This paper explores the occult relationship between modern psychoanalysis and the pre-Freudian psychoanalysis of James Hogg‘s 1824 Gothic novel, The Private Memoirs and Confessions of a Justified Sinner. Haunted by the ghosts of Mesmerism and of Calvinisms rabidly contagious religious fervour, Hogg‘s novel explodes post-Lockean paradigms of the subject for a post-Romantic British culture on the eve of the Empire. Turning back to Scotland‘s turbulent political and religious history, the novel looks forward to the problems of Empire by turning Locke‘s sense-making and sensible subject into the subject of an unconscious ripe for ideological exploitation, a subject mesmerized by the process of making sense of himself.
This essay draws on Julia Kristeva‘s concept of ‘borderline’ experience, a feature of psychotic discourse, to examine the representation of madness, split personality and sociopathic behaviour in James Hogg‘s The Private Memoirs and Confessions of a Justified Sinner and the contemporary, muted Gothic of John Burnside‘s The Locust Room (2001). The main characteristics of borderline experience - a concern with authenticity and the proper name, with uncertain boundaries between inside and outside, truth and delusion - are central concerns in Hogg and Burnside, and the essay assesses the value of borderline discourse for a critical reading of madness in Gothic.
James Hogg’s deconstruction of Scottish military masculinities in The Three Perils of Man, or War, Women, and Witchcraft!
Hunger and cannibalism: JamesHogg’s
deconstruction of Scottish military
masculinities in The Three Perils of Man
or War, Women, and Witchcraft!
The anonymous reviewer of the Monthly Censor, feeling rather uncomfortable with the depiction of the violence of war in The Three Perils of
Man (1822), claimed that JamesHogg did
more to disgust us with that abominable species of border warfare, which
historians are glad to pass over with brevity, or in silence, than any of his
contemporaries. In fact he has entered, with such appalling
A central text for any study of the Gothic double is JamesHogg’s The Private Memoirs and Confessions of a Justified
Sinner (1824). The novel’s complex plot hinges around
Robert Wringhim, who is haunted by a mysterious double, the devilish
Gil-Martin. Events in the narrative are shrouded in ambiguity and we are
never quite sure whether Gil-Martin simply incites Robert to murder his own
This collection explores the role of martial masculinities in shaping nineteenth-century British culture and society in a period framed by two of the greatest wars the world had ever known and punctuated by many smaller conflicts. Bringing together contributions from a diverse range of leading scholars, it offers fresh, interdisciplinary perspectives on an emerging field of study. Chapters in this volume draw on historical, literary, visual and musical sources to demonstrate the centrality of the military and its masculine dimensions in the shaping of Victorian and Edwardian personal and national identities. Focusing on both the experience of military service and its imaginative forms, it examines such topics as bodies and habits, families and domesticity, heroism and chivalry, religion and militarism, and youth and fantasy. The collection is divided into two sections: ‘experiencing’ and ‘imagining’ military masculinities. This division represents the two principal areas of investigation for scholars working in this field. The section on experience considers the realities of military life in this period, and asks to what extent they produced a particular kind of gendered identity. The second section moves on to explore the wider impact of martial masculinities on culture and society, asking whether nineteenth-century Britain can be regarded as a warrior nation. These two sections ultimately demonstrate that the reception, representation and replication of masculine values in Britain during this period was far more complex than might be assumed.
British propensity for macabre fictions. Such an approach has proved
compelling and productive (although David Pirie, its main exponent, errs in
referring to an English gothic tradition when so many of the major gothic
writers are either Irish – Stoker, Charles Maturin, J. Sheridan LeFanu
– or Scottish – Stevenson, JamesHogg), 2 and it is certainly true that many of
Fisher’s films from the 1957–1962 years – notably The
close-set at base, curve back and out. [Scottish Blackface ewes are horned] (22)
Gillies could be reporting back to fellow borderer Sir Walter Scott in the style of JamesHogg. Archie has bred this flock through careful selection of which ewe lambs to keep and by his choice of rams at the autumn sales. The first line of the last stanza makes the point: ‘The ram is half the flock’.
The next poem, ‘Hill lambing’, is ‘in homage to John Berger’, which seems appropriate in a collection about
Monstrous marriage, maternity, and the politics of embodiment
Carol Margaret Davison
portrayed, one that is phallocentrically ‘made not born’, manufactured by ideas and grotesquely devoid of an ‘ethic of care’. In this damning portrait of tyranny and despotism, Scotland stands out as a beacon of imaginative and intellectual freedom for women.
Banks and Gray
Drawing strategically on Shelley’s Frankenstein and such other classic Gothic works as JamesHogg’s chillingly modern psychological portrait, The Private Memoirs and Confessions of a Justified Sinner (1824), Iain Banks’s 1984 succès de scandale
a disjunctive fusion of violent force with carefully calibrated and
organised literary form from which emerges a distinctive grotesque
play with improbable possibilities and ingenious inversions and
reversals, as found in The Bridge (1990b, first published 1986). The
grotesque provides a theoretical model capable of investigating both
the principal narrative energies and the controlled structures of Iain
Banks’s fiction, acknowledging his place within the Scottish literary
tradition and its interest in the grotesque, from JamesHogg to