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Walter Scott At 250 by Caroline McCracken-Flesher,Matthew Wickman Pdf
At 250, Walter Scott points toward our possible futures. Scott, although we necessarily look on his times as past, of course experienced them as present. His times were times of crisis. Scott, then, has much to share in the experience, narration, anticipation and response to change as a condition of life - a condition our era, with its existential challenges to climate, to public health, to civilization knows only too well. In Scott at 250, major scholars foreground the author as theorist of tomorrow - as the surveyor of the complexities of the present who also gazes, as we do, toward an anxious and hopeful future.
No writer has ever been as famous as Sir Walter Scott once was; and no writer has ever enjoyed such huge acclaim followed by such absolute neglect and outright hostility. But Scotland would not be Scotland except for Scott. All the icons of Scottishness have their roots in Scott's novels, poems, public events and histories. It's a legacy both inspiring and constraining, and just one of the ironies that fuse Scott and Scotland into Scott-land. In this book Stuart Kelly reveals Scott the paradox: the celebrity unknown, the nationalist unionist, the aristocrat loved by communists, the forward-looking reactionary. Part literary study, part biography, part travelogue, part surreptitious autobiography, Scott-land unveils a complex, contradictory man and the complex contradictory country he created. Insightful, accessible, witty and melancholy, this is a 'voyage around my fatherland' like no other.
Walter Scott and Fame is a study of correspondences between Scott and socially and culturally diverse readers of his work in the English-speaking world in the early nineteenth century. Examining authorship, reading, and fame, the book is based on extensive archival research, especially in the collection of letters to Scott in the National Library of Scotland. Robert Mayer demonstrates that in Scott's literary correspondence constructions of authorship, reading strategies, and versions of fame are posited, even theorized. Scott's reader-correspondents invest him with power but they also attempt to tap into or appropriate some of his authority. Scott's version of authorship sets him apart from important contemporaries like Wordsworth and Byron, who adhered, at least as Scott viewed the matter, to a rarefied conception of the writer as someone possessed of extraordinary power. The idea of the author put in place by Scott in dialogue with his readers establishes him as a powerful figure who is nevertheless subject to the will of his audience. Scott's literary correspondence also demonstrates that the reader can be a very powerful figure and that we should regard reading not just as the reception of texts but also as the apprehension of an author-function. Thus, Scott's correspondence makes it clear that the relationship between authors and readers is a dynamic, often fraught, connection, which needs to be understood in terms of the new culture of celebrity that emerged during Scott's working life. Along with Byron, the study shows, Scott was at the centre of this transformation.
Scott's Books is an approachable introduction to the Waverley Novels. Drawing on substantial research in Scott's intertextual sources, it offers a fresh approach to the existing readings where the thematic and theoretical are the norm. Avoiding jargon, and moving briskly, it tackles the vexed question of Scott's 'circumbendibus' style head on, suggesting that it is actually one of the most exciting aspects of his fiction: indeed, what Ian Duncan has called the 'elaborately literary narrative', at first sight a barrier, is in a sense what the novels are primarily 'about'. The book aims to show how inventive, witty, and entertaining Scott's richly allusive style is; how he keeps his varied readership on board with his own inexhaustible variety; and how he allows proponents of a wide range of positions to have their say, using a detached, ironic, but never cynical narrative voice to undermine the more rigid and inhumane rhetoric. The Introduction outlines this approach and sets the book in the context of earlier and current Scott criticism. It also deals with some practical issues, including forms of reference and the distinctive use of the term 'Authorial'. The four chapters are designed to zoom in progressively from the general to the particular. 'Resources' explores the printed material available to Scott in his library and gives an overview of the way he uses it in his fiction. 'Style' confronts objections to the 'circumbendibus' Scott and shows how his Ciceronian style with its penchant for polysyllables enables him to embrace a wide range of rhetoric relayed in a detached but not cynical Authorial voice. 'Strategies' explores how he keeps his very wide audience on board by a complex bonding between characters, readers, and Author, and stresses the extraordinary variety of exuberant inventiveness with which he handles intertextual allusions. 'Mottoes' examines the most remarkable of Scott's intertextual devices, the chapter epigraphs, bringing into play the approaches developed in the previous chapters. The brief concluding 'Envoi' moves out again to the widest possible perspective, suggesting how readers should now be able to move on to, or return to, the novels and the critical conversation, with an appreciation of the central importance of the ludic for an appreciation of Scott in a world once again threatened by inhumane and humorless rigidities.
This enchanting collection of tales by Sir Walter Scott, features a number of captivating stories bound to capture the imagination of readers. The book is perfect for anyone who loves folklore, Scottish culture, and tales of adventure and mystery. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
A study of Walter Scott's short stories, novella and tales This book is the first extensive study of seventeen works of short fiction by one of Scotland's most influential writers of all time. It examines the author's only collection of short stories, Chronicles of the Canongate, periodical and gift-book pieces, and interpolated tales that appeared in the novels. Through careful readings of, amongst others, the Highland stories ('The Highland Widow' and 'The Two Drovers'), his Indian novella (The Surgeon's Daughter), Gothic keepsakes ('My Aunt Margaret's Mirror' and 'The Tapestried Chamber'), and his Calabrian tale Bizarro, this book offers new insights into the production and consumption of short stories, novellas, tales, sketches and other forms of fiction in the early nineteenth century and beyond. Daniel Cook is Reader in English and Associate Director of the Centre for Scottish Culture at the University of Dundee. He is the author of Thomas Chatterton and Neglected Genius, 1760-1830 (2013) and Reading Swift's Poetry (2020). He has edited essay collections including The Afterlives of Eighteenth-Century Fiction (2015; pb 2018) and a forthcoming anthology in the Oxford World's Classics series titled Scottish Literature, 1730-1830.
THE EXISTENTIAL DREAD OF MAKING (OR NOT MAKING) ART TAKES CENTER STAGE IN THIS TRENCHANT SATIRE OF MFA CULTURE Wendy is an aspiring contemporary artist whose adventures have taken her to galleries, art openings, and parties in Los Angeles, Tokyo, and Toronto. In Wendy, Master of Art, Walter Scott’s sly wit and social commentary zero in on MFA culture as our hero decides to hunker down and complete a master of fine arts at the University of Hell in small-town Ontario. Finally Wendy has space to refine her artistic practice, but in this calm, all of her unresolved insecurities and fears explode at full volume—usually while hungover. What is the post-Jungian object as symbol? Will she ever understand her course reading—or herself? What if she’s just not smart enough? As she develops as an artist and a person, Wendy also finds herself in a teaching position, mentoring a perpetually sobbing grade-grubbing undergrad. Scott’s incisively funny take on art school pretensions isn’t the only focus. Wendy, Master of Art explores the politics of open relationships and polyamoury, performative activism, the precarity of a life in the arts, as well as the complexities of gender identity, sex work, drug use, and more. At its heart, this is a book about the give and take of community - about someone learning how to navigate empathy and boundaries, and to respect herself. It is deeply funny and endlessly relatable as it shows Wendy growing up from Millennial art party girl to successful artist, friend, teacher—and Master of Art.