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Articles
and Chapters on Sir Walter Scott Published in 2007
An
Annotated Bibliography
Abrantes,
Elisa Lima. 'Elementos celtas no romance Rob Roy',
Literatura e comparativismo, 3 (2007), 1-14.
Brazilian
article on Celtic elements in Rob Roy.
Alexander,
Michael. 'Chivalry, Romances, and Revival: Chaucer
into Scott: The
Lay of the Last Minstrel and Ivanhoe', in Medievalism:
The Middle Ages in Modern England (New
Haven, Conn.: Yale University Press, 2007), pp. 24-49.
Examines
Scott's contribution to the revival of the Medieval romance
form in The Lay of the Last Minstrel and Ivanhoe.
Analyses Scott's sources, particularly Chaucer's The Knight's
Tale,
and show
how 'saucy' he was with them. His spirit is that of charades
and house-party amateur dramatics, invoking the fun of dressing
up and make-believe.
Alexander,
Michael. '"Dim religious lights": The
Lay, Christabel,
and "The Eve of St Agnes"', in Medievalism: The
Middle Ages in Modern
England (New Haven, Conn.: Yale University Press,
2007), pp. 50-64.
A
comparative study of Scott's The Lay of the Last Minstrel,
Coleridge's Christabel, and Keats's 'The Eve of St Agnes'.
Argues that Scott recreated for poetry the role of remembrancer
and reinvigorated the role of the minstrel, the medieval entertainer
who compiled, retold, and handed on the old stories. Scott
added to this tribal role the more enlightened roles of author,
editor, and historian, and set out to understand old differences
and to assuage ancient wrongs.
Alexander,
Michael. 'History, the Revival, and the PRB: Westminster,
Ivanhoe, Visions and Revisions',
in Medievalism: The Middle Ages in Modern England (New
Haven, Conn.: Yale University Press, 2007), pp. 127-48.
Includes
(pp. 131-34) a discussion of Scott's anachronistic
use of early Germanic or 'Gothic' names in Ivanhoe (Wamba,
Cedric, Gurth, Ulrica). Argues that Scott is deliberately
making a point, indicating that the Germanic/Gothic tribes
who formed
the English people preserved ancestral practices and social
and political attitudes (such as a belief in participatory
democracy) that made them constitutionally different from their
French rulers. Scott implies that these survive into his own
day, differentiating Georgian Britain from Imperial France.
Bozzetto,
Roger. 'À contre temps: retour sur quelques "évidences"
de la critique en "fantastique"', E-rea, 5.2 (2007), 8-16 <http://erea.revues.org/155>
[accessed 31 August 2010]
Includes a discussion of Scott's essay 'On the Supernatural
in Fictitious
Composition'.
Brown,
Iain Gordon. 'George Borrow and
Sir Walter Scott: Two Heads Compared by the Phrenologists', George
Borrow Bulletin,
34.2 (2007), 31-34.
Burgess,
Miranda J. 'The Scottish Regalia and the Scottish Nation,
1999/1822', in Culture, Nation, and the New Scottish Parliament,
ed. Caroline
McCracken-Flesher (Lewisburg,
PA: Bucknell University Press, 2007), pp. 113-28.
Burstein,
Andrew. 'Rip van Winkle Awakes, 1815-1819', in The
Original Knickerbocker: The Life of Washington Irving (New
York: Basic Books, 2007), pp. 109-32.
Amongst other references to Scott, includes (pp. 115-17)
a discussion of Irving's visit to Abbotsford in
1817.
Burstein,
Miriam Elizabeth. 'Emily Sarah Holt and the Evangelical
Historical Novel: Undoing Walter Scott', in Clio’s
Daughters: British Women Making History, 1790-1899, ed.
Lynette Felber (Newark, DE: University of Delaware Press, 2007),
pp. 154-78.
In
her Out in the '45, or, Duncan Keith's Vow (1888),
the Calvinist Evangelical novelist Emily Sarah Holt rewrites Waverley's
opposition between 'history' and 'romance' in terms of salvation
and damnation. While adopting much of the scholarly Scott tradition
(historical footnotes, prefaces, and appendices), she is deeply
critical of his secularist emphasis on national unity, and
aims to show that the England of her day risks repeating earlier
historical errors in its accommodation of Catholicism.
Burstein,
Miriam Elizabeth. 'Sir Walter Scott: "The Highland
Widow"', in A Companion to the British Short Story,
ed. Andrew Maunder (London; New York: Facts on File, 2007)
Canuel,
Mark. 'Jane Austen, the Romantic Novel, and the Importance
of Being Wrong', in The Shadow of Death: Literature, Romanticism,
and the Subject of Punishment (Princeton, NJ: Princeton University
Press, 2007), pp. 81-114.
Includes (pp. 110-14) a comparative study of the treatment
of capital punishment in Scott and Austen.
Case,
Alison E., and Harry E. Shaw. 'Waverley',
in Reading
the Nineteenth-century Novel: Austen to Eliot (Oxford:
Blackwell, 2007)
Pagination unknown.
Çelikkol,
Ayse. ‘Free
Trade and Disloyal Smugglers in Scott's Guy Mannering and Redgauntlet’,
ELH, 74 (2007), 759-82.
A reworked
and expanded version appears
in Çelikkol's Romances
of Free Trade: British Literature, Laissez-Faire, and the Global
Nineteenth Century (Oxford: Oxford University, 2011).
Craig,
Cairns. 'Recovering History', in Culture, Nation,
and the New Scottish Parliament,
ed. Caroline McCracken-Flesher (Lewisburg, PA: Bucknell University
Press, 2007), pp. 23-43.
Crawford,
Robert. 'Volcano, Wizard, Bankrupt, Spy', in Scotland's
Books: The Penguin History of Scottish Literature (London:
Penguin
Books, 2007), pp. 385-451.
Includes
(pp. 404-22) a discussion of Scott's contribution to Scottish
literature.
D'Arcy,
Julian Meldon. 'Sporting Scott: Sir Walter, the
Waverley Novels and British Sports Fiction', Recherches
anglaises et nord-américaines, 40 (2007), 95-102.
Argues
that critics have overlooked Scott’s love of sports as
possibly too ‘low-brow’ for consideration and neglected
his pioneering contribution to British sports fiction. Surveys
sporting images and metaphors in Scott to show how pertinent
and effective these may be. Particularly analyzes tropes involving
hunting and fishing (Guy
Mannering, St
Ronan’s Well, and Redgauntlet),
gladiatorical contest (The
Fair Maid of Perth), wrestling and shooting (Old
Mortality), and boxing and sword-fighting (‘The
Two Drovers’).
Dolinin,
Alexander. 'Val'ter-skottovskii istorizm i Kapitanskaia
dochka', in Pushkin
i Angliia: tsikl statei (Moscow: Novoe literaturnoe obozrenie,
2007)
Pagination unknown; Russian-language
study that considers the influence of Scott
on Pushkin's 1836 novel Kapitanskaia dochka (The
Captain's Daughter). An earlier
version of this article was published in Tynianovskii
sbornik, 12 (2006).
Donovan,
Julie. 'Sydney Owenson (Lady Morgan) and Walter
Scott’s
Worn-Out Inexpressibles', Nineteenth-Century Gender Studies,
3.2 (Summer 2007) <http://www.ncgsjournal.com/issue32/donovan.htm> [accessed
9 May 2008]
Considers
what Owenson's commonplace books and journals reveal about
her relationship to Sir Walter Scott. These include many newspaper
cuttings which detail and parody Scott’s literary celebrity
but few direct references to Scott. Argues that Owenson’s
thoughts on Scott were rendered inexpressible by a mixture
of outrage and admiration and a tug of war between derision
and the desire to be recognized by her rival.
Duncan,
Ian. 'Ireland, Scotland, and the Materials
of Romanticism’, in Scotland, Ireland, and
the Romantic Aesthetic, ed. David Duff and Catherine Jones
(Lewisburg, PA: Bucknell University Press, 2007), pp. 258-78.
Eliot,
Simon. '1825–1826: Years of Crisis?', in The
Edinburgh History of the Book in Scotland. 3, Industry
and Ambition 1800–1880, ed. Bill Bell (Edinburgh:
Edinburgh University Press, 2007), pp. 91–95.
Discusses
the collapse of Archibald Constable and Co. (see Financial
Hardship), Scott's defence of the Scottish banking system
in Letters of
Malachi Malagrowther, and the elaboration of the 'Magnum
Opus' edition of the Waverley Novels as a means of redeeming
Scott's debts. Argues that the financial crisis of 1825-26
led Scottish publishers to favour their traditional staple
of religious tracts over belles-lettres. It has been seen as
more traumatic than it actually was because those it most affected
-- essayists, journalists, novelists -- were most likely to
write about it.
Ellison,
James. 'Beerbohm Tree's King John (1899): A Fin-de-Siècle
Fragment and its Cultural Context', Shakespeare, 3 (2007),
293-314.
This
article on the cultural context of the actor Herbert Beerbohm
Tree's interpretation of Shakespeare's King John (captured in
a short surviving film extract) includes a discussion of the
immense popularity of Scott's Ivanhoe in Victorian Britain which
had ensured that John's reign was profoundly associated with
anti-semitism in the public mind.
Fischer,
Norman A. 'Historical Fiction as Oppositional Discourse:
A Retrieval of Georg Lukacs' Popular Front Revival of Walter
Scott's Historical Novels', Atlantic Journal of Communication,
15 (2007), 61-77.
Argues
that György Lukács's Marxist interpretation of
Scott is deeply rooted in a Hegelian view of politics, ethics,
and aesthetics which -- against the backdrop of the Popular
Front movement against Fascism -- interpreted Hegel as a Republican.
In doing so, Fischer suggests, Lukács paved the way
for a republican interpretation of Scott. Proposes that 'increased
emphasis on republican ethics can fit the oppositional aesthetic
qualities of Scott's historical novels extremely closely to
their oppositional political themes'.
Franklin,
Caroline. 'Poetry, Patriotism, and Literary Institutions:
The Case of Scott and Byron',
in Scotland, Ireland, and the Romantic Aesthetic,
ed. David Duff and Catherine Jones (Lewisburg, PA: Bucknell
University Press, 2007), pp. 172-91.
A comparative
study of Scott's and Byron's relationships with the quarterlies
in 1808-09. Focuses in particular on a) the
Edinburgh Review's critiques of Byron's Hours of Idleness (by
Henry Brougham) and Scott's Marmion (by Francis Jeffrey)
b) Scott's role in establishing The Quarterly Review as
a Tory-leaning rival to the Edinburgh Review, and
c) Byron's response to the
Edinburgh Review and his criticism of Scott in English
Bards and Scotch Reviewers.
Freeman,
Alan. 'Allegories of Ambivalence: Scottish Fiction,
Britain and Empire', in Readings of the Particular: The
Postcolonial in the Postnational, ed. Anne Holden Ronning
and Lene Johannessen (Amsterdam: Rodopi, 2007), pp. 39-56.
A study outlining some features of Scottish fiction relating
to Scotland's historically ambiguous engagement with Britain
and the British Empire, which includes a discussion of
Scott's Waverley (pp. 46-48).
García
Díaz, Enrique. 'Similitudes y diferencias entre
la prosa de Jane Porter y Walter Scott', Espéculo,
35 (2007) <http://www.ucm.es/info/especulo/numero35/porscott.html> [accessed
17 March 2008]
A
comparison between Scott's Waverley and
Jane Porter's The Scottish Chiefs (1810), which acknowledges
Porter's status as a pioneer of the historical novel but underlines
Scott's innovations in the treatment of authentic historical
figures, development of the mediocre hero, low-key representation
of violence, and emphasis on manners.
García
González, José Enrique.
'Waverley ve
la luz en España: consideraciones
sobre la traducción
publicada por Oliva', in Traductores y traducciones de literatura
y ensayo (1835-1919), ed. Juan Jesús Zaro (Málaga:
Comares, 2007), pp. 95-117.
Study
of the first translation of Waverley to
appear in Spain, which was published by the Barcelona imprint
Oliva in 1836.
Garside,
Peter. 'Waverley
and the National Fiction Revolution', in The Edinburgh
History of the Book in Scotland. 3, Industry and
Ambition 1800–1880, ed. Bill Bell (Edinburgh:
Edinburgh University Press, 2007), pp. 222-31.
Charts
the history of Waverley from
its inception in 1808 to the 'Magnum Opus' edition of 1829.
Underlines the revolutionary impact of the 'Magnum Opus' in
transforming the idea of an author in the public mind, reinventing
the concept of the Collected Works as a commercial imperative,
and presenting Scott's oeuvre as an already canonized body
of texts having national importance. Traces how Waverley became
a multi-medium phenomenon through countless spin-offs and how
the Waverley Novels remained the mainstay of the Scottish publishing
industry throughout the nineteenth century.
Garside,
Peter, and Iain Gordon Brown. 'New
Information on the Publication of the Early Editions of Waverley',
Journal of the Edinburgh Bibliographical Society, 2 (2007),
11-22.
Garson,
Marjorie. 'The Discourse of Taste in Waverley', in
Moral Taste: Aesthetics, Subjectivity, and Social Power
in the Nineteenth-Century
Novel (Toronto: University of Toronto Press, 2007), pp. 39-71.
Gehringer,
Mary. 'C.
S. Lewis and Sir Walter Scott', CSL: The Bulletin
of the New York C. S. Lewis Society, 38.3 (May/June 2007), 1-7.
Gottlieb,
Evan. ‘”To Be at Once Another and the
Same”: Scott's Waverley Novels and the End(s) of Sympathetic
Britishness’, in Feeling British: Sympathy and
National Identity in Scottish and English Writing, 1707-1832 (Lewisburg:
Bucknell University Press, 2007), pp. 170-207.
Argues
that The Heart
of Midlothian deploys a vocabulary of sympathy, adapted
from the Scottish Enlightenment, in order to encourage readers
to think of themselves as British first, English or Scottish
second. An earlier version appears
in Studies in Romanticism, 43 (2004).
Harris,
Jocelyn. 'A Critique on Walter Scott', in A Revolution
Amost beyond Expression: Jane Austen's 'Persuasion' (Newark:
University of Delaware Press, 2007), pp. 109-29.
Argues
that the critique of Sir Walter Scott that Austen never wrote
may be pieced together from her re-visioning of Waverley, Guy
Mannering, and The
Antiquary in Persuasion (1816), especially
where she swerves from Scott's trust in innate nobility and
from his infantilized vision of women. Acknowledges that in Persuasion Austen
learnt from Scott the advantage of rooting her tale in history
and rooting that history in place.
Henriques,
Ana Lucia de Souza. 'O entrelace da ficção
e da história para um desenho da nacionalidade escocesa:
o caso de The Heart of Midlothian', Feminismos,
identidades, comparativismos,
5 (2007), 11-21.
Brazilian
article on how fiction and history are intertwined in the portrayal
of Scottish national identity in The
Heart of Midlothian.
Hewitt,
David. '"Hab Nab at a Venture": Scott on
the Creative Process', Studies
in Scottish Literature, 35-36 (2007), 426-43.
Argues
that the significance of Scott's description of the psychology
and physiology of the writing process in his Journal has
been overlooked due to its non-systematic nature. Detects a
tension in Scott's astute self-analysis between unconscious
mental activity (whether in sleep, daydreaming, or a surrender
to the intellectual and physical momentum of writing) and obsessive
revision and correction. Suggests that the Journal is
to creative prose what Coleridge's Biographia Literaria is
to poetry.
Hill,
Richard. 'Writing for Pictures: The Illustrated Gift-Book
Contributions of Scott and Hogg', Studies
in Hogg and his World,
18 (2007), 5-16.
Compares
and contrasts works commissioned from Scott and Hogg to accompany
illustrations in gift-books and annuals. With
particular reference to Scott's
'Death
of the
Laird's
Jock'
(published in The Keepsake),
argues that this arrangment was awkward for Scott due to his
preconceptions concerning the nature and purpose of illustration
in relation to the written word.
Hoagwood,
Terence. 'The Textualizing of Sound:
Romantic-Period Pseudo-Songs', Wordsworth Circle, 38 (2007),
100-04.
Comparative study of Minstrelsy
of the Scottish Border and Thomas Moore's Irish
Songs (1808).
Hubbard,
Tom. '"Bright Uncertainty": The Poetry of Walter Scott,
Landscape, and Europe', Hungarian Journal of English and American
Studies,
13.1-2 (2007), 49-64.
Jones,
Catherine A. 'Scott, Wilkie, and Romantic
Art’, in Scotland, Ireland, and the Romantic Aesthetic,
ed. David Duff and Catherine Jones (Lewisburg, PA: Bucknell
University Press, 2007), pp. 208-35.
Kilpi,
Harri. 'When Knighthood Was in Flower: Ivanhoe in
Austerity Britain', Scope, 7 (2007) <http://www.scope.nottingham.ac.uk/article.php?issue=7&id=189> [accessed
17 March 2008]
Whereas
Richard Thorpe's 1952 film Ivanhoe is generally discussed
in an American context as an anti-McCarthyite allegory, this
paper examines it in terms of its representation of English
cultural heritage and national identity. It is seen as articulating
two important trends in 1950s Britain. Firstly, it epitomizes
backward-looking historical escapism and traditional, conservative
ways of constructing national identity. At the same time, its
glamorous visual style resonates with the approaching end of
austerity and the nascent consumer culture.
Korenowska,
Leslawa. 'Transformatsiia kriminal'nykh motivov proizvedenii
Skotta i Dikkensa v rannem tvorchestve Dostoevskogo (1846-1869)',
in XI Kongress MAPRIAL: mir russkogo slova i russkoe slovo v
mire (Sofia: [MAPRIAL?], 2007), VII, 222-29.
Russian-language
text by Polish scholar on the transformation of criminal
motifs from Scott and Dickens in the early works of Dostoyevsky.
See Korenowska
2005a for an extended monograph on the same subject.
Koy,
Christopher E. 'Signifying on Scots: Charles W. Chesnutt’s
Parodies of Walter Scott', South Bohemian Anglo-American Studies,
1 (2007), 93-101 <http://www.pf.jcu.cz/stru/katedry/aj/doc/sbaas01-koy.pdf>
[accessed 24 August 2010]
Shows
how Charles Chesnutt’s fiction
comments on Scott’s influence on the American South
by parodying the received cultural identification white
Southerners
assumed
about Scotland generally, and about the plots and romantic
notions of Scott’s fiction specifically.
Goes on to examine explicit and implicit allusions to Ivanhoe (Scott’s
most popular romance among Southern whites) in Chesnutt's
novel The House behind the Cedars (1900) in the
light of H. L.Gates’s
theory of African American rhetoric.
Krishnan,
Lakshmi. '"It has devoured my existence":
The Power of the Will and Illness in The Bride of Lammermoor and Wuthering
Heights', Brontë Studies, 32 (2007), 31-40.
Psychosomatic
illnesses figure prominently in The
Bride of Lammermoor and Emily Brontë's Wuthering
Heights. Where Scott regards sickness as the product
of a weakened will, Emily Bronte's characters exercise their
wills to facilitate illness, thereby exerting power over
their circumstances. Scott depicts a society breaking its
members, forcing them to lapse into illness and madness,
troublesome and tragic symbols of disorder. Emily Bronte,
in contrast, interprets illness not as a collapse, but rather
an exertion of the will's strength.
Krulic,
Brigitte. 'Regards croisés', in Fascination
du roman historique: intrigues, héroes et femmes fatales (Paris:
Editions Autrement, 2007), pp. 117-42.
Includes
(pp. 121-27) a discussion of Ivanhoe and
'the birth of a people'.
Krulic,
Brigitte. 'Waverley et l'invention de la
tradition', in Fascination du roman historique: intrigues, héroes
et femmes fatales (Paris: Editions Autrement, 2007),
pp. 83-101.
Lach,
Roman. 'Historische Stoffe - Walter Scott gegen
E. T. A. Hoffmann: Warum jeder Roman ein historischer Roman
ist', Die
Neue Rundschau, 118 (2007), 138-56.
Notes
how in German criticism of the 1820s, Scott is polemically
contrasted with E.T.A. Hoffmann. Scott is praised for bringing
objectivity to the novel and for revealing the historicity
of everyday life, while Hoffmann is criticized for a nebulous
subjectivity. Shows how Scott himself contributed to the debate
by attacking Hoffmann in his 'On the Supernatural in Fictitious
Composition' (1827). Analyses finally how the novelist Alexis
sought a synthesis between the two apparently conflicting models
for prose fiction.
Lumsden,
Alison. '"Beyond the Dusky Barrier": Perceptions
of the Highlands in the Waverley Novels', in Mìorun
Mòr nan Gall, ‘The Great Ill-Will of the Lowlander’?:
Lowland Perceptions of the Highlands, Medieval and Modern,
ed. Dauvit Broun and Martin MacGregor (Glasgow: Centre for
Scottish and Celtic Studies, University of Glasgow, 2007),
pp. 159-86 <http://www.arts.gla.ac.uk/scottishstudies/ebooks/chap%206%20lumsden.pdf>
[accessed 2 September 2011]
Discusses,
in particular, Waverley, Rob Roy, and Redgauntlet.
McCracken-Flesher,
Caroline. '"No' come back again?":
Scott, the Parliament, and the Impossibility of Return',
in Culture, Nation, and the New Scottish Parliament,
ed. Caroline McCracken-Flesher (Lewisburg, PA: Bucknell University
Press, 2007), pp. 215-33.
Discusses The
Bride of Lammermoor, The
Pirate, and Saint
Ronan's Well.
McCracken-Flesher,
Caroline. 'Scotland
as Theory: Otherness and Instantiation from Mackenzie to the Last
Minstrel', International Journal of Scottish Literature,
3 (2007) <http://www.ijsl.stir.ac.uk/issue3/cmf.htm>
[accessed 5 June 2009]
McCulloch,
Margery Palmer. '"A
very curious emptiness": Walter Scott and the Twentieth-Century
Renaissance Movement', Studies in Scottish Literature,
35-36 (2007), 44-56.
Considers
Scottish interwar views of Walter Scott, focussing on the criticism
of Hugh MacDiarmid, Edwin Muir, and Neil M. Gunn and biographies
of Donald Carswell and John Buchan. Concludes that except for
Buchan, Scott had become the symbol of a previous North British
identity which had to be rejected if contemporary national and
personal aspirations were to be fulfilled. As such, the European
dimension of Scott's work was overlooked, despite the connections
which might have been made with Scottish Renaissance objectives.
MacInnes, John. 'A Note on Sir Walter Scott’s "Coronach"', in Emily Lyle: The Persistent Scholar, ed. Frances J. Fischer and Sigrid Rieuwerts (Trier: WVT Wissenschaftlicher Verlag Trier, 2007), pp. 139-43.
McIsaac,
Peter. 'Rethinking
Tableaux Vivants and Triviality in the Writings of Johann Wolfgang
von Goethe, Johanna Schopenhauer, and Fanny Lewald', Monatshefte,
99 (2007), 152-76.
Includes
(pp. 168-72) a discussion of a tableau vivant in Fanny Lewald's
novel Jenny (1843) in which the heroine appears as
Rebecca from Scott's Ivanhoe.
On the one hand, the device affirms Jenny's voice and Jewishness
and buttresses the conceptual compatibility of love-marriage
with women's sense of self, implicitly arguing against any
form of arranged marriage and for the conviction that Jewish-Christian
love-marriages might diminish antagonism toward Jews. On the
other hand, it works to affirm Jenny's Jewish heritage.
Mack,
Douglas S. 'Hogg,
Byron, Scott, and John Murray of Albemarle Street', Studies
in Scottish Literature, 35-36 (2007), 307-25.
Charts
how Hogg's literary ambitions following the success of The
Queen's Wake (1813) were stymied by fallings-out with
his principal sponsors Scott and Byron. Suggests that Scott
was reluctant to see his relationship with Hogg progress from
a patron-client basis to one of true parity, and that Hogg
felt that his wings had been ruthlessly clipped by the literary
and social establishment.
McLean,
Thomas. 'Nobody's
Argument: Jane Porter and the Historical Novel', Journal for Early Modern Cultural Studies,
7.2 (2007), 88-103.
The
first half of this essay examines Jane Porter's literary
and epistolary responses to the novels and celebrity of Sir
Walter
Scott as
well as
Scott's
responses to Porter's work, and then considers explanations
for the scholarly neglect of Porter. The
second half argues that Porter's 1803 novel Thaddeus
of Warsaw anticipates several key features
of the historical novel identified by
Georg
Lukács, features
that would regularly reappear in the Waverley novels.
McNeil,
Kenneth. 'Britain’s "Imperial
Man": Walter Scott, David Stewart, and Highland Masculinity',
in Scotland, Britain, Empire: Writing the Highlands, 1760-1860 (Columbus,
Ohio: The Ohio State University Press, 2007), pp. 83-116.
Examines
how Scott’s image of the Highland
warrior in Waverley ties
together notions of race and gender in the context of the nation’s
military struggles against its Others, particularly Napoleonic
France.
The figure of the Highland warrior allows for a new imperial
understanding of British military masculinities which envisions
not only a Highland man who is deemed naturally suited to a
life
of soldiering, but also a special kind of non-Highland
commanding officer, who, in order to bring forth the innate martial
qualities of the Highland soldier, must assume the ethnographer’s
stance of acculturation, sympathy, and tolerance.
McNeil,
Kenneth. 'Rob
Roy and the King’s Visit: Modernity and the Nation-as-Tribe',
in Scotland, Britain, Empire: Writing the Highlands, 1760-1860 (Columbus,
Ohio: The Ohio State University Press, 2007), pp. 51-82.
Examines
the Scott-orchestrated pageantry of George IV’s visit
to Edinburgh in tandem with Rob
Roy.
The novel explores how the dynamic of economic
and cultural exchange between individuals and across national
and regional borders ultimately makes for more fluid notions
of national and regional identities. Scott seizes on the dynamic
of blood circulating across the Highland line to envision a particularly
Highland notion of collective solidarity, which he subsequently
'enacts' in
the ceremonies of George IV’s visit, as Lowlanders and
Highlanders alike don the tartan and warm to the sound of the
pipes.
Mandal,
Anthony. 'The Business of Novel Writing: Walter Scott
and Persuasion', in Jane Austen and the Popular Novel: The Determined Author (Basingstoke:
Palgrave Macmillan, 2007), pp. 168-202.
Martínez
García, Montserrat. 'Bridging
Cultures and Languages: Towards the Creation of a Hybrid Identity
in Walter Scott's Waverley', Proceedings of the
30th International AEDEAN Conference, ed. María Losada Friend,
Pilar Ron Vaz, Sonia Hernández
Santano, and Jorge Casanova (Huelva: Servicio de Publicaciones
de la Universidad de Huelva, 2007) [on CD-ROM]
Matteo,
Chris Ann. 'Spolia from Troy: Classical Epic Allusion
in Walter Scott's Waverley', Literary Imagination,
9 (2007), 250-69.
Argues
that the Baron Bradwardine in Waverley serves
both to celebrate and question the notion of classical erudition.
He keeps the classical past alive in the very act of reviving
and hence rethinking the impact of ancient literature (specifically The
Aeneid) on modern society. His example demonstrates how
the modern reader may profitably enjoy the spoils of the classical
literary tradition.
Mayer,
Robert. 'Authors and Readers in Scott's Magnum Edition',
in Historical Boundaries, Narrative Forms: Essays on British
Literature in the Long Eighteenth Century in Honor of Everett
Zimmerman, ed. Lorna Clymer and Robert Mayer (Newark,
DE: University of Delaware Press, 2007), pp. 114-37.
Argues
that the 'Magnum Opus' Edition of the Waverley Novels is an
occasion for the construction of a particular version of both
author and reader and the description of relations between
the two. Authorship is presented as a product of collaboration
or contestation, in which Scott is never quite 'the sole and
unassisted author of all the novels' that late in his career
he claimed to be. Indeed the author is in many ways the creature
of readers who participate in the production of texts, sometimes
in intrusive ways.
Mergenthal,
Silvia. 'Losing
One's Heart in the Highlands: Cross-Cultural Marriages in Scott,
Brunton, and Ferrier', in Comedy and
Gender: Essays in Honour of Dieter A. Berger, ed. Helge Nowak
(Heidelberg: Winter, 2007), pp. 127-36.
Millgate,
Jane. 'The
Name of the Author: Additional Light on the Publication
of Ivanhoe and
the Scott-Constable Relationship', Papers of the Bibliographical
Society of America, 101 (2007), 55-62.
Describes
how newly discovered correspondence between the Ballantyne brothers
throws new light on the relationship between the author, publishers,
and printers of the Waverley Novels. In particular it establishes
the precise date when Scott agreed to ascribe Ivanhoe to
the 'Author of Waverley' rather than the pseudonymous Laurence
Templeton and establishes the determining factor as Constable's
fear that Scott risked saturating the market.
Millgate,
Jane. 'Walter
Scott and the Management of Copyright', in The Edinburgh
History of the Book in Scotland. 3, Industry and
Ambition 1800–1880, ed. Bill Bell (Edinburgh:
Edinburgh University Press, 2007), pp. 212-21.
In
epistolary advice to younger writers, Scott strongly recommended
sharing profits between author and publisher and urged against
the early outright sale of copyright. An examination of the
publishing arrangements for his poetical works indicates, however,
that his own practice was more various and primarily concerned
with enhancing the monetary value of the work over a fairly
immediate timespan.
Munro, Ailie. '"Abbotsford Collection of Border Ballads": Sophia Scott’s Manuscript Book with Airs', in Emily Lyle: The Persistent Scholar, ed. Frances J. Fischer and Sigrid Rieuwerts (Trier: WVT Wissenschaftlicher Verlag Trier, 2007), pp. 212-30.
Negrillo,
Ana Díaz. 'Jeanie
Deans: The Heroine of the Waverley Novels', Grove: Working Papers on English Studies,
14 (2007), 41-52.
Newman,
Steve. 'Reading
as Remembering and the Subject of Lyric: Child Ballads, Children’s
Ballads, and the New Criticism', in Ballad Collection, Lyric,
and the Canon: The Call of the Popular from the Restoration
to the New Criticism (Philadelphia, PA: University of Pennsylvania
Press, 1997), pp. 185-228.
Includes a discussion of how Scott's encounter
with Bishop Thomas Percy and his Reliques of Ancient English
Poetry (1765) set a paradigm for the lyric subject.
Oda,
Yukari. 'Wuthering
Heights and the Waverley Novels: Sir Walter Scott's
Influence on Emily Brontë', Brontë Studies,
32 (2007), 217-26.
A
comparison of the unreliable narrators of Waverley and
Emily Brontë's Wuthering Heights which argues
that Brontë's inconclusive manner of speaking is similar
to Scott's wavering literary identity between history and fiction.
Where Scott's heroes fuse themselves into the unified ending,
Brontë's Lockwood remains at a distance as an onlooker.
By resisting Scott's harmonious endings, Brontë reaches
her original sphere of ambiguity and coexistence.
Oliver,
Susan. '"Looking
back upon a Highland Prospect": Scott, The Lady of
the Lake, and the Lowland/Celtic Fringe', in Romanticism's
Debatable Lands, ed. Claire Lamont and Michael Rossington
(Basingstoke: Palgrave Macmillan, 2007), pp. 39-51.
Shows how Scott's The Lady of the Lake draws
on the theories of stadial development central to Scottish
Enlightenment 'science of man' (as expounded by William Robertson,
Lord Kames, and Adam Ferguson). Considers how
language
and
physiognomy interact to 'justify' the eventual disappearance
of the Highland clans into silence
and invisibility in a recast, orientalized landscape.
Paley,
Morton D. 'Coleridge, Scott, and "This mescolanza
of measures"', Wordsworth Circle, 38 (2007), 104–07.
On Scott's borrowings from Coleridge's Christabel in The
Lay of the Last Minstrel.
Pittock,
Murray G. H. 'Patriot Dress and Patriot Games:
Tartan from the Jacobites to Queen Victoria',
in Culture, Nation, and the New Scottish Parliament,
ed. Caroline McCracken-Flesher (Lewisburg, PA: Bucknell University
Press, 2007), pp. 158-74.
Ragaz,
Sharon. 'Walter
Scott and the Quarterly Review', in Conservatism
and the 'Quarterly Review': A Critical Analysis, ed. Jonathan
Cutmore (London: Pickering & Chatto, 2007), pp. 107-32.
Rigney,
Ann. 'Abbotsford:
Dislocation and Cultural Remembrance', in Writers' Houses
and the Making of Memory, ed. Harald Hendrix (New
York; London: Routledge, 2007), pp. 75-91.
Robinson,
Peter. 'Captain
Benwick's Reading', Essays in Criticism, 57
(2007), 147-70.
A
reading of Jane Austen's Persuasion which argues against
the prevalent critical view that Benwick's love of Scott and
Byron is the sign of a weakness in his character, and that
his change of attachment, from Fanny Harville to Louisa Musgrove
less than a year after Fanny’s death, is not only facilitated
by his dubious literary tastes, but is the decisive exemplification
of this flaw. Far from revealing a heart-broken and wretched
state, Benwick's familiarity with Scott and Byron shows him
articulating his feelings with the aid of literary instances.
Rogers,
Deborah D. 'Women
Who Want to Be Men: Matrophobia in Sir Walter Scott's Rob
Roy',
in The Matrophobic Gothic and its Legacy:
Sacrificing Mothers in the Novel and
in Popular Culture (New York: Peter Lang, 2007), pp. 97-106.
Sage,
Victor. 'The
Author, the Editor, and the Fissured Text: Scott, Maturin and
Hogg', in Authorship in Context: From the Theoretical to
the Material, ed. Kyriaki Hadjiafxendi and Polina Mackay
(Basingstoke, England: Palgrave Macmillan, 2007), pp. 15-32.
Examines
how Scott (in Waverley),
Charles Maturin (in Melmoth the Wanderer, Bertram,
and The Milesian Chief), and James Hogg (in Private
Memoirs and Confessions of a Justified Sinner) use the
figure of the editor-translator as a narrative device to mediate
their authorial presence in literature. Explores how the juxtaposition
of editing and translating to superstition and the oral tradition
reflects political tension between regional (Scottish and Irish)
and British national consciousness.
Sandner,
David. 'Supernatural Modernity in Walter Scott's Redgauntlet and
James Hogg's Private Memoirs and Confessions of a Justified
Sinner', Extrapolation, 48 (2007), 73-83.
Argues
that Scott and Hogg held opposing views on the purpose of the
fantastic in the Romantic novel. Scott’s apparent rejection
of the fantastic conserves its affect in order negatively to define
rational modernity. In Redgauntlet,
his fiction embraces Scotland’s commercial, post-Union present
but rejects its heroic, supernatural past. Hogg, conversely, embraces
the literary supernatural as a haunting, as a discredited past
that rises up to make unignorable claims on the present and to
reveal the necessary self-deceptions that underwrite modern subjectivity.
See also Sandner 2011.
Scheiding,
Oliver. 'James Fenimore Cooper und Sir Walter Scott:
Entwürfe nationaler Leitfiguren im Spiegel der amerikanischen
Literaturkritik
des 19. Jahrhunderts', in Kulturelle
Leitfiguren: Figurationen und Refigurationen, ed. Bernd
Engler and Isabell Klaiber (Berlin: Duncker & Humblot,
2007), pp. 185-205.
German-language
article on Scott and Cooper in 19th-century
American literary
criticism.
Snodgrass,
Charles. 'Staging Scottishness: The Dramatization
of Scotland in Scott's Rob Roy and the New Scottish Parliament',
in Culture,
Nation, and the New Scottish Parliament, ed. Caroline McCracken-Flesher
(Lewisburg, PA: Bucknell University Press, 2007), pp. 175-95.
Argues
that Isaac Pocock's highly popular stage adaptation of Rob
Roy (1818) was a key moment which helped to romanticise
a Scottish national identity through a sense of community and
tradition. That identity evolved and was played out (literally
and figuratively) during the twentieth century in various cultural
venues including David Greig's play Caledonia Dreaming and
the Royal Jubilee in 2002 (celebrated through pageantry reminiscent
of George IV's Scott-orchestrated 1822 visit to Edinburgh).
Soubigou,
Gilles. '"These romantic and wild lands": Scottish
Literary Subjects in French Nineteenth-Century Art', Studies
in Hogg and his World, 18 (2007), 34-47.
Argues
that Romantic Scotland in 19th-century French painting was
a literary myth, largely invented by James 'Ossian' Macpherson
and by Scott, and one which for a long time aroused more artistic
interest than its real-life counterpart.
Stewart,
Ralph. 'The Devil Takes a
Hand: Daniel Webster, Wandering Willie, and Lord Balmerino',
Scottish Studies Review, 8.1 (2007), 9-16.
On
the influence of Scott's 'Wanderng Willie's Tale' (from Redgauntlet) on Stephen Vincent Benét's
1924 story ‘The Devil and Daniel Webster’.
Stitt,
Jocelyn. 'Gendered Legacies of Romantic Nationalism
in the Works of Michelle Cliff', Small Axe, 24 (2007), 52-72.
Includes a discussion of the intertextual use of Scott's Ivanhoe in Jamaican-American writer Michelle Cliff's 1984 novel Abeng.
Torquemada
Sánchez, María
Jesús. 'La Corona de Aragón y Escocia:
paralelismos al hilo de Heart of Midlothian', Cuadernos
de historia del derecho, 14 (2007), 167-88.
Argues
that The
Heart of Mid-Lothian provides a key
for a
comparative study of the formation and development
of Hispanic and British nationalisms. This shows
that, unlike elsewhere in Europe,
legal and social traditions in both terroritories proved
to be
serious obstacles to Union.
Tulloch,
Graham. ‘Scott and Australia’, Bulletin
of the Edinburgh Sir Walter Scott Club, 2007, 16-27.
Valman,
Nadia. 'Repellent Beauty: The Liberal Nation and the
Jewess', in The Jewess in Nineteenth-Century British Literary
Culture (Cambridge: Cambridge
University Press,
2007),
pp.
15-50.
Includes (pp. 20-34) a discussion of Ivanhoe.
Van
Kooy, Dana. '"Rank Imposture" and "Mimic
Goblinry" in Scott's Doom of Devorgoil:
A Genre Politics of National Drama', Literature
Compass,
4 (2007), 698–708.
Considers The
Doom of Devorgoil (1830) as an authorial masquerade,
transgressing and manipulating cultural constructions of
personal and national identity. Having to conform to the
templates of the theatre as a culture industry, it unveils
a symptomatic and disturbing affiliation between the formation
and practices of national drama as a melodramatic form and
the dramatic reproduction of national identity. A performance
and a critique of ‘rank imposture’, it highlights
the importance of understanding the production of genre politics
on stage.
Walker,
David. 'Bunyan's
Reception in the Romantic Period', in Reception, Appropriation,
Recollection: Bunyan's 'Pilgrim Progress', ed. W. R. Owens
and Stuart Sim (Bern: Peter Lang, 2007), pp. 49-67.
Includes
an extensive discussion of Scott's reception of Bunyan (pp.
49-65).
Wheatley,
Kim. 'Plotting
the Success of the Quarterly Review', in Conservatism
and the 'Quarterly Review': A Critical Analysis, ed. Jonathan
Cutmore (London: Pickering & Chatto, 2007), pp. 19-40.
On Scott's role in founding the Quarterly Review and establishing
its editorial policy.
Wickman,
Matthew. 'Aftershocks
of the Appin Murder: Scott, Stevenson, and "Storytell[ing]"',
in The Ruins of Experience: Scotland's
Romantick Highlands and the
Birth
of
the Modern
Witness (Philadelphia, PA: University of Pennsylvania
Press, 2007), pp. 43-68.
On Rob Roy and Waverley.
Wilson,
Fiona. '"He's
Come Undone": Gender, Territory, and Hysteria in Rob
Roy', in Romanticism's Debatable Lands, ed. Claire
Lamont and Michael Rossington (Basingstoke: Palgrave Macmillan,
2007)
Pagination unknown.
Windscheffel,
Ruth Clayton. 'Gladstone and Scott: Family, Identity,
and Nation', Scottish Historical Review, 86 (2007),
69-95.
Argues
that Gladstone's ardent reading of Scott provided a plethora
of inspirations, ideas, and language, which he imbibed and
appropriated into his public and private lives. His concept
of self, understanding of family, and sense of home were all
forged and conducted within a Scottian frame of reference.
Scott's life and works also crucially influenced Gladstone's
political understanding of the Scottish nation and its people,
and his conception of how he could best serve their political
interests.
Wright,
Angela. 'Scottish Gothic', in The Routledge Companion
to Gothic, ed. Catherine Spooner and Emma McEvoy (London: Routledge,
2007), pp. 73-82.
Includes a discussion (pp. 75-81) of Scott's contribution
to the Gothic, with particular reference to The Antiquary, Guy
Mannering,
and Waverley.
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