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and Chapters on Sir Walter Scott Published in 2011
Adams, Edward. 'Scott’s
Romantic Poems, Gibbonian Histories, and Popeian Novels', in
Liberal Epic: The Victorian Practice of History from Gibbon to Churchill
(Charlottesville, VA: University of Virginia Press, 2011) pp. 89-103.
how Pope and Gibbon serve as models for Scott's historiographical
practice in The
Life of Napoleon Buonaparte, Marmion,
and Old Mortality.
Goes on to discuss Scott's influence on Ruskin.
Siraj. 'History, Anachronism, Violence: Morgan's Missionary
and Scott's Guy Mannering', in The Stillbirth of Capital:
Enlightenment Writing and Colonial India (Stanford, CA: Stanford
University Press, 2011), pp. 189-222.
Michael. 'Architecture in Historical Fiction: A Historical
and Comparative Study', in Conjuring the Real: The Role of Architecture
in Eighteenth- and Nineteenth Century Fiction, ed. Rumiko Handa
and James Potter (Lincoln, NE: University of Nebraska Press, 2011),
Scott throughout with particular reference to Ivanhoe.
Paul. 'Restoration Politics and Sentimental Poetics in
A.-J.-B. Defauconpret's Translations of Sir Walter Scott', Translation
and Literature, 20 (2011), 6-28.
how A.-J.-B. Defauconpret's French translations of Old
Mortality and Rob
Roy followed a politically conservative agenda, reconfiguring
Scott for a Legitimist, Catholic, post-Napoleonic readership.
Political rewriting went hand in hand with an aesthetic project
as Defauconpret refashioned Scott's protagonists to resemble
the domestic heroes of the French sentimental novel.Yet Defauconpret
inadvertently created an influential formal hybrid which not
only caused the French historical novel to diverge radically
from Scott's model but played a significant role in the evolution
of the French realist novel.
Barbara. 'The National Drama and the Nineteenth Century',
in The Edinburgh Companion to Scottish Drama, ed. Ian
Brown (Edinburgh: Edinburgh University Press, 2011), pp. 47-59.
a discussion of adaptations of Scott's novels, particularly Rob
Elisa. 'Medieval Minstrelsy and the Female Curse on History',
in Women, Epic, and Transition in British Romanticism
(Newark: University of Delaware Press, 2011), pp. 67-124.
sections on 'Scott's Romantic Epics and the Ossianic Politics
of Scottish Nationalism' (pp. 73-85) and 'Staging Female Minstrels:
Baillie's Influence on Scott' (pp. 85-90). Works discussed include
The Lay of the
Last Minstrel, Marmion,
and The Lady of the
Susan, and David G. Barrie. 'Changing
of the Guard: Governance, Policing, Masculinity, and Class in
the Porteous Affair and Walter Scott's Heart of Midlothian',
Parergon, 28 (2011), 65-90.
that, in contrast to eighteenth-century portrayals of the case,
Scott's treatment of the Porteous Riots of Edinburgh (1736) in
The Heart of
Mid-Lothian was significant in bringing to prominence
a paradigm in which working-class men could contribute to civic
management through policing, so long as they embraced long-held
notions of masculine control held by both the eighteenth- and
nineteenth-century urban elite.
David. 'Popular Reception by Dramatic Adaptation: The Case of
Walter Scott's The Heart of Mid-lothian', European
Romantic Review, 22 (2011), 745-63.
dissemination of the Waverley Novels in nineteenth-century Britain
is usually considered in terms of collected editions, but adaptations
for print and stage played an important role in placing Scott's
fiction at the centre of contemporary social tensions. Melodramatic
versions of The
Heart of Mid-Lothian (1818) performed in London provide
the basis for a case study describing the participation of venue,
performance, and audience in successful production and reception.
The involvement of commerce and politics, print and theatre, upmarket
and working-class audiences indicates the importance of Scott
adaptations in the study of the Waverley Novels, Romanticism,
popular culture, and national identity and group formation in
the 19th century.
David. 'Romantic Revolutions and Transnational Assemblages:
The Waverley Novel in the Age of Modernity', in New Word Order:
Transnational Themes in Book History, ed. Swapan Chakravorty
and Abhijit Gupta (Delhi: Worldview, 2011), pp. 94-117.
national and develops transnational approaches to book history
by considering thematic, formal, and material means of transmission
relevant to the participation of the Waverley Novel in modern
self-identity and group formation, with particular emphasis on
The Heart of
Andrea. 'Plagiarizing Sir Walter Scott: The Afterlife
of Kenilworth in Victorian Quebec', Novel,
44 (2011), 354-81.
Siobhan. 'Resurrecting Redgauntlet: The Transformation
of Walter Scott's Nationalist Revenants in Bram Stoker's Dracula',
inVictorian Transformations: Genre, Nationalism, and Desire
in Nineteenth-Century Fiction, ed. Bianca Tredennick (Farnham:
Ashgate, 2011), pp. 115-32.
Terence. 'Mignon as Spy: Peveril of the Peak',
in Mignon's Afterlives: Crossing Cultures from Goethe to the
Twenty-First Century (Oxford: Oxford University Press, 2011),
Goethe's Mignon (from Wilhelm Meisters Lehrjahre) as
a model for Fenella in Scott's Peveril
of the Peak.
Ayse. ‘Walter's Scott's Disloyal Smugglers’,
in Romances of Free Trade: British Literature, Laissez-Faire,
and the Global Nineteenth Century (Oxford: Oxford University,
2011), pp. 21-42.
An earlier version appeared
Kang-yen. 'Reading the Subaltern in Scott', in Bonds
and Borders: Identity, Imagination, and Transformation in Literature,
ed. Rebecca DeWald and Dorette Sobolewski (Newcastle upon Tyne:
Cambridge Scholars Publishing, 2011), pp. 9-18.
Moira. 'Scholarly Appreciation of Sir Walter Scott',
in Living Proof: A Collection of Short Stories, ed. Peter
Quinn (London: United Press, 2011), pp. 178-82.
Gilles. 'La Jolie Fille de Perth de Bizet ou
comment trahir et honorer Walter Scott', Revue LISA/LISA
E-Journal, 9.2 (2011), 144-63 <http://lisa.revues.org/4408>
[accessed 30 July 2012]
language article on Bizet’s Jolie Fille de Perth
(1867), an operatic adaptation of The
Fair Maid of Perth. Argues that, despite the extreme
freedom of the libretto by Jules Adenis and Vernoy de Saint-Georges,
the work pays indirect homage to Scott by rewriting scenes or
situations drawn from his novel. In spite of borrowing freely
from French grand opera and opéra-comique, Bizet attempts
to find his own musical expression. His opera reflects aspects
of Second Empire French society and the roles it assigned to women,
thus pre-empting his revolutionary Carmen.
Suzanne. 'Plunder as Property: Diamonds', in The
Empire Inside: Indian Commodities in Victorian Domestic Novels
(Ann Arbor, MI: University of Michigan Press, 2011), pp. 61-83.
(pp. 63-65) a discussion of the treatment of Hyder Ali and Tipu
Sultan (Scott's 'Prince Tippoo Saib') in 'The
Ian. 'The Historical Novel', in Charles Dickens in
Context, ed. Sally Ledger and Holly Furneaux (Cambridge:
Cambridge University Press, 2011), pp. 158-65.
a discussion of the Waverley Novels (pp. 158-62) with particular
reference to The
Heart of Mid-Lothian.
Ian. 'The Lost Continent of British Romanticism: The
Edinburgh Edition of the Waverley Novels, Eighteenth-Century
Scotland, 25 (2011), 13-16.
Ian. 'The Trouble with Man: Scott, Romance, and World
History in the Age of Lamarck', Romantic
Circles: Praxis Series, Sept. 2011 (Romantic Frictions,
ed. Theresa M. Kelley) <http://romantic.arhu.umd.edu/praxis/frictions/HTML/praxis.2011.duncan.html>
[accessed 13 September 2011]
discussion of Count
Robert of Paris which argues that Scott's late novel
turns away from national history to world history, to imagine
the dissolution of the Enlightenment figure of a universal human
Ian. 'Urban Space and Enlightened Romanticism', in
The Edinburgh Companion to Scottish Romanticism, ed.
Murray Pittock (Edinburgh: Edinburgh University Press, 2011),
a discussion of Scott (pp. 72-76).
Ian. 'We Were Never Human: Monstrous Forms of Nineteenth-Century
Fiction', in Victorian Transformations: Genre, Nationalism,
and Desire in Nineteenth-Century Fiction, ed. Bianca Tredennick
(Farnham: Ashgate, 2011), pp. 7-27.
(pp. 12-15) a discussion of Scott with reference to Waverley
Stephanie. 'Walter Scott and the Authoress: Anonymity
and the Nineteenth-Century Novel Market', Papers of the
Bibliographical Society of America, 105 (2011), 503-29.
Mary A. 'Field of History, Field of Battle',
Romantic Circles: Praxis Series, Sept. 2011
(Romantic Frictions, ed. Theresa M. Kelley) <http://romantic.arhu.umd.edu/praxis/frictions/HTML/praxis.2011.favret.html>
[accessed 13 September 2011]
a discussion of the 'Dedicatory Epistle' to Ivanhoe
(particularly as discussed by James Chandler in his England
in 1819: The Politics of Literary Culture and the Case of
Romantic Historicism (1998)).
Margret. 'Beyond the Textual Line: Walter Scott’s
Postponing and Post-Scripting of "Authentic" Scottishness',
Moving Worlds, 11.2 (2011), 86-90.
and Rob Roy through
Paul Gilroy's work on intercultural domination. If Scott's writing
is frequently considered coextensive with the idea of Scotland,
this metonymy is particularly apt as concerns the hesitant and
faltering beginnings of both Scott's discourse and the story
of his Scotland: his paratextual deferral of the 'real text'
is symptomatic of the deferral also of 'authentic' Scottishness.
As hiss numerous preliminaries and appendices discursively question
not only the hierarchy of paratext over primary text and vice
versa, but also the relation of English colonising subjects
and Scottish colonial objects, they refuse 'to celebrate incommensurability
and cheerlead for absolute identity' (Gilroy).
Margret. 'The Paradox of Scot(t)land: Authorship, Anonymity
and Autobiography in Scott’s Redgauntlet', Zeitschrift
für Anglistik und Amerikanistik, 59 (2011): 227-46.
autobiographical documents by Scott which consider physical illness
and anonymity not as handicaps but as empowering to his writing.
Goes on to analyse Redgauntlet
which is autobiographical precisely in that it echoes these correlations
of illness, incognito and authorship. Especially through his indebtedness
to Scottish legends and (anonymous) oral performance, the case
of Walter Scott encourages us to imagine alternative models of
authorship which simultaneously undermine and supplement Roland
Barthes’ manifesto of 'The Death of the Author'.
Norman Arthur. 'The Modern Meaning of Georg Lukács'
Reconstruction of Walter Scott's Novels of Premodern Political
Ethics', in Georg Lukács Reconsidered: Critical Essays
in Politics, Philosophy and Aesthetics, ed. Michael J. Thompson
(London: Continuum, 2011), pp. 128-50.
R. F. 'National Tales and National Futures in Ireland
and Scotland after 1800', in Words Alone: Yeats and his Inheritances
(Oxford: Oxford University Press, 2011), pp. 1-44.
an analysis of Scott's debt to the Irish national tale as practised
by Maria Edgeworth, Lady Morgan, and Charles Maturin. Also discusses
Scott's visit to Ireland in 1825 and his proposals for a Scoto-Irish
economic union in Letters
of Malachi Malagrowther.
García Díaz, Enrique. ‘Consideraciones en torno a la ficción y la historia de la novela’, Adamar, 40 (2011)
<http://adamar.org/ivepoca/node/419> [accessed 30 April 2015]
Spanish-language essay on historical fiction, highlighting Scott's contribution to the genre.
González, José Enrique. 'Waverley,
ó, Hace sesenta años de Walter Scott, en traducción
de Francisco Gutiérrez-Brito e Isidoro López Lapuya
(¿1910?)', in Cincuenta estudios sobre traducciones
españolas, ed. Francisco Lafarga and Luis Pegenaute
(Bern: Berlin: Peter Lang, 2011), pp. 361-74.
a Spanish translation of Waverley.
Gil-Curiel, Germán. ‘Walter Scott's Ambivalent Supernatural Tales’, in A Comparative Approach: The Early European Supernatural Tale: Five Variations on a Theme (Frankfurt: Peter Lang, 2011), pp. 57-80.
Discusses: ‘The Highland Widow’, ‘My Aunt Margaret’s Mirror’, ‘The Tapestried Chamber’, and ‘Wandering Willie’s Tale’.
Stephen. 'Where Once We Stood Rejoicing', in Wordsworth's
Revisitings (Oxford: Oxford University Press, 2011), pp.
on Wordsworth's relations with Scott.
Simon. 'Lion Hunting in Scotland', in Freud's Couch,
Scott's Buttocks, Brontë's Grave (Chicago: Chicago University
unknown; on the Scott country.
Tamara. 'Sir Walter's Palimpsests: Material Imprints and the
Trace of the Past', European Romantic Review, 22 (2011),
Scott, the palimpsest becomes a formal structuring principle
through his use of multiple narrators to relate historical events.
His narratives rely on complex editorial apparati and the use
of paratexts – fictional footnotes, documentary evidence,
proems and epigraphs. These unveil both his hyper-reflexive
attittude towards the ability to fully represent the past, which
is essentially beyond reference, and his critical engagement
with historical documents and memories. Focussing on Old
Mortality and Redgauntlet,
this essay argues that the palimpsestic form of Scott's narrative
founds and obscures Scotland's national origin.
Evan. '"Almost the Same as Being Innocent":
Celebrated Murderesses and National Narratives in Scott’s
The Heart of Mid-Lothian and Atwood’s Alias
Grace', in Scottish Literature and Postcolonial Literature:
Comparative Texts and Critical Perspectives, ed. Michael
Gardiner, Graeme Macdonald, and Niall O’Gallagher (Edinburgh:
Edinburgh University Press, 2011), pp. 30-42.
Melinda. 'Negotiations of Nostalgia: Strangeness and
Xenodochy in Walter Scott's Ivanhoe', postmedieval,
2 (2011), 186-200.
is on one level a novel about the futility of nostalgia, and is
critical of characters who attempt to live in the past. At the
same time, it evokes a powerful longing for 'Olden Times' through
its representations of the medieval home. This article argues
that the reflective-nostalgic figures of hospitality and home
are used by Scott to engage his readers emotionally with the strange
and with the idea of the stranger.
Brian. 'Scottish Flowering: Turbulence or Enlightenment',
in The Historical Novel in Nineteenth-Century Europe: Representations
of Reality in History & Fiction (Oxford: Oxford University
Press, 2011), pp. 71-99.
chapter on the Scottish contribution to the historical novel,
with two sections specifically devoted to Scott: 'Themes and
issues in the Waverley Novels' and 'Scott and the problem of
England'. There are further extensive references to Scott throughout
Simon. 'A Failed Modernity: The Ghost Story as the
Bad Conscience of the Historical Novel', in A History of
the Modern British Ghost Story (Basingstoke; New York:
Palgrave Macmillan), 2011, pp. 28-56.
'The Highland Widow',
'The Tapestried Chamber', and 'My Aunt Margaret's Mirror'.
Hill, Richard, J. 'Scott, Stevenson and Popular Visual Culture: Text and Image in Romance Writing, National Sun Yat-Sen Journal of Humanities, 30 (Jan. 2011)
Colin. 'Literary Enchantment and Literary Opposition from
Hume to Scott', in
Secular Faith, ed. Vincent Lloyd and Elliot Ratzman (Eugene, OR: Cascade Books, 2011), pp. 168-96.
Includes a discussion of Scott's treatment of Jacobitism in Waverley. An earlier version of this article appears in Soundings, 92 (2009). See also Jager 2015.
Stuart. 'Plot, Narrative and Artifice: Walter Scott
to Thomas Pynchon via RLS', Journal of Stevenson Studies,
8 (2011), 31-48.
a discussion of Scott's influence on Robert Louis Stevenson.
Liliane. 'La Donna del Lago de Rossini: première
entrée en scène de Walter Scott dans l’opéra
italien', Revue LISA/LISA E-Journal, 9.2 (2011),
[accessed 30 July 2012]
article on Rossini's La Donna Del Lago (1819), an operatic
adaptation of The
Lady of the Lake. Analyses how Rossini's librettist
Andrea Leone Tottola simplifies and rewrites Scott's text, modifying
characters and highlighting the poem’s love interest.
However unfaithful the libretto, however, Rossini's music captures
the heroic and legendary spirit of Scott's original with an
extended, inventive and attentive orchestration, thus indicating
a decisive step in the 'Rossinian Revolution' with the development
of a pastoral style, one of the bases of Romantic opera.
Lindsay. 'Scott's Early Love Poems to Williamina Belsches',
Scottish Literary Review, 3.2 (2011), 45-53.
Scott's love poems to Williamina Belsches, later Lady Forbes
(1776-1810), including 'The Violet' and 'To a Lady'.
Lynch, Andrew. 'Nostalgia
and Critique: Walter Scott's "Secret Power"', postmedieval,
2 (2011), 201-15.
that Scott's medievalist works (including Marmion,
exhibit a ‘reflective nostalgia', which blends creative
‘nostalgic memory’ with ‘critical memory',
and which stages the containment of private chivalric enthusiasm
within a respect for political and military realities. Nevertheless,
Scott's view of historical change as largely effected by military
power also refuses to underwrite history as either providential
or inherently progressive. His distinctive nostalgia asserts
the lost potential of the past as a missing presence in the
here and now.
Lyons, Paul K. ‘Walter Scott, Father and Grandfather’, in Brighton in Diaries (Stroud: The History Press, 2011), pp. 101-06.
On the entries in Scott's Journal recording his visits to Brighton, where one grandchild, John Hugh Lockhart, was taken for his health and where another son, Walter Lockhart-Scott, 3rd Laird of Abbotsford, was born.
Caroline. 'Walter Scott's Romanticism: A Theory of Performance',
in The Edinburgh Companion to Scottish Romanticism, ed.
Murray Pittock (Edinburgh: Edinburgh University Press, 2011),
in particular, The
Fortunes of Nigel and The
Donald. 'Stevenson after Scott: The Case of Catriona',
Journal of Stevenson studies, 8 (2011),
Scott's fiction as a model for Robert Louis Stevenson's novel
Sam. 'Sir Walter Scott, Money and the Financial Crash
of 1825/6', Scottish Business and Industrial History,
26 (2011), 17-48.
B. J. 'Sir Walter Scott: Paul's Letters to his
Kinsfolk, 1816', Script & Print, 35.4 (2011),
conflicting bibliographical claims regarding the number of
editions of Paul's
Letters to his Kinsfolk published in 1816.
Susan. 'Historical Characters: Biography, the Science
of Man, and Romantic Fiction', in Character, Self, and
Sociability in the Scottish Enlightenment, ed. Thomas
Ahnert and Susan Manning (Basingstoke; New York: Palgrave
Macmillan, 2011), pp. 225-48.
discussions of Waverley
John. 'The Historical Novel after Lukács',
in Georg Lukács: The Fundamental Dissonance of
Existence, ed. Timothy Bewes and Timothy Hall (London:
Continuum, 2011), pp. 188-202.
on Lukács's reading of Scott.
Richard, and Katie Trumpener. 'The
Romance of the Outlands: The Fin-de-siècle Adventure
Story between History and Geography', Yearbook of English
Studies, 41 (2011), 106-24.
1905 Quarterly Review essay described adventure narratives
by W. H. Hudson, Conrad, Stevenson, and Lafcadio Hearn as
‘romances of the outlands’, quasidocumentary geographical
fiction defined by its explorations of (frontier) space rather
than by plot. This essay reads this genre against Scott's
historical novel, exploring the divergent readings Scott,
Domingo Faustino Sarmiento, Hudson, and César Aira
develop around the gaucho culture of Argentina's pampas, and
demonstrating how these romances, themselves occupying the
borders of fiction, develop a newly localist (and politically
resistant) vision of world literature, a critical alternative
to the globalized capitalist economy.
Cormac. 'The Novel in Opera: Residues of Reading
in Flaubert', in Opera in the Novel from Balzac to Proust
(Cambridge: Cambridge University Press, 2011), pp. 78-109.
the role of Lucia di Lammermoor (1835), Donizetti's
operatic adaptation of The
Bride of Lammermoor, in Flaubert's Madame Bovary
Kit . '"All Abbotsford to an acre of Poyais":
Highlandry and the Revolutionary Atlantic', European
Romantic Review, 22 (2011), 727-44.
read Scott's Highlanders as an allegory oftheir own continuing
conflict with England, and newspapers carried frequent reports
about Gregor MacGregor, a Scottish adventurer who presented
himself as a contemporary Rob Roy. His foundation of a new
Latin American nation which he called 'Poyais' provoked
responses in American newspapers, from Walter Scott and
from the Noctes Ambrosianae.This transatlantic
axis for Highland writing reveals a surprising relationship
between the representation of national particularity and
its political and economic concomitants. Highlandry, in
these cases, implied both international republicanism and
global finance for Romantic readers.
Emma . 'Facing History:
Galleries and Portraits in Waverley's Historiography', European
Romantic Review, 22 (2011), 187-208.
This paper investigates why Scott makes portraiture so central to his historiography in Waverley, and how he turns away from Burkean precepts to establish a historical practice to do justice to the alterity of the mid‐eighteenth century. While recent Scott criticism focuses on contextualizing Scott within the thriving genres of historical novel and national tale, this article frames questions of genre and of the representation of history in terms of the Romantic understanding of art and of galleries. A revised
and expanded version appears in Peacocke's Romanticism in the Museum (2015).
Joseph, 'Cooper and Scott in the Anglophone Literary
Field: The Pioneers, The Heart of Mid-Lothian,
and the Effects of Provinciality', ELH, 78 (2011),
Matthew. 'Allegory and Exchange in the Waverley Novels',
Romantic Circles: Praxis Series, Sept. 2011
(Romantic Frictions, ed. Theresa M. Kelley) <http://romantic.arhu.umd.edu/praxis/frictions/HTML/praxis.2011.rowlinson.html>
[accessed 13 September 2011]
that the indeterminate form in which Scott sold the labour
embodied in his novels is allegorized in traits of the novels
themselves (with particular reference to The
David. 'Supernatural Modernity in Walter Scott's Redgauntlet
and James Hogg's The Private Memoirs and Confessions of a
Justified Sinner', in Critical Discourses of the Fantastic,
1721-1831 (Farnham: Ashgate, 2011), pp. 107-16.
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
Simone. 'Fra i libri dell'antiquario: leggendo i romanzi
di Sir Walter Scott', Misinta, 37 (2011), 19-22 <http://www.misinta.it/wp-content/uploads/2009/12/MISINTA-37-samallest.pdf>
[accessed 3 April 2012]
article on antiquarians and bibliophiles in the Waverley Novels
with particular reference to the Baron Bradwardine (Waverley),
Dominie Sampson (Guy Mannering), and Jonathan Oldbuck
Clare A. 'Scottish Lawyers, Feudal Law', in Popular
Medievalism in Romantic-Era Britain (Basingstoke: Palgrave
Macmillan, 2011), pp. 167-90.
Clare A. 'Taking Medievalism Home: The National Melody',
in Popular Medievalism in Romantic-Era Britain (Basingstoke:
Palgrave Macmillan, 2011), pp. 57-80.
a discussion of Minstrelsy
of the Scottish Border.
Mark B. 'Quentin Durward and Louis XI: Sir Walter
Scott as Historian', in Defining Neomedievalism(s). II,
ed. Karl Fugelso (Cambridge; Rochester, N.Y.: D.S. Brewer, 2011),
Dustin D. 'The Lettered Paul: Remnant and Mission in
Hannah More, Walter Scott, and Critical Theory', Studies in
Romanticism, 50 (2011), 591-618.
the influence of the Pauline letter on Hannah More and Walter
Scott, with particular reference to Scott's Paul's
Letters to His Kinsfolk.
Bruce. 'Waverley and the Aeneid: Scott's
Art of Allusion', in Jane Austen & Company: Collected
Essays, ed. Nora Foster Stovel (Edmonton, Alta: University
of Alberta, 2011), pp. 55-73
Björn. 'Ivanhoe and the Translation of
English Children's Books into Swedish in the Nineteenth Century',
in Literature, Geography, Translation: Studies in World Writing,
ed. Cecilia Alvstad, Stefan Helgesson, and David Watson (Newcastle
upon Tyne: Cambridge Scholars, 2011), pp. 120-31.
John. 'Walter Scott', in Lives of the Novelists:
A History of Fiction in 294 Lives (London: Profile Books,
2011), pp. 54-56.
Gina Opdycke. '"True views" of Scotland: Illustrated
Supplements to Sir Walter Scott's Work', Scottish Literary
Review, 3.2 (2011), 1-18.
Fernando. 'The Function of Linguistic Variety in Walter
Scott's The Heart of Mid-Lothian', in The
Edinburgh Companion to Scottish Romanticism, ed. Murray Pittock
(Edinburgh: Edinburgh University Press, 2011), pp. 190-201.
Michael. 'Scott's Ivanhoe and the Saxon Question',
in British Romanticism and the Catholic Question: Religion,
History, and National Identity, 1778-1829 (Basingstoke: Palgrave
Macmillan, 2011), pp. 148-81.
Scott's views on Catholic Emancipation and on the relationship
between religion and national identity.
Enrico. 'Al cospetto del diavolo zoppo: Camillo Ugoni,
Giuseppe Nicolini e Walter Scott', Misinta, 37 (2011),
[accessed 3 April 2012]
two writers from Brescia, Italy, active in the Risorgimento movement:
Camillo Ugoni (1784-1855) who met Scott in Edinburgh in 1823,
and Giovanni Nicolini (1789-1855), author of a biographical sketch
Nicola J. 'Fandom mapped: Rousseau, Scott and Byron on
the Itinerary of Lady Frances Shelley', Romantic
Circles: Praxis Series, Aprl 2011 (Romantic Fandom,
ed. Eric Eisner) <http://romantic.arhu.umd.edu/praxis/fandom/HTML/praxis.2010.watson.html>
[accessed 13 September 2011]
a discussion of Lady Frances Shelley's visit to Abbotsford
Nicola J. 'Sir Walter Scott', in
Great Shakespearans, 5. Scott, Dickens,
Eliot, Hardy, ed. Adrian Poole (London: Continuum,
2011), pp. 10-52.
that Scott had more impact on how Shakespeare was produced
and consumed across all media and across the globe in
the 19th century than any other writer, for it was the
new historical sensibility that Scott inaugurated and
popularized that ratified the idea of Shakespeare as in
and of history.
Edyta. 'Miedzy Byronem a Scottem: Hazlitta
i Norwida refleksja nad zadaniami poety', Ruch
literacki, 52 (2011), 125-39.
the views of two second generation Romantics, Cyprian
Kamil Norwid (1821–83) and William Hazlitt
(1778–1830) on the social and political role
of the poet. Compares their comments on and assessments
of the lives of Byron and Scott. Differences in
their evaluations and in the tone of their comments
are placed in the contexts of both their personal
experience and the political situation of Poland
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