Susan Manning

1 Did Mark Twain bring down the temple on Scott’s shoulders? Susan Manning In Walter Scott’s Ivanhoe (1820), the Grand Master of the Order of the Templars, determined to purify their Preceptory of Templestowe, figures the besotted knight Brian de Bois Guilbert as a Samson entrapped by the sorceries of the Jewess Rebecca-Delilah: with [the] aid [of the saints and angels] will we counteract the spells and charms with which our brother is entwined as in a net. He shall burst the bands of this Dalilah, as Samson burst the two new cords with which the Philistines had

in Special relationships
Bulletin of the John Rylands Library
The Uncanny Shark
Nichole Neff

Sharks haunt the human imagination more than vampires, werewolves or ghosts. Sensational representations make the shark the villain of each piece as the top predator of even humanity. Yet since its Gothic beginnings in Anglophone representation, the shark has been the victim. The word sharke comes from slavers tongues when the first of its kind was brought ashore to be flayed, eaten, and its inner bowels excavated and examined. In reading and writing the shark, humanity opens up the belly of the beast to express the repressed and to give utterance to that which cannot be uttered– the uncanny. The argument that follows isnt that we should read the shark as a Gothic figure, but that we already do.

Gothic Studies
Open Access (free)
Anglo-American affinities and antagonisms 1854–1936

This book addresses the special relationship from the perspective of post-Second World War British governments. It argues that Britain's foreign policy challenges the dominant idea that its power has been waning and that it sees itself as the junior partner to the hegemonic US. The book also shows how at moments of international crisis successive British governments have attempted to re-play the same foreign policy role within the special relationship. It discusses the power of a profoundly antagonistic relationship between Mark Twain and Walter Scott. The book demonstrates Stowe's mis-reading and mis-representation of the Highland Clearances. It explains how Our Nig, the work of a Northern free black, also provides a working-class portrait of New England farm life, removed from the frontier that dominates accounts of American agrarian life. Telegraphy - which transformed transatlantic relations in the middle of the century- was used by spiritualists as a metaphor for the ways in which communications from the other world could be understood. The story of the Bolton Whitman Fellowship is discussed. Beside Sarah Orne Jewett's desk was a small copy of the well-known Raeburn portrait of Sir Walter Scott. Henry James and George Eliot shared a transatlantic literary network which embodied an easy flow of mutual interest and appreciation between their two milieux. In her autobiography, Gertrude Stein assigns to her lifelong companion the repeated comment that she has met three geniuses in her life: Stein, Picasso, and Alfred North Whitehead.

Open Access (free)
Janet Beer and Bridget Bennett

level, involving specific and intimate knowledge of one writer by another. Two contributors are particularly concerned with Scottish–American literary relations. Susan Manning’s interest is in the power of a profoundly antagonistic relationship, that between Mark Twain and Walter Scott. She asks questions which extend what is usually conceived of as Twain’s limited, parodic engagement between Scott’s Waverley novels and his own work, in particular, A Connecticut Yankee in King Arthur’s Court. In so doing she also, in her words, aims ‘to complicate our current, perhaps

in Special relationships
Queen Victoria, photography and film at the fin de siècle
Ian Christie

second, however, was the appearance, after long seclusion, of the sovereign at the centre of this mighty web. The contrast between Victoria’s small, elderly figure, in simple widow’s clothing, and the vast spectacle surrounding her struck many spectators at the time. One observer was the American writer Mark Twain, hired for the occasion by the New York Journal , who offered an intriguing comparison

in The British monarchy on screen
Thomas A. Prendergast and Stephanie Trigg

show in chapter 2 , but in this later period the desire to transport the modern subject into the medieval past, or a reformed medievalist future, took more concrete form in creative fictions that would set the agenda for the next century’s prolific medievalism. 14 Three influential texts, published within two years of each other, by William Morris and Mark Twain, share a fascination with

in Affective medievalism
Passing, racial identity and the literary marketplace
Sinéad Moynihan

These marks are his signature, his physiological autograph, so to speak, and this autograph cannot be counterfeited, nor can he disguise it or hide it away, nor can it become illegible by the wear and mutations of time. Mark Twain, Pudd’nhead Wilson (1894) 1 Passing, it has been variously argued, no longer seems to engage contemporary novelists. Juda Bennett, for example, asserts in 2001 that the ‘long list of authors from

in Passing into the present
Abstract only
Hugh Atkinson

political participation at the local level are real enough but there are rich seams to be mined and clear opportunities to be grasped. Reports of the death of local democracy are much exaggerated, to paraphrase Mark Twain. It may be a bit poorly at times but it is not time for the undertakers to move in yet. This book focuses on local democratic politics in Britain over the last decade and a half. It includes an analysis of civic engagement and participation across a range of policy areas and in the context of debates around accountability, legitimacy, and sustainability

in Local democracy, civic engagement and community
Abstract only
Bruce Woodcock

and indicts as it investigates the construction of fundamental Australian mythologies, the visions, dreams and lies of the national psyche. In the process, it deconstructs the contemporary state of the nation. Through this picaresque treatment of the Badgeries’ family history Carey felt as if he were ‘at last trying to come to grips with what it means to be an Australian and what Australia is’. 3 The novel opens with an epigram from Mark Twain: ‘Australian history is almost always picturesque; indeed, it is so curious and strange, that it

in Peter Carey