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Beattie-Smith, Gillian UHI Thesis - pdf download summary Romantic subjectivity women’s identity in their nineteenth-century travel writing about Scotland Beattie-Smith, Gillian DOCTOR OF PHILOSOPHY (AWARDED BY OU/ABERDEEN) Award date: 2017 Awarding institution: The University of Edinburgh Link URL to thesis in UHI Research Database General rights and useage policy Copyright,IP and moral rights for the publications made accessible in the UHI Research Database are retained by the author, users must recognise and abide by the legal requirements associated with these rights. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement, or without prior permission from the author. Users may download and print one copy of any thesis from the UHI Research Database for the not-for-profit purpose of private study or research on the condition that: 1) The full text is not changed in any way 2) If citing, a bibliographic link is made to the metadata record on the the UHI Research Database 3) You may not further distribute the material or use it for any profit-making activity or commercial gain 4) You may freely distribute the URL identifying the publication in the UHI Research Database Take down policy If you believe that any data within this document represents a breach of copyright, confidence or data protection please contact us at [email protected] providing details; we will remove access to the work immediately and investigate your claim. Download date: 29. Sep. 2021 Romantic subjectivity: women’s identity in their nineteenth-century travel writing about Scotland Gillian L. Beattie-Smith BEd (Dunelm), BA (Hons), PGCE (Online and Blended), PG Cert (SocSc), MA A thesis submitted to The University of Aberdeen for the degree of Doctor of Philosophy in Literature and Gender Studies Following a programme of study undertaken at The University of the Highlands and Islands, 2017 0 Declaration I, Gillian Lesley Beattie-Smith, confirm that the thesis is my own work and that it has not been accepted in any previous application for a degree. All quotations have been distinguished by quotation marks and the sources of information acknowledged. ______________________________________________________________ Gillian Lesley Beattie-Smith Date 1 Summary Women’s identities are created and performed relational to the contexts in which they live and by which they are bound. Identities are performed within and against those contexts. Romantic subjectivity: women’s identity in their nineteenth-century travel writing about Scotland, is concerned with the location of women and their creation and construction of relational identity in their personal narratives of the nineteenth century. The texts taken for study are travel journals, memoirs, and diaries, each of which narrates times and journeys in Scotland. The subjects of study are Sarah Stoddart Hazlitt, Dorothy Wordsworth, and Elizabeth Grant. The texts considered are Journal of My Trip to Scotland, written by Sarah Stoddart Hazlitt in 1803; Recollections of a Tour made in Scotland, 1803 and Journal of my second tour in Scotland, 1822, written by Dorothy Wordsworth; and Memoirs of a Highland Lady, written by Elizabeth Grant about her life before 1830. The focus of study is Romantic subjectivity in the texts of the three women writers. Women’s relational performativity to the prevailing social and cultural norms is examined and considered in the context of women as authors, women’s travel writing, and ideologies of women’s place in the nineteenth century. May 2017 2 Contents Acknowledgements 4 Chapter 1: Introduction 5 Chapter 2: Women’s writing in the nineteenth century 25 Chapter 3: Travel writing and the woman travel writer 54 Chapter 4: Dorothy Wordsworth 82 Chapter 5: Sarah Hazlitt 134 Chapter 6: Elizabeth Grant 171 Chapter 7: Conclusions 216 Bibliography 236 Appendix 251 3 Acknowledgements The guidance and encouragement of my supervisors Professor Donna Heddle, University of the Highlands and Islands; Dr Zsuzsana Varga, University of Glasgow; and Professor Alison Lumsden, University of Aberdeen, has been invaluable. I am grateful to Gareth Fitzpatrick, MBE, Collections, Archives and Research Director, Buccleuch Living Heritage Trust, who kindly provided a photograph for my use, and to Sandra Howatt of Buccleuch Estates, Bowhill, Selkirk, for her guidance. Their knowledge of the art collection greatly assisted in identifying a painting which has provided a sense of the physical appearance, and added to an understanding of the character, of Sarah Hazlitt. 4 Chapter 1. Introduction Romantic subjectivity: women’s identity in their nineteenth-century travel writing about Scotland, is concerned with the creation and construction of relational identity in the personal narratives of three women of the nineteenth century. It examines identities created and performed in the Scottish journals of Dorothy Wordsworth, and Sarah Hazlitt, and the memoirs of Elizabeth Grant. The texts analysed are the Ernest De Selincourt editions of Dorothy Wordsworth’s two journals of her tours in Scotland, which are Recollections of a Tour in Scotland, 1803, and My Second Tour in Scotland.1 Discussions of the creation of identity of Elizabeth Grant centre on the Andrew Tod edition of Memoirs of a Highland Lady, but reference is also made to other works, including some of the early short stories published by Chambers Edinburgh Journal. Manuscripts privately held by the Grant family were also consulted.2 The discussion of the identity and discourses of Sarah Hazlitt are drawn from ‘Journal of My Trip to Scotland’ in The Journals of Sarah and William Hazlitt, 1822-1831, edited by Willard Hallam Bonner.3 This study takes for its key guidance accounts of identity which argue that identity is constructed or performed in subject positions and argues that identities are formed in and through difference. They are dislocated and dependent on an outside, which both denies the identity and provides the conditions of its possibility. Identity of the individual, of the person, is not singular, therefore, since it is dependent on different subject positions in changing locations. Discourse makes available subject positions to which identity may be ‘sutured’ or through which it may be ‘interpellated’ by means of the operation of the unconscious.4 5 The relational identities of the three women to the social and cultural codes of language are considered. Their subject positions established in the discourse with significant male members of their families is discussed as one of the factors of their identity performance within and against which their identities are constructed. The study examines the identities created in the discourses of familiar and familial relationships of wife, sister, daughter, mother. It explores the contextual spatial relations established in travel writing which create tensions of identities through dislocation and difference in conscious and unconscious responses to place and space. In a discussion of the creation of nineteenth-century familial relational identity, Dorothy Wordsworth, Elizabeth Grant, and Sarah Hazlitt were selected for their subject positions and relational identity to male other performed in their writing. Elizabeth Grant’s identity as a ‘Highland lady’ is discussed relational to her father, to his social status, and land ownership. ‘Highland lady’ was a nom de plume used for her early writing collaboratively produced with her sisters, and later taken up by publishers of her independent writing. Grant was her father’s name, and is the name by which she is known as a writer in Scotland. Her identity is sutured to subject positions of social discourse which are geographically and culturally located. Dorothy Wordsworth’s identity is frequently expressed in the plural of ‘the Wordsworths’. Her subject position is taken up in the relational identity as the sister of the poet, William Wordsworth. It is a subject position which shifts the concept of identity being created in division and difference, since the plurality suggests an interdependence of discourse which supports the identities of both William and Dorothy. But the subject position also interpellates social and cultural norms of woman’s place in a patriarchal hierarchy. Sarah Hazlitt’s identity in her journal is performed and created relational to her husband, William Hazlitt. It is an identity which is not only performed in the text, but is also extended by the relational publication of the 6 text in its two editions. It was first published as an appendix to William Hazlitt’s Liber Amoris in the Le Gallienne edition of 1894, and second, with the journal of William Hazlitt, also written during the same trip to Scotland, which was edited by Willard Hallam Bonner, and published in 1959. Women’s writing is not an authorial category. Women’s writing is, as Deborah L. Marsden argues, ‘a critical category’, and it is from the perspective of a critical category that I consider ‘women’s writing’.5 The discussions in this thesis consider women’s writing which was produced about their lives in the nineteenth century, and considers features of their writing which indicate a performance of identity which is relational, not only to the physical locations in which they write, or to the period, but also to the relational performance of identity to the men in their close familial circle. Marsden argues the issues of feminism ‘have been engaged, reflected, supported and challenged by women writers’ throughout history.’ However, she continues, ‘The diversity of women, and women’s writing …must lead to the conclusion that there cannot be a widely-shared definition of “feminism”, nor of “women’s writing”’.6 The women’s writing examined here is not representative of all women’s writing. Women’s cultural relational performance in places of difference cannot be taken to be representative of all participants in their culture. Individuals and their experiences are unique, as are the subject positions which they take up or reject in those places of difference and subject positions.
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