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"I Accuse Miss Owenson": the Wild Irish Girl As Media Event
Colby Quarterly Volume 36 Issue 2 June Article 5 June 2000 "I accuse Miss Owenson": The Wild Irish Girl as Media Event Claire Connolly Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 36, no.2, June 2000, p.98-115 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Connolly: "I accuse Miss Owenson": The Wild Irish Girl as Media Event III accuse Miss Owenson II: The Wild Irish Girl as Media Event by CLAIRE CONNOLLY YDNEY OWENSON may not have written the first Irish novel-that prize is Sconventionally accorded to Castle Rackrent, written by her near-contem porary Maria Edgeworth-yet it is possible to argue that she received the first Irish review. Novels had of course been reviewed in Ireland before Owenson (just as novels had been written in Ireland before Edgeworth) but this essay argues that the critical reception of her early novels, particularly The Wild Irish Girl, in the Dublin newspaper the Freeman's Journal consti tutes a foundational moment in the history of Irish fiction, analogous to Castle Rackrent's innovative fusion of narrative experimentation with the politics of Union. In the attention centred on the enigmatic figure of its author, The Wild Irish Girl controversy generated an interpretative crux equivalent to the problem of Edgeworth's unreliable narrator Thady Quirk; Sydney Owenson herself became as much the object of argument and specu lation as her fictional work. -
Lockhart'smemoirs of the Life of Sir Walter Scott, Bart
Studies in Scottish Literature Volume 38 | Issue 1 Article 16 2012 WRITER, READER, AND RHETORIC IN JOHN GIBSON LOCKHART'S MEMOIRS OF THE LIFE OF SIR WALTER SCOTT, BART. Gerald P. Mulderig DePaul University Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Mulderig, Gerald P. (2012) "WRITER, READER, AND RHETORIC IN JOHN GIBSON LOCKHART'S MEMOIRS OF THE LIFE OF SIR WALTER SCOTT, BART.," Studies in Scottish Literature: Vol. 38: Iss. 1, 119–138. Available at: https://scholarcommons.sc.edu/ssl/vol38/iss1/16 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. WRITER, READER, AND RHETORIC IN JOHN GIBSON LOCKHART’S MEMOIRS OF THE LIFE OF SIR WALTER SCOTT, BART. Gerald P. Mulderig “[W]hat can the best character in any novel ever be, compared to a full- length of the reality of genius?” asked John Gibson Lockhart in his 1831 review of John Wilson Croker’s edition of Boswell’s Life of Johnson.1 Like many of his contemporaries in the early decades of the nineteenth century, Lockhart regarded Boswell’s dramatic recreation of domestic scenes as an intrusive and doubtfully appropriate advance in biographical method, but also like his contemporaries, he could not resist a biography that opened a window on what he described with Wordsworthian ardor as “that rare order of beings, the rarest, the most influential of all, whose mere genius entitles and enables them to act as great independent controlling powers upon the general tone of thought and feeling of their kind” (ibid.). -
Disfigurement and Disability: Walter Scott's Bodies Fiona Robertson Were I Conscious of Any Thing Peculiar in My Own Moral
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Mary's University Open Research Archive Disfigurement and Disability: Walter Scott’s Bodies Fiona Robertson Were I conscious of any thing peculiar in my own moral character which could render such development [a moral lesson] necessary or useful, I would as readily consent to it as I would bequeath my body to dissection if the operation could tend to point out the nature and the means of curing any peculiar malady.1 This essay considers conflicts of corporeality in Walter Scott’s works, critical reception, and cultural status, drawing on recent scholarship on the physical in the Romantic Period and on considerations of disability in modern and contemporary poetics. Although Scott scholarship has said little about the significance of disability as something reconfigured – or ‘disfigured’ – in his writings, there is an increasing interest in the importance of the body in Scott’s work. This essay offers new directions in interpretation and scholarship by opening up several distinct, though interrelated, aspects of the corporeal in Scott. It seeks to demonstrate how many areas of Scott’s writing – in poetry and prose, and in autobiography – and of Scott’s critical and cultural standing, from Lockhart’s biography to the custodianship of his library at Abbotsford, bear testimony to a legacy of disfigurement and substitution. In the ‘Memoirs’ he began at Ashestiel in April 1808, Scott described himself as having been, in late adolescence, ‘rather disfigured than disabled’ by his lameness.2 Begun at his rented house near Galashiels when he was 36, in the year in which he published his recursive poem Marmion and extended his already considerable fame as a poet, the Ashestiel ‘Memoirs’ were continued in 1810-11 (that is, still before the move to Abbotsford), were revised and augmented in 1826, and ten years later were made public as the first chapter of John Gibson Lockhart’s Memoirs of the Life of Sir Walter Scott, Bart. -
Three Short Novels Their Easily Readable Scope and Their Vivid England, in Europe and the Mediterranean, Themes, Each of the Stories Has a Distinct Charm
Angela Esterhammer The Edinburgh Edition of the Works of The Edinburgh Edition of the Works of Edinburgh Edition of the Works of John Galt Edited by John Galt General Editor: Angela Esterhammer The three novels collected in this volume reveal the diversity of Galt’s creative abilities. Glenfell (1820) is his first publication in the style John Galt (1779–1839) was among the most of Scottish fiction for which he would become popular and prolific Scottish writers of the best known; Andrew of Padua, the Improvisatore nineteenth century. He wrote in a panoply of (1820) is a unique synthesis of his experiences forms and genres about a great variety of topics with theatre, educational writing, and travel; and settings, drawing on his experiences of The Omen (1825) is a haunting gothic tale. With Edinburgh Edition ofEdinburgh of Galt the Works John living, working, and travelling in Scotland and Three Short Novels their easily readable scope and their vivid England, in Europe and the Mediterranean, themes, each of the stories has a distinct charm. and in North America. While he is best known Three Short They cast light on significant phases of Galt’s for his humorous tales and serious sagas about career as a writer and show his versatility in Scottish life, his fiction spans many other genres experimenting with themes, genres, and styles. including historical novels, gothic tales, political satire, travel narratives, and short stories. Novels This volume reproduces Galt’s original editions, making these virtually unknown works available The Edinburgh Edition of the Works of John Galt is to modern readers while setting them into the first-ever scholarly edition of Galt’s fiction; the context in which they were first published it presents a wide range of Galt’s works, some and read. -
John Keats 1 John Keats
John Keats 1 John Keats John Keats Portrait of John Keats by William Hilton. National Portrait Gallery, London Born 31 October 1795 Moorgate, London, England Died 23 February 1821 (aged 25) Rome, Italy Occupation Poet Alma mater King's College London Literary movement Romanticism John Keats (/ˈkiːts/; 31 October 1795 – 23 February 1821) was an English Romantic poet. He was one of the main figures of the second generation of Romantic poets along with Lord Byron and Percy Bysshe Shelley, despite his work only having been in publication for four years before his death.[1] Although his poems were not generally well received by critics during his life, his reputation grew after his death, so that by the end of the 19th century he had become one of the most beloved of all English poets. He had a significant influence on a diverse range of poets and writers. Jorge Luis Borges stated that his first encounter with Keats was the most significant literary experience of his life.[2] The poetry of Keats is characterised by sensual imagery, most notably in the series of odes. Today his poems and letters are some of the most popular and most analysed in English literature. Biography Early life John Keats was born in Moorgate, London, on 31 October 1795, to Thomas and Frances Jennings Keats. There is no clear evidence of his exact birthplace.[3] Although Keats and his family seem to have marked his birthday on 29 October, baptism records give the date as the 31st.[4] He was the eldest of four surviving children; his younger siblings were George (1797–1841), Thomas (1799–1818), and Frances Mary "Fanny" (1803–1889) who eventually married Spanish author Valentín Llanos Gutiérrez.[5] Another son was lost in infancy. -
The Irish Crokers Nick Reddan
© Nick Reddan Last updated 2 May 2021 The Irish CROKERs Nick Reddan 1 © Nick Reddan Last updated 2 May 2021 Table of Contents Table of Contents ....................................................................................................................... 2 Background ................................................................................................................................ 4 Origin and very early records ................................................................................................ 4 Acknowledgments.................................................................................................................. 5 Note ........................................................................................................................................ 5 Origin ......................................................................................................................................... 6 The Settlers ................................................................................................................................ 9 The first wave ........................................................................................................................ 9 The main group .................................................................................................................... 10 Lisnabrin and Nadrid ............................................................................................................... 15 Dublin I ................................................................................................................................... -
About the Meaning of the Picture and Therefore Treats the Image As Linked
about the meaning of the picture and therefore its creation back to her empirical self or conclude that treats the image as linked with the whole play. its meaning is coextensive with its point of departure.... Although this identification indicates that Kelly uses (p. 899) textual associations to read the visual image, he refuses to grant that the image, in turn, may Sherwin’s assertion, in this hypothetical formulation, interpret the text. We argue that, whenever a text might become a subject for endless debate between is given definite visual form, its generic structures ideological feminists and theorists of the imper- and patterns of meaning are supplemented, opened sonality of texts unless someone pointed out that, up by this new representation. Zoffany’s painting in fact, Frankenstein was published anonymously offers a rich reading of Macbeth precisely because and (in further support of Sherwin’s position) that it “gratifies] contemporary interests,” because it Walter Scott, who reviewed it favorably in Black- reveals what was found necessary to interpret in wood’s Edinburgh Magazine, not only failed to and for a previous age. This image helps us locate recognize it as the work of a woman but attributed a problematic moment, a “gap,” in the text; it wit- the novel to the author of Alastor (see The Ro- nesses the pressure of historical concerns on inter- mantics Reviewed, Part C, I, 73—80). This attribu- pretation, and it reminds us that our own moment is tion also buttresses Sherwin’s later speculations on no more privileged than Zoffany’s. the complex intertextuality of Alastor and Franken- stein (pp. -
Tennyson's Poems
Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
Defending Ireland Or Attacking Woman? the Irish Riposte to Harriet Martineau
Defending Ireland or Attacking Woman? The Irish Riposte to Harriet Martineau Julie Donovan owhere is the complexity of Harriet Martineau’s legacy more N evident than in her writings on Ireland. Martineau traveled to Ireland in 1831, a visit she followed up with a more extensive stay in 1852, when, with her customary zeal, she covered twelve-hundred miles, taking in all four provinces (Conway and Hill 47). Martineau’s first visit inspired “Ireland: A Tale” (1832), the ninth story in Illustrations of Political Economy (1832-34). Her second visit was instigated by Frederick Knight Hunt, editor of London’s Daily News, who requested eye-witness reports of Ireland’s post-famine socio-cultural recovery and economic progress, which Martineau would collate in her role as a traveling correspondent. Her findings from the 1852 visit were published in voluminous journalism, including Letters from Ireland (1852) and Endowed Schools of Ireland (1859), which formed part of her reporting for Daily News. In addition, numerous and formerly scattered pieces on Ireland, published in Daily News, Household Words, Westminster Review and elsewhere, have been collected in Harriet Martineau and the Irish Question: Condition of Post- Famine Ireland, edited by Deborah Logan. Irish affairs permeated Martineau’s fiction and non-fiction, demonstrating how cognizant she was of issues Ireland faced in the post- famine context and in terms of continuing systemic problems impeding recovery, such as absentee landlordism, which she had raised in “Ireland: A Tale.” Throughout her decades of writing about Ireland, from pre- to post- 117 Nineteenth-Century Prose, Vol. 47, No. -
Twilight of the Godless: the Unlikely Friendship of Francis Jeffrey and Thomas Carlyle
Twilight of the Godless: The Unlikely Friendship of Francis Jeffrey and Thomas Carlyle WILLIAM CHRISTIE Edin r 13 Feb y 1830 My Dear Carlyle I am glad you think my regard for you a Mystery - as I am aware that must be its highest recommendation - I take it in an humbler sense - and am content to think it natural that one man of a kind heart should feel attracted towards another - and that a signal purity and loftiness of character, joined to great talents and something of a romantic history, should excite interest and respect. (NLS MS. 787, ff. 52-3) i I The Thomas Carlyle who knocked on Francis Jeffrey’s door at 92 George Street Edinburgh early in February of 1827 was not a young man. He was thirty two. And though Carlyle was of humble, country origins — he was the child of a rural stonemason turned small farmer — this was by no means his first time in the big city, having come here as a university student eighteen years before in 1809. Carlyle at thirty two, however, was as yet comparatively unknown, if not unpublished. His major publications — a translation of Goethe’s Wilhelm Meister’s Apprenticeship (1824) and a Life of Schiller (1825) — had not brought his name before the English speaking reading public, probably because German thought and German literature simply did not interest them enough. Thomas Carlyle was an ambitious man and never doubted his own ability, but he must at this time have doubted his chances of success, and he had just added a young wife, Jane Welsh Carlyle, to his responsibilities. -
Open Research Online Oro.Open.Ac.Uk
Open Research Online The Open University’s repository of research publications and other research outputs Tennyson and the Fabrication of Englishness Thesis How to cite: Sherwood, Marion Frances (2011). Tennyson and the Fabrication of Englishness. PhD thesis The Open University. For guidance on citations see FAQs. c 2011 The Author Version: Version of Record Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk UNReSTRlCTC-P ' Marion Frances Sherwood MA TENNYSON AND THE FABRICATION OF ENGLISHNESS Doctor of Philosophy: The Open University Faculty of Arts: Department of English Submitted on 30 September 2010 X)aX<~ o l 5ubvYuS5tf3t^', 2 $ S^ptowb^/ Zoif Date,qj f\Waf(L: March. 2o|i ProQuest Number: 13837621 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13837621 Published by ProQuest LLC(2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Thesis Abstract Tennyson and the Fabrication of Englishness Nineteenth-century preoccupation with the meaning of Englishness began with the origin of the term in 1804. -
The Novels of Benjamin Disraeli
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenSIUC THE XO\'ELS OF BEN'JAMIX DISRAELI HAROLD BERMAX IX the early part of the past century \'on Arnim wrote a book entitled Bcrtlwld's First and Second Life. The idea sought by tiie author of that book, apparently, was to concretize the belief gaining currency at the time that an individual may enjoy, in the brief span of his earthly existence, either in the simultaneous Jekyl- and-Hyde form or in chronological succession, two distinct and un- related careers. In the case of the career of Benjamin Disraeli, the ambitious novelist who, unaided by family influence or wealth, rose to the premiership of Great Britain and to a commanding position in world affairs, it has become the favorite method of biographers to dwell on, if not exactly to explain it by, the thesis of duality. "Here is a case,"' these men seem to say, "of duality par excellence. Here is a man who possessed two distinct talents, a man who could suc- cessfully fight an election battle, maneuver men and policies in the lobbies of parliament, and then retire from all this hubbub to the peace of his study for a brief few weeks or months and emerge therefrom with the manuscript of a three-volume novel under his arm, having done which, he would return to the political scene, resume the bargaining and badgering, the combinations and manipu- lations of the party machinery as a matter of course and as if no interruption whatever in his normal activities had taken place." This, I admit, is indeed a pretty picture, but not at all a true one.