyses how Scott transformed his precursors
into a genre that realized its modernity in a discursive
with history, and how Waverley signals
that renewal by telling, through its narrative of public and
private histories, the tale
of its own formation as the genre of modern life. This
chapter was re-published in English
translation in 2006.1
Easton, Alison. ‘Nation Making and Fiction Making:
Sarah Orne Jewett, The Tory Lover, and Walter Scott, Waverley’,
in Special Relationships: Anglo-American Affinities and Antagonisms,
1854-1936, ed. Janet Beer and Bridget Bennett (Manchester:
Manchester University Press, 2002), pp. 139-59.
Analyses the influence of Scott's narrative of civil conflict
and nation-making on Sarah Orne Jewett's The Tory Lover (1901),
a historical novel about
during the American War of Independence.
Fay, Elizabeth. ‘Grace Aguilar: Rewriting Scott Rewriting
History’, in British Romanticism and the Jews, ed. Sheila
A. Spector (New York; Basingstoke: Palgrave Macmillan, 2002), pp.
Grace Aguilar's posthumously published novel Vale of Cedars,
or, The Martyr (1850) alongside
centre a discussion of Aguilar's uses of Jewish identity to
construct a literary and authorial identity.
Fay, Elizabeth. ‘The Legacy of Arthur: Scott, Wordsworth
and Byron’, in Romantic Medievalism: History and the
Romantic Literary Ideal (New York; Basingstoke: Palgrave Macmillan, 2002),
On the development of Arthurian themes in 'Sir Tristrem', The
Lay of the Last Minstrel, Marmion, and The
Bridal of Triermain.
Ferris, Ina. ‘Pedantry
and the Question of Enlightenment History: The Figure of the
Antiquary in Scott’, European
Romantic Review, 13 (2002), 199-205.
Locates The Antiquary within the context of rivalry between philosophical
largely confined to the professionalizing and urban institution
of the universities, and antiquarian history, largely pursued by
Bernard. 'La Préface de Cromwell entre
Friedrich Schlegel et Walter Scott', in Victor Hugo, ou, Les
Frontières effacées, ed. Dominique Peyrache-Leborgne
and Yann Jumelais (Nantes: Editions Pleins Feux, 2002), pp. 285-302.
a discussion of Scott's influence on Hugo's 'Preface' to his drama
Cromwell (1827), often considered the manifesto of the French
Michael. ‘Gothic Fictions and Romantic Writing
Cambridge Companion to Gothic Fiction, ed. Jerrold E.
Hogle (Cambridge: Cambridge University Press, 2002), pp. 85-104.
Discusses Scott's ambivalent relationship with
the Gothic, which sees him both denounce it as a
low genre in his published criticism and exploit its conventions
in The Lay of
the Last Minstrel and Marmion.
It is equally evident in the use of antiquarian commentary
to bestow upon
the most Gothic
of his work an enlightened and
Gamer, Michael. ‘Sir Walter Scott (1771-1832)’, in
Gothic Writers: A Critical and Bibliographical Guide, ed.
Douglass H. Thomson,
Jack G. Voller, and Frederick S. Frank (Westport, CT: Greenwood
Press, 2002), pp. 380-88.
Humphrey. ‘Emily Brontë as
Ellis Bell: A Pseudonym Revisited’, Brontë Studies,
27.1 (2002), 55-66.
Explores the possibility that the source of Emily
pseudonym was Scott's friend George Ellis, to whom canto V of Marmion is dedicated.
Richardson Currer and Richard Heber: Two Unwearied Bibliophiles
on the Fringe of the
Brontë World’, Brontë Studies, 27.3
Discusses Scott's friendship with Heber and the dedication of
Canto VI of Marmion to him.
Hawkins, Philip. ‘Rob Roy: A Writer's Hero’, Scots
Magazine, 157.4 (Oct. 2002), 370-73.
On Scott's lifelong fascination with Rob Roy MacGregor.
David. 'The Bernard C. Lloyd Walter Scott
Collection', Scott Newsletter, 40 (2002), 3-5.
On the important collection held at Aberdeen
David. 'The Heart of Midlothian and "the
European Romantic Review, 13 (2002), 299-309.
Considers how far Hazlitt's comments on Scott's contempt for 'the
people' and popular movements are born out by The Heart of
Hewitt, David. ‘Walter Scott in Aberdeen’, Aberdeen
University Review, 59.4 (2002), 330-36.
the Bernard C. Lloyd Walter Scott Collection at Aberdeen
University Library and the Edinburgh Edition of the Waverley
Hook, Andrew. 'Scott’s
Oriental Tale: "The Surgeon’s
Daughter"', La questione romantica, 12/13 (2002),
Richard D. 'The
the Bonny Lass of Deloraine', Scott
Newsletter, 40 (2002), 9-21.
Discusses the hypothesis that Minna and Brenda Troil in The
Pirate were inspired by two daughters of Henry Scott, 4th Earl of Delarue,
Margaret and Eliza (who inspired Hogg's poem 'The Bonny Lass of
Ann Cline. 'Unconventional Love, Sex, and Marriage:
The Swiftian Romance', in Jonathan Swift and
Culture: Myth, Media, and The Man (New York: Palgrave, 2002),
(pp. 116-18) Scott in his 'Memoirs of Jonathan Swift' (1814)
as the last major source
of anecdotes regarding the Vanessa-Swift-Stella love triangle,
particularly regarding rumours that Stella bore Swift a child
and that their union was incestuous. Notes the unreliablity
of the oral accounts on which Scott drew and argues that
determined the Victorian depiction
of Swift as emotional tyrant.
Claire. ‘Walter Scott: Anonymity and the Unmasking
of Harlequin’, in Authorship, Commerce and the Public:
Scenes of Writing, 1750-1850, ed. E.J. Clery, Caroline Franklin,
and Peter Garside (Basingstoke; New York: Palgrave Macmillan, 2002),
Scott’s signed introduction to Chronicles
of the Canongate.
Lincoln, Andrew. ‘Scott and Empire: The Case of Rob
Studies in the Novel, 34 (2002), 43-58.
Argues that Rob Roy engages with the ideology of empire by establishing
links between violence in the Highlands, the operations of
commerce, and the self-representation of the polite English narrator.
Lincoln, Andrew. ‘Walter Scott and the
Birth of the Nation’,
Romanticism, 8.1 (2002), 1-17.
Considers how Scott's first three poetic romances, The Lay
of the Last Minstrel, Marmion, and The
Lady of the Lake, represent
both the origin of the modern nation and Scott's own complex relationship
to the nation.
Yvan. ‘The Pew and the Cigar-Case: Heraldry in the French
Realist Novel’, Coat of Arms, 14 (Winter 2002), 339-53.
the French response to the use of heraldry in Scott’s
fiction. Relying heavily on description,
Scott pioneered a novel of blazonry, combining the use of the
picturesque with a desire to impress by displaying a science
unknown to the
majority. This was imitated by some French writers, but Stendhal
rejected Scott’s descriptive approach, concentrating
on the narrative role of coats of arms rather than antiquarian
Caroline. ‘Narrating the (Gendered) Nation
in Walter Scott's The Heart of Midlothian', Nineteenth-Century
Contexts, 24 (2002), 291-316.
Argues that through Jeanie Deans Scott attempts
to stabilize Scotland as a feminized idea valid on both sides
of the border. Woman is
invoked as a sign under which British reconciliation can be performed
as a family romance, but McCracken-Flesher shows that the choice
of a female performer ultimately multiplies indeterminacy across
seeking to stabilize.
McCracken-Flesher, Caroline. ‘A Tartan
Politics?: Couture and National Creativity in the New Scottish
Scottish Studies Review, 3.1 (2002), 110-21.
Argues that a myth of tartanry, derived from Scott, has worked
both to maintain the notion of a Scottish nation and to energize
its difference, a difference that, for McCracken-Flesher is released
as power by the Scottish Parliament.
ou, Le Rejet de l’héritage scottien: une réflexion
sur le sens de l’Histoire', in Victor
Hugo, ou, Les Frontières effacées, ed. Dominique
Peyrache-Leborgne and Yann Jumelais (Nantes: Editions
Pleins Feux, 2002), pp. 269-81.
On Victor Hugo's rejection of the Scottian tradition of historical
in his late novel Quatre-vingt-treize (1874).
Maciulewicz, Joanna. ‘In
the Space between History and Fiction: The Role of Walter Scott's
Fictional Prefaces’, Studia
Anglica Posnaniensia, 37 (2002), 387-95.
Demonstrates how Scott showed the
interplay between fact and fiction in the prefaces to the first
editions of his novels. The description of the careers of the
authors of prefatory material serves to illustrate how leaky
the boundaries between textual, paratextual, and extratextual
entities are and how broad is the space between reality and fiction.
Mackenzie, Scott Richard. ‘Confessions of a Gentrified Sinner:
Secrets in Scott and Hogg’, in Studies in Romanticism,
41 (2002), 3-32.
the challenge presented by James Hogg's Private
Memoirs and Confessions of a Justified Sinner to Scott's
secret identity as the 'Author of Waverley'.
Sam, and Marie
Fletcher. ‘The Personal Account
Books of Sir Walter Scott’, Accounting Historians Journal,
29.2 (2002), 59-89.
Sets Scott's household account-keeping in the
context of his Enlightenment education and seeks to elucidate
his domestic financial arrangements
and expenditure patterns. The authors focus particularly on
the role of Lady Scott and revisit the question of Scott's
imprudence in business.
McLane, Maureen N. ‘On the Use and Abuse of 'Orality' for
Art: Reflections on Romantic and Late Twentieth-Century Poiesis’,
Oral Tradition, 17 (2002), 135-64.
Includes a discussion of the representation of orality in The
Lay of the Last Minstrel.
Manning, Susan. ‘Did Mark Twain Bring down the Temple on
Scott's Shoulders?’, in Special Relationships: Anglo-American
Affinities and Antagonisms, 1854-1936, ed. Janet Beer and Bridget
Bennett (Manchester: Manchester University Press, 2002), pp. 9-27.
A comparative reading of Ivanhoe and Twain's A Connecticut
Yankee in King Arthur's Court which asks why Twain's antipathy to Scott
was so durable and virulent.
Susan. ‘Finding the Boundaries’, in Fragments
of Union: Making Connections in Scottish and American Writing (Basingstoke:
Palgrave, 2002), pp. 65-106.
On the representation of the Low Countries
as debatable lands in Guy
Legend of Montrose, The
Abbot, and The
Susan. ‘Walter Scott, Antiquarianism and the Political
Discourse of the Edinburgh Review', in British Romanticism
and the ‘Edinburgh Review', ed. Massimiliano Demata
and Duncan Wu (Basingstoke; New York: Palgrave Macmillan, 2002),
Discusses the prevalence of antiquarian discussions in early numbers
of the Edinburgh Review, in which Scott featured prominently as
a reviewer, and Scott's role in establishing the pre-eminence of
a journal whose political principles he opposed.
Scott, Historical Fiction and the Genesis of the Victorian Illustrated
Victorian Illustrated Book, ed. Richard Maxwell (Charlottesville:
University Press of Virginia, 2002), pp. 1-51.
Lay of the Last Minstrel, Provincial Antiquities
of Scotland (1819-26) and the Abbotsford Edition of the
Waverley Novels (1842-27) to trace how early nineteenth-century
establish illustration as a pervasive accompaniment to imaginative
Millgate, Jane. ‘Scott's Lay of the Last Minstrel:
The History of a Book’, European Romantic Review, 13 (2002),
Charts the publication history of the first edition of The
Lay of the Last Minstrel with particular
emphasis on Scott's developing relationship with the printer James
Ballantyne and publisher Archibald Constable.
Heinz-Joachim. 'Genre-Making by Transforming Tradition:
The Case of Walter Scott’s Waverley: A Complementary
Perspective', in Do the Americas Have a Common
History?, ed. Barbara Buchenau and Annette Paatz (Frankfurt
am Main: P. Lang, 2002), pp. 265-280.
Nemec, Krešimir. ‘Historizam i povijesni roman’, Oddelku za slovanske jezike in knjievnosti Filozofske fakultete
Univerze v Ljubljani, 2002, 619-26.
On Scott's contribution to the historical novel
Jennifer. ‘The Making of Scottish National Opera:
Hamish MacCunn’s Jeanie Deans’, Opera
Journal, 35: 2-3 (2002), 3-28.
On Hamish MacCunn's 1894 opera based on The Heart of Midlothian.
Susan. ‘Resisting Radical Energies: Walter Scott's
Minstrelsy of the Scottish Border’, Cycnos,
19.1 (2002), 49-63 <http://revel.unice.fr/cycnos/index.html?id=1260>
[accessed 15 June 2010]
that in Minstrelsy of the Scottish Border, Scott refashions
and recontextualizes traditional ballads to address anxieties
about revolution abroad and radicalism at home. Behind
the nostalgia for the heroes of the past it is always possible
to read a post-sentimental endorsement of modern commercial
society and support for a cohesive British union
and empire built on class and rank hierarchies with
at the top.
Pittock, Murray G. H. 'The Jacobite Cult', in
Scottish History: The Power of the Past (Edinburgh: Edinburgh University
Press, 2002), pp. 191-208.
that Scott did not 'invent' a national myth single-handedly
but re-animated a corpus of existing ideas
and images. With
particular reference to the representation of Jacobitism, explores
use, and cultural context of the symbols of 'Scottland'.
and Irish Gothic’, in The
Cambridge Companion to Gothic Fiction, ed. Jerrold E. Hogle
(Cambridge: Cambridge University Press, 2002), pp. 105-23.
Includes (pp. 107-13) a discussion of The
Antiquary as the epitome of Scottish Gothic. For
Punter, in Irish and Scottish Gothic, the dehumanizing
force that characterizes all Gothic is brought into alignment,
direct or indirect, with that power which reduces or dismembers
the national narrative of a people operating under a sign
Sharon. '"Gelding” the Priest in The
Brownie of Bodsbeck: A New Letter', in Studies in Hogg
and his World, 13 (2002), 95-103.
correspondence between Scott and James Hogg in 1806 concerning
revisions to Hogg's poetry collection The Mountain Bard (1807).
Sassi, Carla. 'La storia che non c'è:
Redgauntlet di Sir Walter Scott', in 'Imagined Scotlands':
saggi sulla letteratura
scozzese (Trieste : Parnaso, 2002), pp. 69-84.
Argues that only by relating a non-event, a conjectural history
could Scott freely call into question an apparently
fixed relationship between centre and periphery, conquerors and
Law and Waverley's Museum
of Property’, in Eighteenth-Century Fiction and the Law
of Property (Cambridge: Cambridge University Press, 2002),
Argues that under the guise of continuity and
recovery, the restored Bradwardine manor enacts Scotland's
incorporation into Great Britain
and the end of landed property as a communal paradigm.
Scott's The Pirate: Imperialism, Nationalism, and
Bourgeois Values', in Fictions of the Sea: Critical Perspectives
on the Ocean in British Literature and Culture, ed. Bernhard
Klein (Aldershot: Ashgate, 2002), pp. 89-103.
The Pirate as
deeply implicated in the colonial imagination of its historical
moment, foregrounding the close associations
between crime and commerce and revealing them as disturbingly
similar in nature. Explores these associations in the light
of Scott's image of Regency ethics as a conflict between
piratical and bourgeois values and identifies the titular
Pirate as a locus of ethical, commercial, and political
Esther. ‘Scott’s Hebraic Historicism’,
in British Romanticism and the Jews, ed. Sheila A. Spector
(New York; Basingstoke: Palgrave Macmillan, 2002), pp. 105-20.
Argues that Old
Mortality imagines a Hebraic state and that its
reception by Presbyterian readers shows how complex and even contradictory
are the uses of 'Jews' in debates about Presbyterian dissent.
Shaw, Harry E. ‘Scott, Women, and History’, European
Romantic Review, 13 (2002), 285-97.
Argues, through an analysis of Guy
The Talisman, that male awe at
a certain kind of female power is at the heart of Scott’s
imaginative life. For Shaw, women are the most powerful
channels for focusing historical and political desires that
exceed the doctrines of accommodation, reconciliation, compromise,
resignation that the Waverley novels promulgate.
Philip. ‘Walter Scott: The Discipline of History’,
in Waterloo and the Romantic Imagination (Basingstoke;
New York: Palgrave Macmillan, 2002), pp. 35-66.
Argues that Scott's transformation from poet to novelist is structurally
analogous to the transformation of the British economy from a wartime
to post-war model. Focuses on The
Field of Waterloo, The
Vision of Don Roderick, and The Antiquary.
Judith Bailey. '"Beyond mere words": Baillie
and Scott (1806-1832)', in Joanna Baillie: A Literary
Life (Cranbury, NJ: Bucknell University Press, 2002),
Describes the mutually supportive relationship
between Scott and the poet and dramatist Joanna Baillie.
Scott was Baillie’s
greatest literary sponsor, handling business transactions and
publishing negotiations and organizing the successful staging
of her Family
Legend at the Theatre Royal, Edinburgh (1810). Baillie,
in turn, read and advised upon Scott's manuscripts. The exchange
of criticism and gifts, along with the familiar tone of their
letters, imparted an intimacy that neither shared with other
Janet. ‘Rob Roy: The Other Eighteenth-Century?’,
in Eighteenth-Century Fiction on Screen (Cambridge: Cambridge
University Press, 2002), pp. 192-210.
Argues that Michael Caton-Jones's film Rob
Roy (1995) breaks with
earlier filmic representations of the eighteenth century. Looking
beyond the world of the privileged, its vision of oppression
and opposition as ethnically based writes collective identity
a market-based multi-culturalism.
Stabler, Jane. '1830: Time for Change', in Burke
to Byron, Barbauld to Baillie, 1790-1830 (Basingstoke: Palgrave,
2002), pp. 211-64.
Includes (pp. 245-51) a reading of the Letters
on Demonology and Witchcraft, the Third Series of Tales
of a Grandfather, and The Bride of Lammermoor which traces Scott's
debt to Burke's model of Conservatism.
Angus. ‘Sir Walter Scott and the Tenants of
Miscellany for the Stair Society, ed. Hector L. MacQueen
(Edinburgh: Stair Society, 2002), pp. 233-42.
Examines how far court records back up Scott's
account in the Introduction to the 'Magnum Opus' edition of Rob
being sent to serve a summons of removing on certain tenants
Invernenty while serving his legal apprenticeship with his
father (see Professional
Sussman, Charlotte. ‘The Emptiness at The Heart of Midlothian:
Nation, Narration, and Population', Eighteenth-Century Fiction,
15 (2002), 103-26.
Discusses the fate of Effie Deans's child 'the Whistler' in the
context of early nineteenth-century debates concerning surplus
population and emigration and against the backdrop of the Highland
Sweet, Nanora. 'Felicia Hemans’ "A Tale of the
Secret Tribunal": Gothic Empire in the Age of Jeremy Bentham
and Walter Scott', European Journal of English Studies,
6 (2002), 159-71.
Places Hemans's critique
of governance by secret tribunal within a post-Napoleonic penal
debate which pitched Jeremy Bentham against William Roscoe.
Traces the emergence of the theme of 'die Vehme' or secret
tribunal through Scott's translation of Goethe's Götz
von Berlichingen and his own 'The House of Aspen' and Anne
Emília. ''A Scott-regények kanonizálódása
Magyarországon. 2. rész'', Désirée,
4 (2002) <http://desire_46.tripod.com/3szam/scott2.htm> [accessed
30 May 2008]
of an article on the canonization of Scott in Hungarian literary
criticism. For the first part, see Szaffner
Elisa. 'Black Anglophilia, or, The Sociability of
Antislavery', American Literary History, 14 (2002),
(pp. 469-73) a discussion of the significance of Scott's The
Lady of the Lake for the African-American painter
Robert Duncanson and the civil rights activist W.E.B. Du
Bois. Recording pilgrimages
to Loch Katrine, each offers black
from afar of an idealized, civilized world in which the
highest cultural accomplishment is a likeness to Britain.
Voskuil, Lynn M. 'Feeling Public: Sensation
Theater, Commodity Culture, and the Victorian Public Sphere', Victorian
Studies, 44 (2002), 245-74.
among other Victorian 'sensation dramas', Dion Boucicault's
The Trial of Effie Deans, adapted from The
Heart of Midlothian. An expanded
version was subsequently
published in Voskuil's Acting Naturally: Victorian Theatricality
and Authenticity (University of Virginia Press, 2004).
Walker, Stanwood S. ‘A
False Start for the Classical-Historical Novel: Lockhart's Valerius and
the Limits of Scott's Historicism’, Nineteenth-Century Literature, 57 (2002), 179-209.
J.G. Lockhart's Valerius (1821) to examine the
the nineteenth-century classical-historical
novel and the Waverley novels.
Wallace, Tara Ghoshal. ‘The Elephant's Foot and the British
Mouth: Walter Scott on Imperial Rhetoric’, European Romantic
Review, 13 (2002), 311-24.
that in Guy
Mannering and 'The
Surgeon's Daughter' Scott seeks to uncover some of the ways
in which stereotypes and simplifications about India enter narratives
in the home country,
and to link them with novelistic strategies deployed to engage
and manipulate audiences. Together, the two fictions present
a series of inversions and complications, demystifications and
remystifications, which challenge standard colonial narrative.
A reworked and expanded version appears in Wallace's Imperial
Characters: Home and Periphery in Eighteenth-Century Literature (Lewisburg,
PA: Bucknell University Press, 2010).
Webb, Samantha C. ‘In-appropriating the
Literary: James Hogg's Poetic Mirror Parodies of Scott
Studies in Hogg’s World, 13 (2002), 16-35.
o' the Cleuch (1816), Hogg's parody of Scott's narrative
Hermann. 'Sir Walter Scott: Dichter, Sheriff, Schotte',
in Annäherung an das Thema 'Recht und Literatur', ed.
Hermann Weber (Baden-Baden: Nomos, 2002), pp. 91-107.
language article on the links between Scott's legal and literary
Reflections on Marrying Moores’, Victorian Literature and Culture, 30 (2002), 1-17.
that the Waverley Novels, especially Old
Mortality, provide the blueprint for the exploration
of masculinity in Charlotte
novel Shirley (1849).
Wilt, Judith. ‘Transmutations: From Alchemy to History in
Quentin Durward and Anne of Geierstein’, European Romantic
Review, 13 (2002), 249-60.
Explores the tenacious link between the occult
sciences and the generic strategies of the Gothic.
Youngkin, Molly. ‘"Into the woof, a little Thibet wool":
Orientalism and Representing "Reality" in Walter Scott's “The
Surgeon's Daughter”’, Scottish Studies Review,
3 (2002), 33-57.
Argues that Scott's depiction of India is more
complex than Edward Said's study of Orientalism will allow. 'The
Surgeon's Daughter' does not uphold the
binaries of coloniser/colonised, centre/periphery, and West/East,
but, instead, illustrates more reciprocal relations
between these terms.
multi-authored chapter 'Apparato critico: le cifre del romanzo',
in the same volume (pp. 311-97)
provides, in passing, much useful information on the international
work in the nineteenth-century.
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