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Sir Walter Scott and the Hudson River School of Painting
Kerry Dean Carso

This essay examines the influence of Sir Walter Scott‘s historical romances on the artists of the Hudson River School of American landscape painting. Scotts writings inspired paintings of medieval castles, fictional and actual, as well as scenery related to Scott‘s life and literary works. Many American artists visited these sites first-hand and painted or sketched them, providing a visual record of the tourist experience of Great Britain.That so many American artists engaged in painting castles suggests the paradoxical nature of American culture in the nineteenth century, when commentators clamored for a uniquely American culture, even while American authors and artists copied or borrowed from European culture. Castles function as perhaps the ultimate European signifier in otherwise generalized landscapes. This essay argues that those American artists who included castles in the landscape gave American culture a modicum of legitimacy in an era of rising American nationalism.

Gothic Studies
Abstract only
Norse Terror in the Late Eighteenth to Early Nineteenth Centuries
Robert Rix

Antiquarian efforts to revive Old Norse poetry brought about an interest in Germanic superstition that could be exploited by literary writers. This article examines a subspecies of terror writing which took inspiration from Norse literature. Compared to the Catholic settings of many Gothic novels, Norse-inflected writing provided an alternative. It is a little known fact that the Old Norse religion and literature was used as a prism through which Britains ethnically Gothic past could be viewed and negotiated. The article discusses some examples of how the fashion for thrills was combined with a national project to recover a sense of ancestral heroism.

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.

Shakespeare and Scott
Lidia Garbin

At the first Annual Dinner of the Edinburgh Theatrical Fund on 23 February 1827, Sir Walter Scott finally disclosed his identity as the author of Waverley : I am willing, however, to plead guilty ... Like another Scottish criminal of more consequence, one Macbeth, ‘I am afraid to think

in Shakespeare and Scotland
Open Access (free)
‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott
Christina Morin

1 Gothic temporalities: ‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott In 1762, Thomas Leland, a Church of Ireland clergyman, historian, and Professor of Oratory at Trinity College Dublin, published his only novel, Longsword, Earl of Salisbury . Praised by The Critical Review as ‘a new and agreeable species of writing, in which the beauties of poetry, and the advantages of history are happily united’, Longsword enjoyed both favourable reviews and popular acclaim. 1 It was reprinted in

in The gothic novel in Ireland, c. 1760–1829
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
Sarah Orne Jewett, The Tory Lover, and Walter Scott, Waverley
Alison Easton

7 Nation making and fiction making: Sarah Orne Jewett, The Tory Lover, and Walter Scott, Waverley Alison Easton ‘Writing something entirely different’ Beside Sarah Orne Jewett’s desk where she would have seen it every time she looked up was a small copy of the well-known Raeburn portrait of Sir Walter Scott. No critic has commented on this, yet Scott was important to her. As she remarks in a 1905 letter to her dearest friend and companion, Annie Fields,‘How one admires that great man more and more’.1 So, what was New England’s most notable, late

in Special relationships
Scott, Banim, Galt and Mitford
Damian Walford Davies

‘speculations by curious minds as to the differences that would have been made had certain events “taken another turn” ’.2 This chapter considers several varieties of counterfactualism that appear avant la lettre in literary and paraliterary texts published almost simultaneously in 1824, one of them being Isaac D’Israeli’s essay. The ‘what if’ approach to history-writing proposed by D’Israeli is put into practice in the historical novel Redgauntlet, Walter Scott’s most blatant experiment with counterfactual narrative. John Banim achieves a revisionary perspective on history

in Counterfactual Romanticism
Scott, Small, and the Edinburgh Edition
Willy Maley
Alasdair Thanisch

at the University Library and the National Library of Scotland. As Hiram Morgan observes, ‘It was the publishing efforts of Sir Walter Scott and John Small, the university librarian in Edinburgh, in the nineteenth century that brought the Image of Irelande back to public attention.’ 1 This rich Scottish afterlife has yet to be fully explored, from the copy owned by William Drummond – consulted by Walter Scott in the Advocates Library, and now housed in Edinburgh University Library – to the British Library copy

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Open Access (free)
Janet Beer
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