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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.

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‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott

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
Sarah Orne Jewett, The Tory Lover, and Walter Scott, Waverley

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

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
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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

The gothic novel in Ireland, 1760–1830 offers a compelling account of the development of gothic literature in late-eighteenth and early-nineteenth century Ireland. Against traditional scholarly understandings of Irish gothic fiction as a largely late-nineteenth century development, this study recovers to view a whole body of Irish literary production too often overlooked today. Its robust examination of primary texts, the contexts in which they were produced, and the critical perspectives from which they have been analysed yields a rigorous account of the largely retrospective formal and generic classifications that have worked to eliminate eighteenth-century and Romantic-era Irish fiction from the history of gothic literature. The works assessed here powerfully demonstrate that what we now understand as typical of ‘the gothic novel’– medieval, Catholic Continental settings; supernatural figures and events; an interest in the assertion of British modernity – is not necessarily what eighteenth- and nineteenth-century readers or writers would have identified as ‘gothic’. They moreover point to the manner in which scholarly focus on the national tale and allied genres has effected an erasure of the continued production and influence of gothic literature in Romantic Ireland. Combining quantitative analysis with meticulous qualitative readings of a selection of representative texts, this book sketches a new formal, generic, and ideological map of gothic literary production in this period. As it does so, it persuasively positions Irish works and authors at the centre of a newly understood paradigm of the development of the literary gothic across Ireland, Britain, and Europe between 1760 and 1830.

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on the popular romances.21 Whether we are talking about the work of Walter Scott (whose recollection of reading Percy as a boy in the mid 1780s confirms the logic that identifies romance with childish intellects) or W. R. J. Barron (whose 1987 English Medieval Romance, a volume that treats English romance as derivative and finally second-rate, remains the most comprehensive modern analysis of these narratives), popular romance is invariably positioned against something that is judged to be superior; what that something is – epic, French romance or simply good taste

in Pulp fictions of medieval England

Witchcraft and magic in Scotland 89 used imprecations and cursings which have actualie succeeded against severall persons’;32 and Sir Walter Scott recounts an incident, the circumstances of which he says were well known to him, in which an old woman asked a neighbour for a favour and, upon being refused, ill-wished him. An accident to five or six sacks of his corn followed and the neighbour immediately went to the sheriff of the county to have the woman charged as a witch, only to find, much to his consternation, that the relevant law had been repealed. It is perhaps

in Beyond the witch trials

–80. 16 Charles Sayle, ed., Letters Written by Lord Chesterfield to his Son (New York: Walter Scott, 1900 ), 199. 17 Between Caesar’s reform in 45 BC and Gregory’s in 1582, the Sun had run ahead of the Julian calendar 12.71 = 13 days. The math is: (45 + 1582

in Reading Shakespeare’s mind
Contemporary Irish and Scottish fiction

ways in which relations between cultural representation and spatial construction are negotiated in each case to produce places called ‘Scotland’ and ‘Ireland’. In the innovations of recent writing, challenging new maps of archipelagic spaces have emerged; yet in the reception of such writing in mainstream culture we can also discern the perpetuation of older patterns of assimilation. I In the preface to the 1829 edition of his novel Waverley (first published in 1814), Walter Scott cited amongst his influences the Anglo-Irish writer Maria Edgeworth, and particularly

in Across the margins