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This title was first published in 2001. Literary critics, textual editors and bibliographers, and historians of publishing have hitherto tended to publish their research as if in separate fields of enquiry. The purpose of this volume is to bring together contributions from these fields in a dialogue rooted in the transmission of texts. Arranged chronologically, so as to allow the use of individual sections relevant to period literature courses, the book offers students and teachers a set of essays designed to reflect these approaches and to signal their potential for fruitful integration. Some of the essays answer the demand "Show me what literary critics (or textual editor; or book historians) do and how they do it", and stand as examples of the different concerns, methodologies and strategies employed. Others draw attention to the potential of the approaches in combination.
From the gothic fantasies of Walpole’s Otranto to post-modern takes on the country house by Kazuo Ishiguro and Ian McEwan, Phyllis Richardson guides us on a tour through buildings real and imagined to examine how authors’ personal experiences helped to shape the homes that have become icons of English literature. We encounter Jane Austen drinking ‘too much wine’ in the lavish ballroom of a Hampshire manor, discover how Virginia Woolf’s love of Talland House at St Ives is palpable in To the Lighthouse, and find Evelyn Waugh remembering Madresfield Court as he plots Charles Ryder’s return to Brideshead. Drawing on historical sources, biographies, letters, diaries and the novels themselves, House of Fiction opens the doors to these celebrated houses, while offering candid glimpses of the writers who brought them to life.
The Scottish Invention of English Literature explores the origins of the teaching of English literature in the academy. It demonstrates how the subject began in eighteenth-century Scottish universities before being exported to America and other countries. The emergence of English as an institutionalised university subject was linked to the search for distinctive cultural identities throughout the English-speaking world. This book explores the role the discipline played in administering restraints on the expression of indigenous literary forms, and shows how the growing professionalisation of English as a subject offered a breeding ground for academics and writers with an interest in native identity and cultural nationalism. This book is a comprehensive account of the historical origins of the university subject of English literature and provides a wealth of new material on its particular Scottish provenance.
'Lord Wellington don't know how to lose a battle.' The view of an anonymous soldier at Waterloo became the judgement of the world on the man who was hailed as the first general of his age. At Waterloo he defeated Napoleon, the master of war, and finally checked the disruptive forces of the French Revolution that had troubled Europe for over twenty years. Wellington taught himself the art of war in India where his hard-fought victories helped lay the foundations of the British raj. His armies liberated Portugal and Spain, shattered the myth of French invincibility and inspired the people of Europe to resist Napoleon. Largely drawn from original sources, Lawrence James's biography follows the life of Wellington the soldier and explains how he waged war and why he won battles. This is also the story of a humane, intelligent and acerbic aristocrat who believed that his kind were predestined to lead. It shows how he stamped his iron will on the men he commanded and how they responded. It reveals Wellington the professional fighting man who created the remarkable intelligence and logistical services that were the keys to his victories. But it was as the national hero who beat Napoleon, gave Europe peace and adhered resolutely to the path of duty that he was honoured by his countrymen who saw him as 'the highest incarnation of English character'.
This groundbreaking volume not only documents the richness of their literary contributions but changes our thinking about the poetry of the English Romantic period.
From Napoleon's invasion of Portugal in 1807 to his final defeat at Waterloo, the English theatres played a crucial role in the mediation of the Peninsular campaign. In the first in-depth study of English theatre during the Peninsular War, Susan Valladares contextualizes the theatrical treatment of the war within the larger political and ideological axes of Romantic performance. Exploring the role of spectacle in the mediation of war and the links between theatrical productions and print culture, she argues that the popularity of theatre-going and the improvisation and topicality unique to dramatic performance make the theatre an ideal lens for studying the construction of the Peninsular War in the public domain. Without simplifying the complex issues involved in the study of citizenship, communal identities, and ideological investments, Valladares recovers a wartime theatre that helped celebrate military engagements, reform political sympathies, and register the public’s complex relationship with Britain’s military campaign in the Iberian Peninsula. From its nuanced reading of Richard Brinsley Sheridan's Pizarro (1799), to its accounts of wartime productions of Shakespeare, description of performances at the minor theatres, and detailed case study of dramatic culture in Bristol, Valladares’s book reveals how theatrical entertainments reflected and helped shape public feeling on the Peninsular campaign.
This collection of essays provides a series of fresh approaches to a fascinating subject: Jacobitism. The contributors focus on issues of identity and memory among Jacobites in Scotland, Ireland, England and Europe. They examine Jacobitism as an integral aspect of culture and society in the British Isles and beyond during the century after 1688.