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Many a Scot seemed surprised by the opening of a new Scottish Parliament in 1999. Few seemed clear where it had come from. Was it a British trick or a Scottish triumph? This book decides by investigating the fact that Scotland manages to hold onto an identity apparently out of proportion to its size. Through the twentieth century, Scots often blamed their land's vivid imagery for making the nation seem a place of local color rather than a political space. But looking back from the moment beyond the Scottish Parliament, we can see that Scotland's signs have played a large role in maintaining an idea of Scotland that, by the end of the twentieth century, made a Parliament seem both possible and necessary. The essays gathered here, by leading cultural critics and historians of Scotland, show how, since the late eighteenth century, Scotland has been converted into lively signs capable of rewriting the nation today.
Out of the mainstream but ahead of the tide, that is Scottish Science Fiction. Science Fiction emphasizes "progress" through technology, advanced mental states, or future times. How does Scotland, often considered a land of the past, lead in Science Fiction? "Left behind" by international politics, Scots have cultivated alternate places and different times as sites of identity so that Scotland can seem a futuristic fiction itself. This book explores the tensions between science and a particular society that produce an innovative science fiction. Essays consider Scottish thermodynamics, Celtic myth, the rigors of religious "conversion," Scotland's fractured politics yet civil society, its languages of alterity (Scots, Gaelic, allegory, poetry), and the lure of the future. From Peter Pan and Dr. Jekyll to the poetry of Edwin Morgan and the worlds of Muriel Spark, Ken Macleod, or Iain M. Banks, Scotland's creative complex yields a literature that models the future for Science Fiction.
Vividly illustrated, The Doctor Dissected examines the the sensational serial killings--known as the Anatomy Murders--that roiled Scotland in the early nineteenth century and considers their checkered afterlife in novels, plays, and films.
Although Robert Louis Stevenson was a late Victorian, his work--especially Treasure Island and The Strange Case of Dr. Jekyll and Mr. Hyde--still circulates energetically and internationally among popular and academic audiences and among young and old. Admired by Henry James, Vladimir Nabokov, and Jorge Luis Borges, Stevenson's fiction crosses the boundaries of genre and challenges narrow definitions of the modern and the postmodern. Part 1 of this volume, "Materials," provides an introduction to the writer's life, a survey of the criticism of his work, and a variety of resources for the instructor. In part 2, "Approaches," thirty essays address such topics as Stevenson's dialogue with James about literature; his verse for children; his Scottish heritage; his wanderlust; his work as gothic fiction, as science fiction, as detective fiction; his critique of imperialism in the South Seas; his usefulness in the creative writing classroom; and how Stevenson encourages expansive thinking across texts, times, places, and lives.
Set within a framing narrative, these three stories take place in the years following the Jacobite defeat and feature characters who are leaving Scotland to seek their fortunes elsewhere. In two of Walter Scott's best-known tales, "The Highland Widow" and "The Two Drovers," two young men are torn between traditional Scottish loyalties and the opportunities offered by England. "The Surgeon's Daughter" follows three young Scots to India during the first years of the British Empire. All three highlight Scott's unique gift for re-creating the spirit of historical eras and painting stirring portraits of Scottish people.
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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.
This dark psychological fantasy is more than a moral tale. It is also a product of its time, drawing on contemporary theories of class, evolution and criminality and the secret lives behind Victorian propriety, to create a unique form of urban Gothic.
No thanks to Walter Scott, Scotland has at last regained its parliament. If this statement sounds extreme, it echoes the tone that criticism of Scott and his culture has taken through the twentieth century. Scott is supposed to have provided stories of the past that allowed his country no future--that pushed it "out of history." Scotland has become a place so absorbed in nostalgia that it could not construct a politics for a changing world. Possible Scotlands disagrees. It argues that the tales Scott told, however romanticized, also provided for a national future. They do not tell the story of a Scotland lost in time and lacking value. Instead they open up a narrative space where the nation ...