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'the most romantic parts of this narrative are precisely those which have a foundation in fact' Edward Waverley, a young English soldier in the Hanoverian army, is sent to Scotland where he finds himself caught up in events that quickly transform from the stuff of romance into nightmare. His character is fashioned through his experience of the Jacobite rising of 1745-6, the last civil war fought on British soil and the unsuccessful attempt to reinstate the Stuart monarchy, represented by Prince Charles Edward. Waverley's love for the spirited Flora MacIvor and his romantic nature increasingly pull him towards the Jacobite cause, and test his loyalty to the utmost. With Waverley, Scott invented the historical novel in its modern form and profoundly influenced the development of the European and American novel for a century at least. Waverley asks the reader to consider how history is shaped, who owns it, and what it means to live in it - questions as vital at the beginning of the twenty-first century as the nineteenth. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Innovative and accessibly written, Picturing Scotland examines the genesis and production of the first author-approved illustrations for Sir Walter' Scott's Waverley novels in Scotland. Consulting numerous neglected primary sources, Richard J. Hill demonstrates that Scott, usually seen as disinterested in the mechanics of publishing, actually was at the forefront of one of the most innovative publishing and printing trends, the illustrated novel. Hill examines the historical precedents, influences, and innovations behind the creation of the illustrated editions, tracking Scott's personal interaction with the mechanics of the printing and illustration process, as well as Scott's opinions on visual representations of literary scenes. Of particular interest is Scott's relationships with William Allan and Alexander Nasmyth, two important early nineteenth-century Scottish artists. As the first illustrators of the Waverley novels, their work provided a template for one of the more lucrative publishing phenomena. Informed by meticulous close readings of Scott's novels and augmented by a bibliographic catalogue of illustrations, Picturing Scotland is an important contribution to Scott studies, the development of the illustrated novel, and publishing history.
Yet there is in Dugald Dalgetty's professional ethic, his blundering Latin, his loving care of his horse, and his own self-absorption, more genuine humanity than in the political and religious principles of Royalists and Covenanters alike. And the picture which emerges is not of violence imported into Scotland from Germany but of a country destroyed by uncompromising religious hatred, political bigotry, tribal feud and personal enmity.
Of all the great novelists of the Romantic period, only two, Jane Austen and Walter Scott, have been continuously reprinted, admired, argued about, and read, from the moment their works first appeared until the present day. In a pioneering study, Annika Bautz traces how Scott's nineteenth-century success among all classes of readers made him the most admired and most widely read novelist in history, only for his readership to plummet sharply downwards in the twentieth century. Austen's popularity, by contrast, has risen inexorably, overtaking Scott's, and bringing about a reversal in reputation that would have been unthinkable in the authors' own time. To assess the reactions of readers belonging to diverse interpretative communities, Bautz draws on a wide range of indicators, including editions, publisher's relaunches, sales, reviews, library catalogues and lending figures, private comments in diaries and letters, popularisations. She maps out the long-run changes in the reception of each author over two centuries, explaining literary tastes and their determinants, and illuminating the broader culture of the successive reading audiences who gave both authors their uninterrupted loyalty. The first ever comparative longitudinal study, firmly based on empirical and archival evidence, this book will be of interest to scholars in Romanticism, Victorianism, book history, reading and reception studies, and cultural history.
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