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Making Sense of Hogg‘s Body of Evidence
Joel Faflak

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.

Gothic Studies
Madness, Mimicry and Scottish Gothic
Scott Brewster

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.

Gothic Studies
James Hogg’s deconstruction of Scottish military masculinities in The Three Perils of Man, or War, Women, and Witchcraft!
Barbara Leonardi

• 6 • Hunger and cannibalism: James Hogg’s deconstruction of Scottish military masculinities in The Three Perils of Man or War, Women, and Witchcraft! Barbara Leonardi 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 James Hogg 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

in Martial masculinities
Sarah Annes Brown

marker. A central text for any study of the Gothic double is James Hogg’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

in A familiar compound ghost
Abstract only
William Welstead

11 North Country Cheviot ewe and twin lambs 12 Monument to James Hogg, St Mary's Loch, Selkirk 13 Suffolk x Welsh Mountain ewe with newborn lambs from a Suffolk ram as terminal sire

in Writing on sheep
Experiencing and imagining the military in the long nineteenth century

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.

Abstract only
Peter Hutchings

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, James Hogg), 2 and it is certainly true that many of Fisher’s films from the 1957–1962 years – notably The Curse

in Terence Fisher
William Welstead

, 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 James Hogg. 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

in Writing on sheep
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 James Hogg’s chillingly modern psychological portrait, The Private Memoirs and Confessions of a Justified Sinner (1824), Iain Banks’s 1984 succès de scandale

in Adapting Frankenstein
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Robert Duggan

literature, 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 James Hogg to Alasdair Gray. Chapter 6

in The grotesque in contemporary British fiction