Articles and Chapters on Sir Walter Scott Published in 2003

Articles and Chapters on Sir Walter Scott Published in 2003

An Annotated Bibliography

Allen, Emily. 'Staging a Comeback: The Remasculinization of the Novel’, in Theater Figures: The Production of the Nineteenth-Century British Novel (Columbus: Ohio University Press, c2003), pp. 66-98.

Argues that as a response to the critical and popular failure of St Ronan’s Well, Scott turns its feminized theatricality into the epic political drama of Redgauntlet

Bainbridge, Simon. ‘Walter Scott's Picturesque Romance of War, 1805-1814’, in British Poetry and the Revolutionary and Napoleonic Wars (Oxford: Oxford University Press, 2003), pp.120-47.

Argues that Scott in The Lay of the Last Minstrel, Marmion, and The Lady of the Lake, played a crucial role in mediating conflict to a nation at war, presenting war as heroic, shaped by the codes of romance, and framed by the conventions of the picturesque.

Boyadzhiev, Zhivko. 'Pisateli i ezikoznanie', Supostavitelno ezikoznanie, 28 (2003), 72-77.

Bulgarian article presenting excerpts from Shakespeare, Hugo, Scott, Gogol, and Branislav Nushich to illustrate these writers' preoccupation with linguistic issues. Sign arbitrariness, folk etymology, script conventions, sociolinguistic perspectives on French argot, superstratic relations in the history of the English language, & the standard-nonstandard opposition are some of the problems addressed from a literary-artistic vantage point.

Brown, David Blayney. ‘Literature and History: Shakespeare, Scott, Byron and genre historique’ in Patrick Noon, et al., Constable to Delacroix: British Art and the French Romantics (London: Tate, c2003), pp. 124-27.

Discusses Scott's influence on post-Napoleonic French art; followed by examples of British and French art inspired by Scott.

Burroughs, Franklin. ‘Lost Causes and Gallantry: Johnny Reb and the Shadow of Sir Walter’, American Scholar, 72 (2003), 73-92.

On Scott's influence in the Southern States of America, with particular reference to Waverley.

Brown, Iain Gordon. 'Scott, Literature, and Abbotsford', in Abbotsford and Sir Walter Scott: The Image and the Influence, ed. Iain Gordon Brown (Edinburgh: Society of Antiquaries of Scotland, 2003), pp. 4-36.

Quoting from his correspondence and Journal, charts the development of Scott's obsession with Abbotsford, his 'romance of a house', which from the very outset is tied to Scott's literary production and the financial risk of heavy borrowing against future intellectual productivity. Goes on to discuss the emergence of Abbotsford as a literary shrine.

Cabo Pérez, Gemma de. 'D. P. H. B., traductor de Walter Scott', in AEDEAN: Proceedings of the 23rd International Conference (León, 16-18 de diciembre, 1999) (León: AEDEAN, 2003) [on CD-ROM]

On one of Scott's first Spanish translators known only by his initials.

Cannizzo, Jeanne. '"He Was a Gentleman, Even to His Dogs": Portraits of Scott and his Canine Companions', in Abbotsford and Sir Walter Scott: The Image and the Influence, ed. Iain Gordon Brown (Edinburgh: Society of Antiquaries of Scotland, 2003), pp. 115-35.

Examines portraits of Scott, Journal entries, and correspondence to show Scott using his dogs to promote a public image of himself as romantic poet of the Borders and genial laird of Abbotsford. The same sources also reveal, however, the genuine warmth and intensity of Scott's affection for his dogs.

Carruthers, Gerard. 'Remaking Romantic Scotland: Lockhart's Biographies of Burns and Scott', in Romantic Biography, ed. Arthur Bradley and Alan Rawes (Aldershot: Ashgate, 2003), pp. 93-108.

Examines how in Lockhart's biographies of Burns and Scott, the two Scottish writers with the greatest claims to be considered important makers of, and participants in, the Romantic era, are dislocated both from their Scottish context and from their Romantic milieu through Lockhart's vision of Scotland as a place unamenable to Romantic literature.

Chase, Jefferson S. 'The Homeless Nation: The Exclusion of Jews in and from Early Nineteenth-Century German Historical Fiction', Jewish Culture and History, 6 (2003), 61-74.

Compares novels by Franz Grillparzer, Karl Spindler, and Wilhelm Hauff with their source, Scott's Ivanhoe, revealing how they employed Jewish figures to resolve, symbolically, conflicts of identity within the 'native' community. Although these authors all promote, to varying degrees, an ethos of tolerance and Enlightenment toward Jews and Jewishness, their narratives also endorse the exclusion, indeed expulsion of Jews from fictionally represented society.

Cheape, Hugh, Trevor Cowie, and Colin Wallace. 'Sir Walter Scott, the Abbotsford Collection, and the National Museums of Scotland', in Abbotsford and Sir Walter Scott: The Image and the Influence, ed. Iain Gordon Brown (Edinburgh: Society of Antiquaries of Scotland, 2003), pp. 49-89.

Provides a survey a) of objects in the National Museums of Scotland relating to Scott's life and writings b) of Scottish archaeological material that belonged to Scott and is now in the Museums' collections, and c) of historical artefacts in the collection of the Society of Antiquaries of Scotland, from which Scott drew inspiration and to which he directly referred in his novels.

Colella, Silvana. ‘Monetary Patriotism: The Letters of Malachi Malagrowther, The Antiquary, and the Currency Question’, Nineteenth Century Studies, 17 (2003), 53-71.

Contends that the defence of Scottish diversity in The Letters of Malachi Malagrowther is not only triggered by, but also inextricably bound up with, Scott's reflections on a system of free banking that was both truly unique and truly Scottish. Examines how Scott rewrites the traditional iconography of paper money to portray paper as more solid and nourishing than gold. Goes on to show how paper money figures in The Antiquary as an important part of an ambivalently inscribed modernizing process.

Cooper, Joan Garden. ‘Scott's Critique of the English Treason Law in Waverley’, Scottish Studies Review, 4.2 (2003), 17-36.

Argues that, in his presentation of the 1745 Jacobite Rebellion, Scott protests against the post-Union imposition of English Treason Law upon Scotland. Traces the influence on Scott's thought of his law professor at Edinburgh University, Baron David Hume.

Coren, Stanley. ‘‘The Dogs of the Scottish Writer’, in The Pawprints of History: Dogs and the Course of Human Events (New York: Free Press, 2003), pp. 81-93.

On the role of dogs in Scott's life and fiction, and how Scott's love of dogs eventually undermined his authorial anonymity.

Davis, Alex. ‘The Progress of Romance. 2, Kenilworth, Chivalry and the Middle Ages’, in Chivalry and Romance in the English Renaissance (Woodbridge: Boydell & Brewer, 2003), pp. 202-34.

Discusses Kenilworth (pp. 219-27) amongst other literary treatments of the 1575 Kenilworth entertainments in order to trace the evolution of attitudes to chivalry and romance from the eighteenth century to the present.

Deane, Bradley. ‘Dueling Authorships in the Romantic Period: The Author of Waverley and the Great Unknown’, in The Making of the Victorian Novelist: Anxieties of Authorship in the Mass Market (New York; London: Routledge, 2003), pp. 1-25.

Contrasts Wordsworth's Romantic image of the author as autonomous, prophetic genius with Scott's emphasis (in the Introductory Epistle to The Fortunes of Nigel) on the social utility of fiction, which leads him to play down his authority as writer and defer to the tastes of his readership. Goes on to detect in Waverley a narrative fissure brought about by the strain of appealing to a range of readers previously thought to belong to incompatible audiences.

Diethelm, Marie-Bénédicte. 'Walter Scott et le jeune Balzac', Le Courrier balzacien, 90 (2003), 3-35.

On Scott's influence on the young Balzac.

Drucker, Johanna. 'Designing Ivanhoe', TEXT Technology, 12.2 (2003), 19-41 <http://texttechnology.mcmaster.ca/pdf/vol12_2_03.pdf> [accessed 24 October 2006]

Describes how experimental interface designs for the IVANHOE Game were created at the intersection of theoretically-informed discussions about visual representation and the demands for a solution to practical problems of access and display. Implicit in this process is a critique of conventional information design, with its emphasis on direct manipulation and assumptions about clarity and communication.

Drucker, Johanna, and Geoffrey Rockwell. 'Reflections on the Ivanhoe Game', TEXT Technology, 12.2 (2003), vii-xviiii <http://texttechnology.mcmaster.ca/pdf/vol12_2_01.pdf> [accessed 24 October 2006]

Introduction to a special issue of the electronic journal TEXT Technology, devoted to the IVANHOE Game, an online playspace, developed by Jerome J. McGann and Johanna Drucker at the University of Virginia, that facilitates collaborative interpretation and permits student-players to perform or to modify Scott's novel-making decisions.

Duncan, Ian. ‘Authenticity Effects: The Work of Fiction in Romantic Scotland’, South Atlantic Quarterly, 102 (2003), 93-116.

Comparative study of Redgauntlet and James Hogg's Private Memoirs and Confessions of a Justified Sinner, both of which feature a division of the protagonist and an associated thematics of reflexive doubling and political-ideological excess ("fanaticism"). Examines how each novel insists upon its condition as a book, an artefact that grants a sheerly material unity to a miscellany of styles and sources by the circumstance of their being bound together.

Edwards, Simon. ‘Walter Scott: Old Mortality and the Future of Terror', Triade, 8 (2003), 36-48.

Seeks to describe Scott's understanding of the claims of the nation state to monopolise the distribution of justice, to regulate and define crime and punishment, to rationalize the practice of torture and execution, and to marshal the forces of terror and destruction in the vindication of liberty, order, and progress.

Fraistat, Neil, and Steven E. Jones. ‘Immersive Textuality: The Editing of Virtual Spaces’, Text, 15 (2003), 69-82.

Includes a discussion of the IVANHOE Game, developed by Jerome J. McGann and Johanna Drucker at the University of Virginia, 'an online playspace that facilitates collaborative interpretation' and permits student-players to perform or to modify Scott's novel-making decisions.

Frew, John. 'Scott, Abbotsford, and the Antiquaries', in Abbotsford and Sir Walter Scott: The Image and the Influence, ed. Iain Gordon Brown (Edinburgh: Society of Antiquaries of Scotland, 2003), pp. 37-48.

Relates Scott's decision to adopt an overtly Scottish architectural style for Abbotsford to a wider contemporary context, Argues that the 'isolation' and pioneering status of the project require significant qualification and identifies a starting point for Scott's taste for the Picturesque in the writings of Uvedale Price and Humphry Repton.

Goode, Mike. ‘Dryasdust Antiquarianism and Soppy Masculinity: The Waverley Novels and the Gender of History’, Representations, 82 (2003), 52-86.

Placing The Antiquary and the 'Dedicatory Epistle' to Ivanhoe in dialogue with contemporaneous verbal and visual discourse over antiquaries, Edmund Burke, and the Lady Hamilton affair, this essay proposes that Romantic historicism disciplined bodies as it defined and authorized new forms of knowledge. A revised and expanded version appears in Mike Goode's Sentimental Masculinity and the Rise of History, 1790-1890 (2009).

Groot, H. B. de. ‘Scott, Hogg, and the Album in the Inn on Ulva’, Studies in Hogg and His World, 14 (2003), 93-99.

On lines purportedly written by Scott and James Hogg in a visitor's book at the Sound of Ulva Inn.

Groth, Helen. ‘Scott, Technology, and Nostalgic Reinvention’, in Victorian Photography and Literary Nostalgia (Oxford: Oxford University Press, 2003), pp. 81-111.

On George Washington Wilson's photographic illustrations for Victorian editions of The Lay of the Last Minstrel and The Lady of the Lake.

Hall, Stefan Thomas. ‘Awkward Silences in Scott's Waverley’, Scottish Studies Review, 4.1 (2003), 82-97.

On the representation of Highland culture in Waverley.

Hamilton, Paul. ‘Waverley: Scott's Romantic Narrative and Revolutionary Historiography’, in Metaromanticism: Aesthetics, Literature, Theory (Chicago; London: Chicago University Press, 2003), pp. 115-38.

Argues that Waverley presents the Jacobites as romantic, living a life of irony, perpetually disempowered and yet signifying by default the French Revolution and its power to disorient historiography. Examines how Scott's widely accepted aesthetic displacement of French onto Jacobite Revolution became a self-confessed alternative to historical explanation.

Henderson, Diana E. ‘Othello Redux?: Scott's Kenilworth and the Trickiness of "Race" on the Nineteenth-Century Stage’, in Victorian Shakespeare. 2, Literature and culture, ed. Gail Marshall and Adrian Poole (Basingstoke; New York: Palgrave Macmillan, 2003), pp. 14-29.

On Kenilworth as a reworking of Shakespeare's Othello and its contribution to the 'whitening' of the Moor. A much expanded version appears in Collaborations with the Past (2006).

Henriques, Ana Lucia de Souza. 'The Mither Tongue: o vernáculo escocês como marca do nacional em Walter Scott e Irvine Welsh', Feminismos, identidades, comparativismos, 1 (2003), 13-33.

Brazilian article comparing the use of vernacular Scots as a mark of nationality in Scott and in Irvine Welsh.

Howard, Jeremy. 'Scott, Abbotsford, and the Russian Gothic Revival: Influence and Coincidence', in Abbotsford and Sir Walter Scott: The Image and the Influence, ed. Iain Gordon Brown (Edinburgh: Society of Antiquaries of Scotland, 2003), pp. 136-60.

Considers the impact of Scott and Abbotsford on Russian approaches to architecture, interior design, collecting, and historiography through the key figures of Vladimir Davydov, Aleksandr Bryullow, and the Scottophile Tsar Nicholas I.

Jackson, Richard. D. 'The Trust Disposition and Settlement and the Last Will and Testament of Sir Walter Scott's Mother', Scott Newsletter, 41-42 (2003), 14-23.

Examines Anne Rutherford's Trust Disposition and Settlement (1801), with four codicils (1804, 1807, 1812, and 1817), and Last Will and Testament (1817), with two codicils (1818 and 1819). These documents are shown to shed new light on efforts to provide financial security for Scott's brothers Daniel and Thomas.

Jarrells, Anthony. ‘Bloodless Revolution and the Form of the Novel’, Novel, 37 (2003), 24-44.

Examines the relationship between individuals and historical violence in Scott's Waverley and Old Mortality and William Godwin's Caleb Williams and Mandeville. A revised version appears in his Britain’s Bloodless Revolutions (2005).

Jones, David. 'Scottish Furniture at Abbotsford', in Abbotsford and Sir Walter Scott: The Image and the Influence, ed. Iain Gordon Brown (Edinburgh: Society of Antiquaries of Scotland, 2003), pp. 90-97.

On locally crafted furniture commissioned for Abbotsford and the ways in which this both reflected and influenced Edinburgh fashion of the time. Focuses, in particular, on furniture designed by Joseph Shillinglaw of Darnick, Roxburghshire.

Jones, W. Gareth. 'Scott’s Edward Waverley and Tolstoy’s Pierre Bezukhov', in Experiencing Tradition: Essays of Discovery in Memory of Keith Spalding (1913-2002), ed. Hinrich Siefken and Anthony Bushell (York: Ebor Press, c2003), pp. 126-32.

On the influence of Scott's Waverley on War and Peace.

Kerkering, Jack. ‘"We are five-and-forty": Meter and National Identity in Scott’, in The Poetics of National and Racial Identity in Nineteenth-Century American Literature (Cambridge: Cambridge University Press, 2003), pp. 35-67.

Traces Scott's splitting of poetic form and content along nationalist lines -- into Scots meter and English language -- in the Letters of Malachi Malagrowther. An earlier version appeared in Studies in Romanticism (2001).

Kipp, Julie. ‘Infanticide in an Age of Enlightenment: Scott's The Heart of Midlothian’, in Romanticism, Maternity and the Body Politic (Cambridge: Cambridge University Press, 2003), pp. 122-54.

Argues that Scott presents mother love as overtly dangerous, a manifestation of the pull of the local that threatens progress, enlightenment, and national stability. Child murder and mother love go hand in hand and are both representative of the dangerous sympathies Scotland fosters in her 'children'.

Knight, Stephen. 'Robin Hood Esquire', in Robin Hood: A Mythic Biography (Ithaca, N.Y.: Cornell University Press, 2003), pp. 94-149.

Assesses Scott's role, in Ivanhoe, in taking Robin Hood out of the 'marginal theatre, antiquarian anthologies, fugitive garlands, and private thoughts of poets' and placing him within the dominant genre of the period. Scott is also the first to make race central to the outlaw's story.

Kruger, Daniel J., Maryanne Fisher, and Ian Jobling. 'Proper and Dark Heroes as Dads and Cads: Alternative Mating Strategies in British Romantic Literature', Human Nature, 14 (2003), 305-17.

Describes empirical tests which support hypotheses derived from evolutionary theory on the perceptions of literary characters. Draws primarily from the works of Scott and Byron to distinguish between two types of Romantic hero: 'proper' and 'dark', representing respectively long-term and short-term mating strategies. An expanded version of this article subsequently appeared in Literature and the Human Animal, ed. J. Gottschall and D. Sloan-Wilson (2005).

Lamont, Claire. 'Scott and Eighteenth-Century Imperialism: India and the Scottish Highlands', in Configuring Romanticism: Essays offered to C.C. Barfoot, ed. Wim Tigges, Peter Liebregts, and Theo D'haen (Amsterdam: Rodopi, 2003), pp. 35-51.

On 'The Surgeon's Daughter’.

Lawson, Julie. 'Ruskin on Scott's Abbotsford', in Abbotsford and Sir Walter Scott: The Image and the Influence, ed. Iain Gordon Brown (Edinburgh: Society of Antiquaries of Scotland, 2003), pp. 161-68.

Seeks to discover the reasons for the virulence of Ruskin's dislike of Abbotsford, 'an incongruous and ugly pile'. Detects various elements which would have struck Ruskin as debased Gothic but argues that he would have objected most to the theatricality and ostentatious materialism of the building .

Lee, Yoon Sun. ‘Time, Money, Sanctuary, and Sociality in Scott's The Fortunes of Nigel’, European Romantic Review, 14 (2003), 233-38.

Argues that Scott rejects the idea of a nation based on abstract time and commodity exchange, exploring instead how new configurations of nation, time, and sociality might arise through the manipulation of debt and sympathy.

Lessenich, Rolf. 'Das komische Element in den Romanen von Sir Walter Scott: Der Fall Rob Roy (1817)', in Heitere Mimesis: Festschrift für Willi Hirdt, ed. Birgit Tappert and Willi Jung (Tübingen; Basel: Stauffenburg, 2003), pp. 863-74.

German-language essay on the comic element in Scott's novels using Rob Roy as a a case-study.

Lincoln, Andrew. ‘The Mercenary, the Savage and the Civilized War: Scott and A Legend of the Wars of Montrose’, Scottish Studies Review, 4.2 (2003), 37-47.

Argues that A Legend of Montrose engages with the seductive assumption that modern warfare is - or could be - governed by 'civilized' norms of conduct, an assumption that influenced official representations of war in the Romantic period.

Lloyd, Stephen. '"A Very Chowder-Headed Person": Raeburn's Portraits of Scott', in Abbotsford and Sir Walter Scott: The Image and the Influence, ed. Iain Gordon Brown (Edinburgh: Society of Antiquaries of Scotland, 2003), pp. 98-114.

On the portraits that Henry Raeburn painted in 1808, 1809, and 1822-23. Discusses Scott's initial criticism of Raeburn's 'half-finished' style and dislike of the 'chowder-headed' (block-headed) appearance of the 1808 portrait, then charts the mollification of his attitude by 1822-23.

McGann, Jerome. 'Texts in N-Dimensions and Interpretation in a New Key', TEXT Technology, 12.2 (2003), 1-18 <http://texttechnology.mcmaster.ca/pdf/vol12_2_02.pdf> [accessed 24 October 2006]

Discusses how the IVANHOE game can be understand as an interpretive environment, a tool of collaborative critical thinking, and a pedagogical game for studying cultural materials, emerging out of a basic shift in the theory of texts and textuality.

McLane, Maureen N. ‘The Figure Minstrelsy Makes: Poetry and Historicity’, Critical Inquiry, 29 (2003), 429-52.

Discusses Minstrelsy of the Scottish Border among other 18th- and early 19th-century song collections.

McMullin, Brian J. 'Watermarks and the Determination of Format in British Paper, 1794- circa 1830', Studies in Bibliography, 56 (2003-04), 295-315.

This examination of a 'transitional period' in British paper production draws most of its examples from the publications of the Ballantyne Press, consisting principally in works written or edited by Scott. The period 1794-1830 saw changes in the location of watermarks within the traditional hand-held mould and a transition from hand-made to machine-made paper.

Maxwell, Richard. ‘Manoscritti ritrovati, strane storie, metaromanzi’, in Il romanzo. 4, Temi, luoghi, eroi, ed. Franco Moretti (Turin: Einaudi, 2003), pp. 237-62.

Includes (pp. 258-60) a discussion of Scott's use of the motif of the newly discovered manuscript in Waverley and Ivanhoe. This chapter was not included in the English translation of Il romanzo, The Novel (Princeton: Princeton University Press, 2006).

Maxwell, Richard. ‘Two Canons: On the Meaning of Powys's Relation to Scott and his Turn to Historical Fiction’, Western Humanities Review, 57 (2003), 103-10.

Discusses the relegation of Scott's work to the status of childhood reading in the later nineteenth and early twentieth and focuses, in particular, on John Cowper Powys's childhood obsession with The Lay of the Last Minstrel. The poem, reimagined as modernist apocalypse, would eventually become crucial to Powys's novels A Glastonbury Romance and Porius.

Millgate, Jane. 'The Millgate Union Catalogue of Walter Scott Correspondence', Scott Newsletter, 41-42 (2003), 4-14.

Provides an account of how the Millgate Union Catalogue of Walter Scott Correspondence came into being, an introduction to its structure and organization, and a guide to search techniques.

Morrison, John. 'The Lure of the Highlands', in Painting the Nation: Identity and Nationalism in Scottish Painting, 1800-1920 (Edinburgh: Edinburgh University Press, 2003), pp. 47-76.

Identifies Scott's staging of George IV's visit to Edinburgh in 1822 as a pivotal moment in the development of Highlandism, creating a myth of Scotland as a unified Highland culture, with a heroic past and a history of extravagant loyalty which was now focused on George and Britiain. Analyses how paintings of the visit by David Wilkie and J. M. W. Turner endorse Scott's message, whereas the radical Alexander Nasmyth, conversely, portrays Edinburgh as cosmopolitan, egalitarian, and progressive.

Morrison, John. 'Seizing History', in Painting the Nation: Identity and Nationalism in Scottish Painting, 1800-1920 (Edinburgh: Edinburgh University Press, 2003), pp. 111-46.

Includes (pp. 111-15) a discussion of Scott's influence on the paintings of William Allan, with particular reference to Allan's The Murder of Archbishop Sharpe (which draws on Scott's Old Mortality). Discusses the campaign organized by Scott and his son-in-law J. G. Lockhart to promote Allan as a painter of Scottish history.

Mukherjee, Upamanyu Pablo. 'Demanding Reform: From Fielding to Peel', in Crime and Empire: The Colony in Nineteenth-Century Fictions of Crime (Oxford: Oxford University Press, 2003), pp. 45-71.

Argues (pp. 66-71) that Scott's 'The Surgeon's Daughter' employs a schematic distinction between the freebooting 'nabobs' of the 'old' colonialism (Richard Middlemas) and the 'new' moral reformers (Adam Hartley). Yet it makes any formulaic allocation of virtues impossible by applying the rhetoric of crime to the colonizers and of justice to the Indians, thus critically re-examining the reformist ideology of progress.

Nicholson, Andrew. ‘Byron and the "Ariosto of the North”’, in English Romanticism and the Celtic World, ed. Gerard Carruthers and Alan Rawes (Cambridge: Cambridge University Press, 2003), pp. 130-50.

Traces an 'unspoken dialogue' between Scott and Byron throughout their writing careers, conducted through apparent minor borrowings or echoes which subtextually elaborated more decisive issues. Charts, in particular, echoes of the Lay of the Last Minstrel in Childe Harold.

Nowviskie, Bethany. 'Subjectivity in the Ivanhoe Game: Visual and Computational Strategies', TEXT Technology, 12.2 (2003), 53-88 <http://texttechnology.mcmaster.ca/pdf/vol12_2_05.pdf> [accessed 24 October 2006]

Notes that the IVANHOE Game's interface aims to create an interactive matrix in which subjectivity can be enacted and performed, with results which emerge at the intersection of multiple subjectivities in dialogue. Discusses how, computationally and in terms of design, such an interface might function.

Ollstein, Ronald N. ‘Rebecca’s Unique Quartette’, Manuscripts, 55 (2003), 17-23.

The Jewish American philanthropist Rebecca Gratz is sometime thought to be the model for Rebecca in Scott's Ivanhoe. This article discusses her friendship with Washington Irving and her possible influence on Scott.

Pearsall, Derek. ‘The Arthurian Sleep and the Romantic Revival: Tennyson’s Idylls of the King’, in Arthurian Romance: A Short Introduction (Oxford: Blackwell, 2003), pp. 110-38.

This survey of the Romantic revival of interest in Arthurian legends includes a précis of The Bridal of Triermain (pp. 117-18) which the author salutes as a 'wonderful piece of medieval hokum'.

Pittock, Murray. ‘Scott and the British Tourist’, in English Romanticism and the Celtic World, ed. Gerard Carruthers and Alan Rawes (Cambridge: Cambridge University Press, 2003), pp. 151-66.

Analyses the enduring hold Scott's compositional arrangement of Primitivism, Enlightenment historiography and a visual aesthetic of the sublime has had on the image of Scotland.

Rahn, Suzanne. "'Like a star through flying snow": Jewish Characters, Visible and Invisible', Lion and the Unicorn, 27 (2003), 303-23.

This essay on the portrayal of Jewish characters in children's fiction notes that Scott's Rebecca (in Ivanhoe) undoubtedly did the most to make Jewishness a positive attribute in the imaginations of readers young and old alike. Scott remakes an age-old English literary traditon by permitting Rebecca to be faithful to her religion and portraying her money-lending father as a victim rather than a villain.

Rockwell, Geoffrey. 'Serious Play at Hand: Is Gaming Serious Research in the Humanities?', TEXT Technology, 12.2 (2003), 89-99 <http://texttechnology.mcmaster.ca/pdf/vol12_2_06.pdf> [accessed 24 October 2006]

Discussing the IVANHOE Game, makes the case for building games and playing them as a way of modelling and then reflecting on our activities that is in the spirit of the humanities.

Russett, Margaret. ‘Meter, Identity, Voice: Untranslating "Christabel"’, Studies in English Literature 1500-1900, 43 (2003), 773-97.

Includes a discussion of Scott's 'plagiarism' of the meter of Coleridge's 'Christabel' in The Lay of the Last Minstrel, arguing that it ultimately affirms the identity of Coleridge's poem. A later version of this article appeared in Margaret Russett's Fictions and Fakes: Forging Romantic Authenticity, 1760-1845 (2006).

Sansing, Chandler. 'Case Study and Appeal: Building the Ivanhoe Game for Classroom Flexibility', TEXT Technology, 12.2 (2003), 43-52 <http://texttechnology.mcmaster.ca/pdf/vol12_2_04.pdf> [accessed 24 October 2006]

Describes how and why the author adapted the IVANHOE Game for 6th grade classroom play. Drawing from this experience he suggests ways in which the game can maintain and increase its pedagogical worth by preserving an element of reconfigurability in its code and rules set.

Schmidt, Peter. ‘Walter Scott, Postcolonial Theory, and New South Literature’, Mississippi Quarterly, 56 (2003), 545-54.

Argues that Scott provides the most influential narrative paradigms for both the white South's understanding of its defeat and for its rebirth. Charts in particular how white supremacist novelist Thomas Dixon rewrote Ivanhoe in his ‘Trilogy of the Reconstruction’ (1905-07) to show how North and South could finally be reconciled in their common whiteness. Conversely black novelists like Frances Harper, Sutton Griggs, or Charles Chesnutt powerfully adapted Scott's motif of the protagonist in eclipse and exile.

Simmons, Clare A. ‘Hope Leslie, Marmion, and the Displacement of Romance’, ANQ, 17 (2003), 20-25.

Argues that Catherine Maria Sedgwick's novel Hope Leslie (1827) alludes to Marmion as a means of establishing itself within the genre of historical romance. Ultimately, however, Sedgwick shows that New England is not destined to be a 'place of romance'.

Smajic, Srdjan. 'The Trouble with Ghost-Seeing: Vision, Ideology, and Genre in the Victorian Ghost Story', ELH, 70 (2003), 1107-35.

Discusses Scott's 'The Tapestried Chamber' as a blueprint for the Victorian ghost story, with particular reference to tales by Sheridan Le Fanu and Amelia Edwards.

Smith, Paul. 'Sir Walter Scott and the Sword Dance from Papa Stour, Shetland: Some Observations', in Folk Drama Studies Today: Papers Given at the International Traditional Drama Conference, 19-21 July 2002, University of Sheffield, England, ed. Eddie Cass and Peter Millington (Sheffield: Traditional Drama Research Group, c2003), pp. 47-66.

In the Magnum Opus edition of The Pirate (1831), Scott provided arguably the most influential description of the Sword Dance of Papa Stour, Shetland. This essay examines why he gathered information on the topic, identifies his sources, and investigates whey he decided to include an account of the dance in the Magnum Pirate. An online version is available at: <http://www.folkplay.info/Confs/Smith2002.pdf> [accessed 9 May 2008]

Watson, J. R. ‘Poetry and the Army: The War 1807-08’, in Romanticism and War (Basingstoke; New York: Palgrave Macmillan, 2003), pp. 108-15.

Discusses (pp. 108-14) Marmion against the backdrop of the Napoleonic Wars. Later sections of Watson's monograph discuss The Vision of Don Roderick, The Field of Waterloo, and Paul's Letters to his Kinsfolk.

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