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Irvine, Robert P. "Walter Scott and feminine discourse." Thesis, University of Edinburgh, 1996. http://hdl.handle.net/1842/21317.
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This thesis examines the relation between Scott's fiction and the late eighteenth-century feminine domestic novel as it appears at the interlinked levels of discourse and plot in the Scottish Waverley novels themselves. Scott's fiction brought a new sort of realism to the novel in its enlightenment understanding of society and history as objects of knowledge, but the plots of the novels are not used to signify social or historical reality. Because social history has no ending, narrative closure is provided instead by extra-historical agents in the text. In Part One I examine how this autonomous agency is derived from the autonomy of young women characters in Waverley, Guy Mannering and The Black Dwarf, an autonomy they owe to their status as signifiers of the domestic fiction which dominated the novel in the decades before 1814. The language of the feminine domestic novel appears within the first half of each text in opposition to the realist discourse of the general narrator. This feminine discourse then disappears from the text, but remains as an other to its realist discourse in the form of an agency which can bring the plot to a proper ending as its realist discourse alone cannot. In the last two instances this agency is associated with folk-culture and the supernatural, and I suggest that its owes its survival within the text to its availability as an object of knowledge in that realist discourse, even while it owes its efficacy to the discourse of the domestic novel. Thus the plots of these novels suppress feminine discourse while ultimately depending on it for their closure. It might be, of course, that Scott is obliged to locate his new type of fiction in relation to this established genre in the early novels as a way of making his texts accessible to an as-yet unestablished readership.
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Fielding, Penelope A. "Walter Scott and eighteenth century thought." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.292479.
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Garbin, Lidia. "Scott and Shakespeare." Thesis, University of Liverpool, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366840.
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Frattini, Paula Caldas. "Walter Scott e Balzac: romancistas da história." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-29112010-100912/.
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O nome de Walter Scott é repetidamente mencionado na obra de Balzac, sobretudo em seus textos críticos. Esta dissertação visa expor, para além da admiração patente do escritor, a penetração analítica de Balzac acerca do romance scottiano, o que lhe sugeriu um fundamento essencial para a formulação de sua Comédia Humana. Tendo como objeto de estudo a leitura dos textos críticos de Walter Scott e Balzac - seus prefácios principalmente -, procuramos demonstrar como o uso da História pelo romance tornou-se o elemento fundamental na aproximação entre os autores. Nossa intenção é deslindar, na fatura do romance, como se articula o entrecruzamento entre História e literatura.Walter Scotts name is repeatedly mentioned in the works of Balzac, mostly in his critical writings. This dissertation aims to show, beyond the writers patent admiration, Balzacs penetrating criticism of the Scottian novel which disclosed to him a sound basis for the composition of his Comédie Humaine. Having Scotts and Balzacs critical writings as our object of study mainly their prefaces - we intend to demonstrate how the incorporation of History by the novel became the essential element in this comparative study of the two writers. Our purpose is to elucidate how this intersection between history and literature is articulated in the narrative.
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Turner, John R. "A bibliography of the Walter Scott Publishing House." Thesis, Aberystwyth University, 1995. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.568776.
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Bautz, Annika. "The literary reputations of Jane Austen and Walter Scott." Thesis, University of Newcastle Upon Tyne, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.417543.
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Dabbs, Donald Matheson. "Narrative experimentation in the novels of Sir Walter Scott." Thesis, University of Stirling, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321972.
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Cunningham, David Gordon McAlpine. "Scott-land : the role of his native landscape in the historical novels of Sir Walter Scott." Thesis, University of Glasgow, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320297.
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Sabiron, Céline. "Limites et frontières dans les romans écossais de Walter Scott." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040181.
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Cette monographie invite à une étude de la pensée de la frontière chez Walter Scott (1771-1832) à partir d’une analyse textuelle détaillée de ses romans écossais — dont l’intrigue se déroule en Écosse, près des Borders ou de la faille frontalière des Highlands, principalement aux XVIIe et XVIIIe siècles autour de l’Union des deux royaumes anglais et écossais. Elle découvre un ensemble d’interactions entre les concepts de limite et de frontière en s’appuyant sur une stratégie particulière, élaborée par l’auteur, fervent opposant à tout manichéisme. Ce dernier fixe les frontières envisagées comme des limites, des bornes immuables et infranchissables, pour ensuite les déconstruire, c’est-à-dire les traverser, les déplacer et les brouiller avant de les dissoudre dans le but d’atteindre un état d’entre-deux parfait où les contraires s’unissent harmonieusement. Cette thèse permet de dégager une voie du milieu scottienne faisant de Scott un écrivain d’avant-garde pour son époque, et qui reste très novateur aujourd’hui encore, car il annonce bien des préoccupations postmodernesThis monograph is dedicated to the question of limits and borders in Walter Scott (1771-1832)’s Scottish novels — thus called because the stories are set in the Borders or near the Highland line mostly in the 17th and 18th centuries at the time of the Union between the two kingdoms of England and Scotland. A very detailed analysis of the texts of the novels helps us to discover a series of interactions between the two concepts of limit and border which are grounded in a particular strategy developed by the author — a fervent opponent to Manichaeism. He sets boundaries, seen as fixed and impassable limits, and then deconstructs them, i.e. has them be crossed, moved, blurred before dissolving them in order to reach a perfect in-between state where all opposites mingle harmoniously. This thesis enables us to define a Scottian middle way, which makes Scott an avant-garde writer in his own time, and still nowadays since he paves the way for many a postmodern concern
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Nestor, Mary Catherine. "Adapting the great unknown : the evolving perception of Walter Scott." Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230931.
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This thesis explores the legacy of Walter Scott through analysis of the adaptations of his works. It argues that remediations of Scott's novels and poetry have shaped the conception of those works in the popular imagination and resulted in an understanding of Scott's writing which overlooks it[s] complexities. In addition, it suggests that as a by-product of the process of adaptation a very small percentage of Scott's works have come to represent the whole. This thesis examines the development of the current gap between the critical rejuvenation of Scott's legacy by the scholarly community and his continued denigration in popular culture, contending that the popular remediation of Scott's works over the course of the last two centuries contributed to the formation of this gap in perception. It also poses [i.e. posits] that adaptation provided fodder for the popular notions that his writing glorifies tartanry, chivalry and pageantry, has imposed a false version of history and culture on the people of Scotland, and is best left in the category of 'boys' adventure tales'. Furthermore, this thesis interrogates claims that Scott has no relevance for contemporary readers and has become what memory theorist Ann Rigney terms the 'Great Unknown'. While adaptations from the nineteenth century have been reasonably well documented, this thesis explores not only early dramatisations of Scott's works but also a plethora of twentieth-century remediations, including film, television, comic book, mass-market science-fiction and children's adaptations, which demonstrate that popular engagement with Scott did not end with the start of the First World War. This thesis concludes that, while Scott's readership may indeed have declined from its peak in the late nineteenth century, he still maintains a place in popular consciousness and is not as greatly forgotten as some have argued.
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Robertson, J. F. "The construction and expression of Scottish patriotism in the works of Walter Scott." Thesis, University of Edinburgh, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234140.
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Grader, Daniel. "The life of Sir Walter Scott, [by] John Macrone : edited with a biographical introduction by Daniel Grader." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1979.
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John Macrone (1809-1837) was a Scotsman who arrived in London around 1830 and became a publisher, in partnership with James Cochrane between January 1833 and August 1834, and independently between October 1834 and his death in September 1837. A friend of Dickens and Thackeray, he published Sketches by Boz and, posthumously, The Paris Sketch Book. One of his other projects was a life of Scott, which he began to write soon after the death of the novelist; but his book, chiefly remembered because Hogg wrote his Anecdotes of Scott for inclusion in it, fell under the displeasure of Lockhart, and was cancelled shortly before it was to have been published. A fragmentary manuscript, however, was recently discovered by the author of this thesis and has now been edited for the first time, together with a biographical study of Macrone, in which extensive use is made of previously unpublished and uncollected material.
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Barnhart, Gordon Leslie. "Peace, progress and prosperity, a biography of the Hon. Walter Scott." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0012/NQ32779.pdf.
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Ragaz, Sharon Anne. "A living death, the madwomen in the novels of Walter Scott." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ58969.pdf.
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McIntosh, Ainsley. "Walter Scott, Marmion : a tale of Flodden field : a critical edition." Thesis, University of Aberdeen, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=131551.
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This thesis offers the first critical edition of Walter Scott's Marmion (1808). The poem as it is presented here is supported by a full representation of the editorial procedures adopted during the course of this edition. This thesis also provides an account of the processes by which the poem was transmitted into print, from its composition to its publishing history. The textual investigation is augmented by a critical evaluation of the poem's initial reception, as well as an engagement with the poem in light of current critical thinking.
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Kandji, Mamadou. "Roman anglais et traditions populaires de Walter Scott à Thomas Hardy." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37606366k.
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Kandji, Mamadou. "Roman anglais et traditions populaires de Walter Scott à Thomas Hardy." Rouen, 1988. http://www.theses.fr/1988ROUEL047.
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La culture populaire, celle de la paysannerie de l’Angleterre est présente, de manière diffuse, dans le roman anglais du 19e siècle. Cette étude examine les aspects multiformes des coutumes, superstitions et pratiques populaires dans le roman anglais, de Scott à Hardy. Après avoir défini, de manière théorique d'abord, puis à l'aide d'exemples précis, l'héritage culturel antérieur au 19e siècle, l'étude s'efforce de montrer comment Scott, les sœurs Brontë, George Eliot et Thomas Hardy emploient et adaptent cette culture populaire à leurs créations romanesques. L'imprégnation dans l'enfance et la jeunesse a familiarisé les écrivains à cette culture orale, aux contes, légendes et ballades. Dans l'oeuvre de Scott, il s'agit d'une exploration des valeurs anciennes d’Ecosse, des coutumes des hautes-terres, par exemple, dans le contexte global de la récupération du merveilleux superstitieux. Avec les sœurs Brontë, c'est le fantastique des contes et ballades, celui du surnaturel; avec la différence que là où Charlotte se préoccupe davantage de fantaisie, de fantasmagorie, Emily se tourne vers les superstitions et le merveilleux des ballades populaires. La seconde partie du travail porte sur George Eliot et Thomas Hardy comme écrivains régionalistes, tous deux traitant du folklore, le plus souvent local, qu'ils appréhendent selon leur sensibilité personnelle. George Eliot prend du recul par rapport aux rites et coutumes qu'elle ne renie pas, mais dont elle déplore le travestissement. Dans ses œuvres, rites et coutumes fonctionnent comme un discours, un langage servant à illustrer la théorie qui lui est chère de la communauté bien intégrée. Avec Hardy, l'on voit le folklore à l'œuvre. L'auteur emploie les divertissements dans leurs formes les plus variées pour enrichir la substance de ses œuvres romanesques. Danses, fêtes populaires et rites agraires, tout cela est présent dans ses œuvres. Le rapprochement de toutes ces œuvres nous amène à la conclusion que le roman anglais du 19e siècle repose sur une solide tradition de culture populaire ; et que sa genèse est indissociable de celle-làAgarian popular culture is an important component of the nineteenth-century english novel. This thesis is an attempt to map out the manifestations of customs, beliefs and popular superstitions, in the english novel, from Walter Scott to Thomas Hardy. The first chapter of this dessertation deals with the cultural heritage. Next, follow the chapters on Scott, Emily, Charlotte Brontë, George Eliot and finally, Hardy who availed themselves of the popular culture they had known and observed, in order to give substance and depth to their fiction. Scott taps the customs, beliefs, of the scottish highlands aiming, in so doing, at the rivival of ancient popular culture. Whereas the Brontë sisters approach it differently. Charlotte is more sensitive to fantasay, fantasmagoria and mental issues ; Emily deals with the supernatural germane to the ballad tradition (fairies, ghost-lores, witchcraft and demonology). The second part of the dissertation reviews George Eliot and Hardy as regional novelists who explore the folklore and local customs of their respective midlands and dorsetshire. In george eliot's treatment, satire and irony take the lead over romanticism. In Hardy’s works one can observe the richness and depth of dorsetshire folklore : popular feasts, fair-grounds, superstitions, and sundry customs and beliefs are handled vividly. As a conclusion, the thesis states that the rise of the english novel is closely related to the genesis of folklore scholarship and popular culture
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Lee, Yoon Sun. "Nationalism and irony : Burke, Scott, Carlyle /." New York : Oxford university press, 2004. http://catalogue.bnf.fr/ark:/12148/cb39254555m.
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Linforth, Lucy Majella. "Fragments of the past : Walter Scott, material antiquarianism, and writing as preservation." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23485.
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This thesis is an exploration of the antiquarian materiality of Walter Scott’s fiction, considering his antiquarian practices alongside his fictional output to suggest that the two are vitally and intricately connected. It locates Scott’s antiquarian researches within the context of a contemporary antiquarianism increasingly concerned with safeguarding the relics, ruins, memories and manners of the national past. The aims of this thesis are threefold. First, it illuminates a more dedicated and dynamic participation in contemporary antiquarian practices than has previously been attributed to Scott, exploring a broad scope of material antiquarian activities in which he was engaged throughout his life. Second, it demonstrates how Scott’s literary output was shaped by his participation in aspects of material antiquarianism, populating his fictions with relics and remains, and recognising the potential of the material artefact as a productive site of narrative. Finally and most importantly, it argues that Scott’s fictions frequently act as textual extensions of his material practice. Scott’s poems and novels are in multifarious and dynamic ways actively involved in the processes of collection, exhibition, preservation, and conservation evident in Scott’s material practices. In so frequently and deliberately incorporating the material relics unearthed by his antiquarian practices into the corpus of his fiction, Scott’s literary works might be regarded as an additional space in which the material past might be preserved, conserved, exhibited, and enshrined. In this way, Scott’s literary works might therefore be considered as antiquarian repositories in which predominantly Scottish antiquities might be preserved.
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Shepherd, Deirdre Ann Mary. "Walter Scott, James Hogg and uncanny testimony : questions of evidence and authority." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5495.
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This thesis investigates the representation of the supernatural in the literature of Walter Scott and James Hogg. In comparing both authors it takes advantage of two recent scholarly editions: the Stirling/South Carolina edition of Hogg and the Edinburgh Edition of the Waverley Novels. I trace the development of Scott’s persistent interest in various categories of the supernatural: the uncanny; witchcraft; second sight; and astrology. His literary career began in 1796 with translations of German Romantic poetry. These were followed by publication of his collection of ballads and folklore, known as the Minstrelsy of the Scottish Border, 1802-3, and by the longer poems such as The Lay of the Last Minstrel, 1805. Subsequently, Scott’s investigation of the supernatural would continue within a number of key novels and his shorter fiction. The Letters on Demonology and Witchcraft, addressed to J. G. Lockhart, Esq., 1830, was one of his final attempts to establish how far the evidence of a credible witness might supply ineluctable testimony in accounts of the supernatural. Scott’s legal training, and antiquarian skills, lent particular authority into his investigations of the possibilities of the existence, or otherwise, of the supernatural. By way of contrast, James Hogg’s lack of formal education, and scanty knowledge of the progressive advances of the Scottish Enlightenment, was associated with a ready credulity in matters of the supernatural. His literary work, such as The Mountain Bard, 1807, or his later collection of Winter Evening Tales, 1820, demonstrated a familiarity with ballads, and an unlettered folklore tradition, that appeared to confirm his position as a believer in superstitious and irrational practices. However, this thesis will argue that Hogg actually possesses a shrewd and sophisticated understanding of the authority of the supernatural. This is manifest in his literary efforts to record and investigate various types of uncanny testimony, when compared with those of Scott. Hogg’s view of the supernatural is complex and essentially subversive. His final novel, The Private Memoirs and Confessions of a Justified Sinner, 1824, and his later contributions to the fashionable annuals and giftbooks published between 1826 and 1834, reveal an author deeply engaged with demonstrating the unique role of the supernatural within Scottish society, particularly as a channel of dissent and discord. The Ettrick Shepherd and the Author of Waverley founded their literary relationship upon a shared enthusiasm for the supernatural tales and traditions of the Scottish Borders. Their friendship was both competitive and complementary. Critics have generally tended to assume that Scott, rather than Hogg, was the sceptical party where belief in the existence of the supernatural is concerned. However, closer examination of their work reveals that such assumptions do not necessarily stand up. Ultimately, Hogg emerges as the author with greater resistance to an irrational belief in the supernatural. His position as an observer, and critic, of the antiquarian and enlightened literary establishment, with its dependence on the authority of printed texts, is developed through his literary investigation of the supernatural. My choice of works to consider has been necessarily limited by questions of space. Where possible, I have selected those texts that seem to me to offer ready comparison between the two authors. Some novels such as Scott’s The Antiquary, 1816, or The Pirate, 1822, might be regarded as worthy of inclusion in this study of the supernatural. However, there are no real equivalents of these in Hogg’s work.
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Hussein, Hussein Yousif. "The historical novels of Walter Scott and Najīb Maḥfūẓ : a comparative study." Thesis, University of Edinburgh, 1985. http://hdl.handle.net/1842/24014.
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Arabi, Durkawi Ayah. "Nature and place in the poems of William Wordsworth and Walter Scott." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2578.
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This thesis originates in the lack of studies comparing poetry by William Wordsworth (1770–1850) and Walter Scott (1771–1832). Living in the north of Britain, the two writers not only knew each other’s works, but also enjoyed a friendship spanning three decades. My study places together texts by the two writers which invite comparison and showcase their attitudes toward issues pertinent to their lives and society. A driving principle behind my thesis is the role nature and the poets’ native regions–the Lake District and the Scottish Borders–play in their poetry. With the exception of ‘Yarrow Revisited’ my project covers poems composed up to 1814. The Introduction compares the education and early writing of the two poets, outlines the thematic and theoretical concerns of the thesis, and gives brief accounts of relevant historical contexts. Four chapters explore Wordsworth’s and Scott’s approaches to the self, its representation and examination, and to society, its problems and inevitable evolution. The first considers Wordsworth’s The Prelude (1805) and ‘Tintern Abbey,’ and Scott’s Memoir and the epistles to Marmion. It traces the influence the two writers attribute to nature in their own development as revealed in their autobiographical writings. The second chapter tackles Scott’s Lay of the Last Minstrel, reading it as an invitation to society to look on the past for warnings and examples of how to best withstand today’s challenges. The third studies the social themes in Wordsworth’s The Excursion and ‘Michael,’ placing a particular emphasis on the portrayal of Grasmere as an ideal community. The fourth and final chapter brings the two men-of-letters together in a reading of Scott’s role, and that of the ballad tradition, in Wordsworth’s Yarrow poems. It is followed by a short Conclusion.
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Reitemeier, Frauke. "Deutsch-englische Literaturbeziehungen : der historische Roman Sir Walter Scotts und seine deutschen Vorläufer /." Paderborn : F. Schöningh, 2001. http://catalogue.bnf.fr/ark:/12148/cb39921953w.
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Whitworth, Ben. "Literary Re-appropriations of Latin Liturgical Hymns, from Walter Scott to Christina Rossetti." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522829.
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Gregson, Michael Anthony O'Malley. "Victorian criticism of the Waverley Novels of Sir Walter Scott, 1832 to 1900." Thesis, Open University, 1992. http://oro.open.ac.uk/57391/.
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This thesis examines the phenomenon of Sir Walter Scott's extraordinary Victorian popularity. Focussing on criticism of his Waverley Novels between 1832 - the year of his death - and the end of the century, the thesis plots the development and terms of Scott's eminence. An introductory chapter sets out principal areas of study, being followed by a section leading up to 1832. Then follow analyses of critical work on Scott by, respectively, Harriet Martineau, Thomas Carlyle, Walter Bagehot, John Ruskin, Leslie Stephen, Richard Hutton and Julia Wedgwood. The thesis concludes with an epilogic section covering critics of the late nineteenth century, including Frederic Harrison and Andrew Lang. In each instance the context of each critic's wider work figures prominently. The thesis contends that large elements of Scott's achievement received relatively little attention in Victorian criticism. These are Scotti,s Enlightenment interests in speculative history and detailed, almost sociological, methods of composition, as well as the 'experimental' character of his work. By contrast, much was made in criticism of what may be summarised as his 'health' and 'beneficial effects'. It is claimed that the construction of such consensual critical notions about the merits of Scott's very popular work had a great deal to do with the buttressing and underpinning of some Victorian attitudes. While these varied with critics' own preoccupations - and Scott's 'malleability' is remarkable - Scott's role was so significant in Victorian culture that his employment, within what was still a relatively eclectic and formally undisciplined critical practice, constituted significant ideological manoeuvring. Specifically, Scott's remit in Victorian criticism was most usually to represent and validate some kind of opposition to the present. This both excluded much of his achievement, and also narrowed the terms of his appraisal so as to permit a revealing coalescence of literary with social, political and even racial arguments. This thesis traces the increasing definition of such a pattern within Victorian criticism of the Waverley Novels.
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MacRae, Lucy Alison. "Walter Scott's Minstrelsy of the Scottish Border and the dynamics of cultural memory." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/11772.
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As editor of the ballad collection Minstrelsy of the Scottish Border (1802-3), Walter Scott sought to salvage and preserve the cultural memory of the Border region, rescuing “popular superstitions, and legendary history, which, if not now collected, must soon have been totally forgotten” (MSB 1802; 1: cix). Scott’s endeavour was inspired by the movement towards cultural nationalism, which in Scotland, as in a wider European context, saw interest in traditional material reinvigorated by a widespread zeal to recover, polish and publish ‘relics’ of localised, oral culture perceived to be threatened by the rapid march of modernity. This thesis is a study on the theme of memory in the Minstrelsy. Under examination are the personal and cultural memories from which Scott synthesised his seminal ballad collection, as well as the internal memorial dynamics of the Minstrelsy itself. The social, material and mental dimensions of Posner’s semiotic model of culture (Posner 1991), may also be seen to constitute the three main components of the term ‘cultural memory’, a metaphor for the memorial symbols and practices through which social groups define and maintain their cultural identity. A recent definition of the term interprets cultural memory as “the sum of all processes […] which are involved in the interplay of past and present within sociocultural contexts” (Erll 2011: 101). The Minstrelsy is a composite text in which ballad versions gathered from a range of oral and written sources are framed by Scott’s editorial commentary. This convergence of media means that the collection itself may be understood as a memorial, or ‘site of memory’ which symbolises a particular version of the past (Nora 1989). Through the editorial commentary, Scott was able to negotiate the transmission of cultural knowledge concerning the past of the Borders as well as the wider Scottish nation. The aims of this research are twofold. The first is to achieve a deeper understanding of the cultural contexts surrounding the creation of the Minstrelsy. The second is to contribute to the swiftly developing area of cultural memory studies through a focus on the editorial interpretation of oral tradition in the case of this canonical ballad collection. To this end, memoirs, correspondence and ballad manuscripts are drawn upon to investigate the layered memory culture of traditional songs, narratives, images and places through which Scott sifted during the compilation of the collection. The thesis is structured to represent a gradual widening in scope from the personal to the collective, throughout which it is argued that Scott’s editing of the Minstrelsy may be aligned with a mediated memorial practice that actively shapes the identity of the culture which he as editor sought to preserve.
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Bobbitt, Elizabeth Kathleen. "Romantic antiquaries and silent conversations : Ann Radcliffe's post-1797 works and Sir Walter Scott." Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/21407/.
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This study aims to redress the almost complete critical marginalisation of Ann Radcliffe’s post-1797 works, published in a four-volume collection entitled "Gaston de Blondeville, or the Court of Henry III Keeping Festival in Ardenne, a Romance; St. Alban’s Abbey: A Metrical Tale, with some Poetical Pieces by Ann Radcliffe, to which is Prefixed a Memoir of the Author with Extracts from her Journals" (1826). I examine the major works of this collection, beginning with Radcliffe’s last novel, "Gaston de Blondeville," before providing a critical analysis of her two longest narrative poems, "St. Alban’s Abbey" and "Salisbury Plains: Stonehenge." In arguing for a widening of the bounds of Radcliffean scholarship to include not just her well-known Gothic romances of the 1790s, but also her later works, I contextualise Radcliffe’s post-1797 texts alongside Sir Walter Scott’s "Ivanhoe" (1820) and his earlier narrative poetry. Examining Radcliffe’s later work in the context of Scott’s historical fiction allows us to see Radcliffe’s innovation as a writer post-1790s. It also highlights the striking thematic reciprocity which exists between Radcliffe’s post-1797 texts and Scott’s historical fiction. These works display varying responses to a larger revival of interest in Britain’s early heritage, exemplified through Radcliffe’s and Scott’s exploration of the nature of antiquarian study and medieval romance forms. In tracking this thematic reciprocity, this study uncovers a little-acknowledged "conversation," initiated by Radcliffe’s post-1797 works with Scott’s oeuvre. The forthcoming chapters define the specific nature of this "conversation," in which Radcliffe first anticipates and then responds to Scott’s unprecedented literary success in the field of historical fiction.
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Landér, Alexandra. "Vita riddare i höglandsrustning: En närläsning av Walter Scotts Waverley." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-40029.
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Waverley; or ’Tis Sixty Years Since is an historical novel written by the Scottish author Sir Walter Scott which follows the adventures of Edward Waverley through the Scottish Highlands during the 1745–1746 Jacobite rebellion. It is, as has been suggested by previous research, a novel with a clear imperialistic bias and this essay adds to that discourse by applying the modern concept of the white savior complex. The white savior complex argues that white characters, in certain works, act as and are described as intelligent and moral saviors of non-white characters, who in turn are portrayed as unintelligent and immoral. Only by the actions of the white savior can they be saved. The complex is present mainly in the novel’s protagonist who drags the seemingly backwards society of the Scottish Highlands into a modern future as part of Great Brittan. This essay argues that the move from a backwards and archaic society to a modern and prosperous one would have been possible even without using the framework the white savior.
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Demirdjian, Héléna. "Les Sociétés secrètes dans le roman historique du XIXè siècle (Scott, Dumas, Raffi)." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30094.
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Le développement du roman historique dans l'Europe du XIXème siècle a partie liée avec l'émergence et l'identité des identités nationales. En France, la question de la genèse de la Nation sur la longue durée, jusqu'à l'événement décisif de la Révolution, permet de penser les tensions et les paradoxes d'une société post-révolutionnaire à la recherche de sa propre intelligibilité. Comment faire émerger l'idée de la collectivité nationale par le biais de l'action de sociétés secrètes, dont le principe et l'action sont souvent largement anti-démocratiques ? Il conviendra de comprendre comment Scott, Dumas et Raffi résolvent chacun à leur manière ce paradoxeIn Europe, the development of the historical novel in the nineteenth-century is relied to the emergence of the national identities. In France, the question of the genesis of the nation over a long period, until the decisive event of the Revolution, makes it possible to think about the tensions and paradoxes of a post-revolutionary society looking for its own intelligibility. How can the idea of the national community emerge through the action of secret societies whose principle and action are often largely undemocratic? It will be necessary to understand how Scott, Dumas and Raffi solve this paradox in their own way
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Spencer, Antonia. "From Walter Scott to Cormac McCarthy : Scottish Romanticism and the novel from the American South." Thesis, Lancaster University, 2018. http://eprints.lancs.ac.uk/130267/.
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This thesis argues for the previously underemphasized influence of Scottish Romantic-era writing on the novel from the US South, demonstrating the formative impact of writers such as Walter Scott and James Hogg on the development of Southern writing, but also the ways in which Southern writers critique and revise this heritage. The thesis illustrates the significance of transatlantic connections between regional sections of nation-states, links which complicate conventional centre-periphery models of cultural exchange. My theoretical approach draws on contemporary theories of materiality in the work of Manuel Delanda and Tim Ingold, which I use to emphasize the significance of objects and material processes in the representation of temporality in the literature of the Scottish Romantic and Southern US traditions. I analyse Scottish Romanticism's emphasis on uneven historical transitions as a method of revising Scottish Enlightenment Conjectural history. This mode of critiquing progressive narratives of historical development is also a structuring principle in the Southern novel, where it is used to articulate a disjunctive regional temporality in opposition to teleological narratives of nation-state history. Chapter one analyses the work of Walter Scott and examines key Waverley novels in terms of those aspects which would be most significant for Southern US writing: the motif of the border and depictions of primitivism. My second chapter considers James Hogg and Edgar Allan Poe as related writers of Gothic short fiction in a transatlantic literary scene dominated by Scott's legacy and the Scottish periodicals. The third chapter analyses Mark Twain's travel writing and three of his novels to explore his response to Scottish Romanticism in his depictions of Southern domestic objects. Chapter four examines the writing of William Faulkner and his portrayals of Scottish planter dynasties in his fictional Mississippi. My final chapter analyses Cormac McCarthy's fiction and his violent revisions of Scott's border narratives.
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Goarzin, Hélène. "De l'ideal a l'organique : la representation de l'histoire dans les romans ecossais de walter scott." Paris 3, 1996. http://www.theses.fr/1996PA030074.
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Cette these etudie la representation de l'histoire et de ses mouvements, souvent contradictoires, dans huit romans ecossais de walter scott. En replacant ces oeuvres dans leur contexte esthetique et philosophique, elle montre que scott se situe au carrefour de deux modes de pensee, classique et romantique. La theorie de l'auteur apparait d'abord dans l'appareil de prefaces qui emprisonne ses romans. Tout en parodiant les formes litteraires traditionnelles, scott elabore une vision de l'histoire "ideale" qui se fonde sur les modeles de l'esthetique neoclassique. Mais l'histoire releve aussi de l'experience vecue, comme le montre le parcours du heros. Scott emprunte ici ses modeles a la philosophie empiriste ecossaise (notamment a hume) et aux sciences contemporaines. Dans ses romans, le paysage acquiert un statut nouveau : au sein de la nature, l'associationnisme vibratoire permet la remontee des souvenirs enfouis. Enfin, scott aboutit a une vision organique de l'histoire, en representant les echanges et la circulation qui s'operent dans le corps social. Le texte lui-meme devient d'ailleur un corps vivant, ou des echanges ont lieu entre l'auteur et ses "personae"This study of eight of scott's waverley novels analyzes the representation of history and of its various movements. It replaces the works in their aesthetic and philosophical context, and shows that scott's thoughty is at the junction of classicism and romanticism. Through the numerous prefaces that frame his work, he develops a vision of "ideal" history which owes much to neoclassical aesthetic theories. But the hero's journey also shows that history is a field of experience, both for the traveller and for the author. Here scott's models derive from the scottish school of empiricist philosophy and the sciences of his time. In his novels, natural landscape acquire a new dimension. This is where associations (as analyzed by david hartley) take place and allow memories to resurface. Finally, scott gives an organic view of history, as he represents the circulation and exchanges that occur within the social body. The text itself becomes a living body where exchanges take place between the author and his "personae"
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Sampson, Kathryn Ann. "The romantic literary pilgrimage to the Orient : Byron, Scott, and Burton /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Kebbel, Gerhard. "Geschichtengeneratoren : Lektüren zur Poetik des historischen Romans /." Tübingen : M. Niemeyer, 1992. http://catalogue.bnf.fr/ark:/12148/cb35556610c.
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Johnson, Christopher. "The use of historical sources, anachronism, and invented history in certain works of Sir Walter Scott." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314972.
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Oliver, Susan. "Borderlines : a study of borders and borderlands in the poetry of Walter Scott and Lord Byron." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615639.
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Besson, Cyril. "La constitution de la scotticité dans l'oeuvre de Walter Scott, James Hogg et Robert Louis Stevenson." Phd thesis, Université de Grenoble, 2011. http://tel.archives-ouvertes.fr/tel-00673129.
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L'œuvre de Walter Scott (1771-1832), James Hogg (1770-1835) et Robert Louis Stevenson (1850-1894) est traversée par une tension qui dénaturalise l'Écosse historique et politique pour la recréer en fiction, posant la scotticité comme une construction problématique qui appelle sans cesse de nouvelles définitions, afin d'en retrouver le sens ou d'en faire son domaine à soi. La figuration des enjeux nationaux se fait à travers le thème des diverses rébellions jacobites au cours du XVIIIème siècle, mais l'Histoire est subordonnée aux enjeux littéraires et politiques du présent des auteurs. Walter Scott pose en littérature les bases d'une conciliation viable de "l'être" écossais avec la domination du pouvoir britannique, là où Hogg réagit en cherchant dans un passé plus lointain la source inépuisable (et au premier chef, fictionnelle) d'une Écosse mythique insaisissable. Stevenson, quant à lui, hérite de ce dilemme et choisit, en fiction comme dans la réalité, la fuite et l'exil pour pouvoir exister librement dans un monde dégagé du poids d'un passé par trop lourd à porter.
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Leroy, Maxime. "La préface de roman comme système communicationnel : autour de Walter Scott, Henry James et Joseph Conrad." Angers, 2003. http://www.theses.fr/2003ANGE0014.
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La thèse propose une lecture des préfaces de Walter Scott, Henry James et Joseph Conrad, ainsi que celles d'autres auteurs britanniques, à partir de diverses théories de la communication combinées à une approche systémique. Le chapitre 1 résume les principales théories existantes de la préface, et les situe dans la problématique de la thèse. Le chapitre 2 définit le statut des préfaces à partir de leur contexte communicationnel (appellation, destinateur, destinataire, lieu). Le chapitre 3 montre comment ces éléments de contexte s'agencent en systèmes organisés, aussi bien à l'intérieur de chaque préface que dans les rapports de celle-ci à son environnement. Le chapitre 4 décrit certaines fonctions communicationnelles induites, différentes selon les auteurs (la négociation, la leçon faite au lecteur, la conversation, la représentation du moi). Enfin, le chapitre 5 s'interroge sur la portée sémantique des préfacesThis dissertation offers a reading of the prefaces of Walter Scott, Henry James, Joseph Conrad and other authors, based on a systemic approach and on various theories of communication. Chapter 1 sums up the main existing theories on prefaces and shows their relevance to the present research. Chapter 2 describes the main elements in the schemes of communication of the prefaces : title, author, reader, locus. Chapter 3 shows how those elements form organised systems, both within each preface and regarding intertextual connections. Chapter 4 explores some of the functions of communication brought about accordingly by each author : negotiation, lecture to the reader, conversation, representation of the self. Finally, chapter 5 deals with the semantic effects of the prefaces
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Fancett, Anna. "The exploration of familial myths and motifs in selected novels by Jane Austen and Walter Scott." Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=225725.
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Taking the subject of the exploration of familial tropes in the novels of Walter Scott and Jane Austen, this thesis opens by investigating the literary context in which the two authors worked, as well as offering an explanation of the methodology used, and an exploration of criticism on the topic. An in-depth analysis of the historical state of the family provides this thesis with its social and historic background, and is offered in section two. Section three explores conventional presentations of the family in the novels, and contends that even such conventional interpretations are open to complex and fluid readings. In particular, this section explores the nuances surrounding the role of marriage as a symbol of comedy, and also as the fulfilment of a bildungsroman narrative. It also contends that social virtues are key in establishing the representation of familial roles and in this context inheritance and lineage are also explored. The ways in which familial representation may be employed for subversive or controversial purposes are the subject of section four. This thesis posits that subversive readings do not negate conventional ones but rather that alternate representations of the family create multiple, not hierarchal meanings. Marriage, children, inheritance, lineage, siblingship, incest, illegitimacy and widowhood are all part of section four's investigation. Abstract! Anna Fancett Section five works as a short coda to the thesis and raises questions about the role of the narratorial voice. In particular, it argues that although some critics have assumed that the author's authority is present in any direct, unnamed third-person narrator, the voice of the narrator must never be conflated with that of the author or implied author. This section postulates that the narratorial voice destabilises both the conventional and subversive use of the family in these novels and suggests that the texts generate multiple readings. Overall this thesis demonstrates that the social, cultural and literary pressures which operated on the concept of the family in the Romantic period are manifested in a parallel complexity in the ways in which familial tropes operate in the work of Scott and Austen. However, it also shows that these two authors move beyond a merely representational engagement with social structures to provide a new and dynamic engagement with the idea of the family in the Romantic novel.
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Spooner, Kaleigh Jean. ""History Real or Feigned": Tolkien, Scott, and Poetry's Place in Fashioning History." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6476.
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Most critics of The Lord of the Rings correlate Tolkien's work to ancient texts, like Beowulf, the Elder Edda, and medieval romances. While the connection between these traditional materials and Tolkien is valid, it neglects a key feature of Tolkien's work and one of the author's desires, which was to fashion a sort of history that felt as real as any other old story. Moreover, it glosses over the rather obvious point that Tolkien is writing a novel, or at any rate a long work of prose fiction that owes a good deal to the novel tradition. Therefore, through careful attention to the formal textures of Tolkien's work, melding together both genre criticism and formal analysis (and with a sound understanding of literary history), I argue that Tolkien's work follows a more modern vein and aligns with the nineteenth-century historical novel, the genre pioneered by Sir Walter Scott. The projects of Tolkien and Scott parallel one another in many respects that deserve critical attention. This essay begins the discussion by addressing just one, somewhat surprising, point of comparison: the writers' use of poetry. I observe that Tolkien and Scott utilized poetry in similar ways, and I parse the poems into three distinct categories: low culture poems, high culture poems, and poems which straddle the divide between the two. All of this demonstrates how each piece of poetry, written in an antique style, saturates the texts with historic atmosphere and depth. This lends a sense of authenticity and realism to Scott's works, and later it buttresses Tolkien's attempts to foster "the dust of history" and create an illusion of authenticity and realism for Middle Earth's (imaginary) past.
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McCombie, Arleen. "Discourses of history and forms of cultural memory : in the works of James Hogg and Walter Scott." Thesis, University of Aberdeen, 2004. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=167778.
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This thesis discusses different narrative forms of cultural memory in the historical fiction of James Hogg and Walter Scott. The introduction explains the variety of post-Enlightenment discourse on ‘history’: certain works of popular history were subject to new appreciation while canonical histories from the eighteenth century were now criticised in periodical reviews, the leading cultural arbiters of the day. Chapter 1 focuses on the ‘ballad collection’ as a literary genre within an antiquarian matrix. The chapter considers Scott and Hogg’s differing approaches to the textual protocols of antiquarianism when writing on ‘legendary’ history. Chapter 2 surveys the persistence of a providentialist historiography with regard to the ‘anecdote’, particularly as this narrative sub-genre featured extensively in compendia of popular history. Chapter 3 compares the ‘epic’ discourse of The Tale of Old Mortality with the ‘lowlier’ narrative forms canvassed in The Heart of Mid-Lothian, the chronicle and the family saga. Chapter 4 reads Scott and Hogg’s late works on Highland history in relation to the ‘national tale’ genre. These works do not belong properly to either ‘folk’ or ‘novel’ discourse and they formulate most clearly an anti-progressivist notion of history. The Conclusion considers how the practice of ‘reviving’ history is determined in large part by the narrative forms and conventions in which history is written, with the additional consideration that for Scott and Hogg an aesthetic of multiformity arises from the fact that they are often writing the spoken. Rather than ‘explain’ the past both authors use narrative structure to destabilise accepted versions of the past and keep in play the kinds of stories ‘histories’ often forgets.
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Bell, Barbara Alexandra Erskine. "Nineteenth-century stage adaptations of the works of Sir Walter Scott on the Scottish stage, 1810-1900." Thesis, University of Glasgow, 1991. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.589614.
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Macintosh, Fiona. "La vraisemblance narrative en question : véridiction, probabilité, cohérence à partir de Walter Scott et Jules Barbey d'Aurevilly." Paris 3, 1998. http://www.theses.fr/1998PA030054.
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Le genre narratif au xixe siecle revele une transformation du vraisemblable. Walter scott, barbey d'aurevilly et la vulgate critique contemporaine montrent que le document et l'evenement unique troublent fiction et probabilite. Trois modes de veridiction conditionnent cette confrontation du possible et du plausible. Scott privilegie le plausible, l'autorite narrative, la fable, sur l'histoire et la verite documentaire. Barbey, reprenant les debats des antiquaires, pour lutter contre le realisme et le naturalisme, cherche, comme scott, a sauver l'exceptionnel tout en preservant la lecon morale. Cette gageure influence la coherence et la necessite textuelles, infeodees au modele tragique : scott definit la narration comme un conte amplifie au gre du lecteur, de meme la representation de l'enonciation chez barbey aboutit a multiplier les extrapolations. Pourtant nos auteurs veulent apporter une limite a la representation des circonstances : contrastes et analogies compensent les insuffisances d'un lien causal que les dialogues, les sommaires et les images explicitent dans le recit de facon concurrente. Le melange des genres et les details decisifs servent a creer annonces, commentaires et symbole. Il en resulte une autonomisation relative des oeuvres sans que nos auteurs renoncent a renvoyer au monde exterieur. La vraisemblance depasse la fidelite du reel et l'illusion car le lecteur doit s'interesser a l'action mais aussi reconnaitre les premisses propres a chaque oeuvreVerisimilitude is rarely used in english nineteenth century criticism and belongs essentially to the vocabulary of french academics. However probability, plausibility and possibility are constantly referred to in narrative fiction, though facts play a greater part in the process of illusion-making. Walter scott proves the difficulty of combining reality and fancy and fancy and makes romance serve his political or moral views. Barbey d'aurevilly opposing the naturalist and realist movements also promotes the story-teller as a fragile warrant, instead of the omniscient, unobstrusive and objective narrator. Thus, truth is but a subjective construct made of legends and hearsay. The reader is an important character in the stories of both and influences the form and order of the narrative. For scott, the plot is a winding journey exhibiting numerous descriptions and digressions. Likewise barbey's narrators err before coming to the point. Still both value coherence. But it cannot only be attained by weaving motives and circumstances together by recapitulations or dialogues. Contrasts, analogies and tragi-comedy draw patterns and reveal the prerequisites by which the work is to be judged. Hence, the plot seems necessary and surprising at the same time. The reader is requested to sympathise with the characters and recognize the story as an elaborate combination of details
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Lumsden, Alison. "'Travelling hopefully' : postmodern thought and the fictional practice of Walter Scott, James Hogg and Robert Louis Stevenson." Thesis, University of Edinburgh, 1991. http://hdl.handle.net/1842/19945.
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The postmodern context is one in which certain of the boundaries of the Scottish novel may be reassessed. Focusing upon reflexivity in language and the philosophical implications of it, postmodernism opens up a space wherein the 'grand narrative' of English criticism and the totalising aesthetics it has valorised may be deconstructed. In doing so, it provides an environment in which the literary products of marginalised cultures may be positively re-examined. Likewise, post-structuralism provides a vocabulary in which the characteristic features of those marginalised literatures - the radical and subversive strategies which have shaped their challenge to 'essence', 'presence', and so the 'centre' - may be redefined. This thesis offers a reading of selected nineteenth Scottish fictions in such a postmodern context. Looking at the work of Walter Scott, James Hogg and Robert Louis Stevenson, it explores how far their work may benefit from such a reading. Examining their own exploration of the boundaries of fixed ontological positions, it notes how the inadequacy of these systems effects both their thematic concerns and their fictional strategies. In Walter Scott's work, such exploration is found in his search for a model of Scottish identity, and a contingent deconstruction of fixed oppositional codes by which to describe it. In Hogg's fiction it results in a challenge to rigid epistemic systems and an exploration of the dangers and inadequacies of such totalising polarities. For Stevenson, it is embraced in a philosophy of 'travelling hopefully' and a literature - both fictional and critical - which attempts to find a path within this more multiplistic vision. For all three writers it results in fictional practices and strategies which subvert narrative totality and seek to create a more complex and indeterminate discourse. Writing from the self deconstructing ground of Scottish experience, Scott, Hogg and Stevenson launch a challenge to all manifestations of 'grand narrative', deconstructing their boundaries. As a result, the postmodern context is one particularly sympathetic to their formal and structural radicalism.
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Chao, Noelle. "Musical letters eighteenth-century writings of music and the fictions of Burney, Radcliffe, and Scott /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467893641&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Slagle, Judith Bailey. "Appropriating the Restoration: Fictional Place and Time in Works by Daniel Defoe, Sir Walter Scott and Rose Tremain." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/3220.
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While authors have appropriated literary works for centuries, they have also appropriated historical settings and places well outside their own realities, creating new works in historical settings that reflect a new cultural purpose. The Restoration and eighteenth century are frequent subjects of popular formula-fiction romances due to the distinctive, easily replicated atmospheres; but the period has also inspired serious, traditional historical fiction and fictionalized biography as well as productions of novels from the period. This panel focuses on the long eighteenth century and the period’s intrigue for filmmakers, TV producers and audiences in a modern-day culture
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Pritzkuleit, Sabine. "Die Wiederentdeckung des Ritters durch den Bürger : chivalry in englischen Geschichtswerken und Romanen, 1770-1830 /." Trier : Wissenschaftlicher Verl, 1991. http://catalogue.bnf.fr/ark:/12148/cb370620769.
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Bogé-Rousseau, Patricia. "Traduire et retraduire au XIXe siècle : le cas de "Quentin Durward", roman historique de Sir Walter Scott, et de ses traductions par Auguste-Jean-Baptiste Defauconpret." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20082.
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Cette thèse vise à analyser quatre traductions du roman de Walter Scott Quentin Durward (1823) par le même traducteur, Auguste-Jean-Baptiste Defauconpret. Nous proposons de déterminer si ce traducteur est intervenu seul dans le processus de retraduction, si les trois versions françaises postérieures à la première traduction de 1823 sont de véritables retraductions ou de simples révisions, et si les modifications successives apportées à la première traduction vont dans le sens d’un rapprochement vers le texte source. La première partie de la thèse est dédiée, tout d’abord, aux concepts traductologiques, et plus particulièrement au phénomène de retraduction dont nous faisons l’état des lieux avant d’évoquer les théories de Brownlie et de Koskinen et Paloposki, puis d’envisager les raisons qui peuvent motiver une retraduction. Dans un second temps, nous abordons les contextes de la traduction, de l’édition et de la littérature au début du XIXe siècle. La deuxième partie de la thèse s’intéresse à Walter Scott, à Defauconpret et à l’œuvre dont les traductions sont analysées. Leur réception par la critique et par le lectorat est notamment évoquée. La dernière partie de ce travail est consacrée à l’analyse de notre corpus. Il y est en particulier question des notes de bas de page et des scotticismes, qui représentent deux éléments caractéristiques de la littérature scottienneThis dissertation aims to analyse four translations of Walter Scott’s novel Quentin Durward (1823), all translated by the same translator, Auguste-Jean-Baptiste Defauconpret. We consider determining whether the translator was the sole participant in the retranslation process, whether the three French versions that followed the first translation of 1823 are genuine retranslations or mere corrections, and whether or not the successive modifications to the first translation are oriented towards the source text. In the first part of the dissertation, some translation studies concepts are proposed, particularly the retranslation phenomenon, of which we offer an overview, before we evoke the Brownlie and the Koskinen & Paloposki theories, and the reasons why a retranslation can be envisaged. Secondly, we describe the translational, literary and publishing contexts in the beginning of the 19th century. The second part of the dissertation is dedicated to Walter Scott, Defauconpret and the novel whose translations are analysed. Their reception by the critics and the readership is discussed in particular. The analysis of the corpus follows in the last part of our work, in which we mainly study the footnotes and the scoticisms that represent characteristic features of Walter Scott literature
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Scott, Martin Verfasser], Walter [Akademischer Betreuer] Leitner, and André [Akademischer Betreuer] [Bardow. "Homogenkatalysierte Hydrierung von CO₂ zu Ameisensäure und Ameisensäurederivaten in Mehrphasensystemen ‒ Katalysator- und Systementwicklung / Martin Scott ; Walter Leitner, André Bardow." Aachen : Universitätsbibliothek der RWTH Aachen, 2019. http://d-nb.info/1195151594/34.
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Meng, Lingwei [Verfasser]. "The Mythology of Tourism : The Works of Sir Walter Scott and the Development of Tourism in Scotland / Lingwei Meng." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2018. http://d-nb.info/1167658140/34.
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Tredennick, Bianca Page. "Mortal remains : death and materiality in nineteenth-century British literature /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3061968.
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Thesis (Ph. D.)--University of Oregon, 2002.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 218-225). Also available for download via the World Wide Web; free to University of Oregon users.