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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 <> [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) <> [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) <> [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) <> [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 <> [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 <> [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) <> [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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