scholarly journals Depicting Scotland: Scotland in Early Films

2018 ◽  
Author(s):  
John Caughie
Keyword(s):  
Nineteenth Century ◽  
Travel Literature ◽  
Film Industry ◽  
Feature Film ◽  
Non Fiction ◽  
Scottish Music ◽  
Music Hall ◽  
International Companies

This chapter by John Caughie addresses both fiction and non-fiction films, dealing with scenics made by international companies, and with the ways in which Scotland was represented in international feature cinema. Particular attention is given to the mapping of scenics and their relation to eighteenth- and nineteenth-century travel literature. With regard to the feature film, it follows the traditions of Scott and romanticism, the movement in the 1920s towards Barrie and domestic melodrama, and the perennial return to the comic characters of Scottish music hall. The chapter addresses the question of how it came to be that a country without its own film industry nevertheless secured a place in the international cinematic imaginary.

scholarly journals « Voyageons avec lui »

2020 ◽  
Vol 17 ◽  
pp. 57-76
Author(s):  
Marius Warholm Haugen
Keyword(s):  
Nineteenth Century ◽  
Travel Writing ◽  
Travel Literature ◽  
Reading Public ◽  
Periodical Press ◽  
Rhetorical Device ◽  
Reading Experience ◽  
Non Fiction ◽  
Shed Light

This article examines the use of travel metaphors in French periodical reviews of non-fiction travelogues at the turn of the eighteenth and the nineteenth century. The French periodical press took an increasing interest in travel literature in this period, forming an important instance of mediation between travel writers and the reading public. In travel-book reviews, journalists would frequently make use of a rhetoric aimed at presenting the periodical text as a double co-experience: an imaginary travel in the wake of the travel writer and a ‘travel’ through the journalist’s own reading experience. The article shows how this metaphor appears as a diverse rhetorical device that served different functions within the periodical text. Clearly aimed at engaging the reader in the text, the metaphor can also be read as conveying a meta-discourse that highlights the reviewers’ appropriation and remediation of the travelogue. The article analyses occurrences of the travel metaphor in reviews taken from a varied set of periodicals – journals, advertisers, and newspapers – in order to shed light on how the French periodical press operated in retransmitting literary travel experiences in a golden age of non-fiction travel writing.

Thinking Through Style

2018 ◽  
Keyword(s):  
Nineteenth Century ◽  
Delivery System ◽  
Verbal Mode ◽  
Non Fiction ◽  
Nineteenth Century Studies

What is ‘style’, and how does it relate to thought in language? It has often been treated as something merely linguistic, independent of thought, ornamental; stylishness for its own sake. Or else it has been said to subserve thought, by mimicking, delineating, or heightening ideas that are already expressed in the words. This ambitious and timely book explores a third, more radical possibility, in which style operates as a verbal mode of thinking through. Rather than figure thought as primary and pre-verbal, and language as a secondary delivery system, style is conceived here as having the capacity to clarify or generate thinking. The book’s generic focus is on non-fiction prose, and it looks across the long nineteenth century. Leading scholars survey twenty authors, to show where writers who have gained reputations as either ‘stylists’ or as ‘thinkers’ both in fact exploit the interplay between the what and the how of their prose. But the study demonstrates more than that celebrated stylists might after all have thoughts worth attending to, or that distinguished thinkers might be enriched for us if we paid more due to their style. More than reversing the conventional categories, the innovative chapters collected here show how ‘style’ and ‘thinking’ can be approached as a shared concern. At a moment when, especially in nineteenth-century studies, interest in style is re-emerging, this book revaluates some of the most influential figures of that age, re-imagining the possible alliances, interplays, and generative tensions between thinking, thinkers, style, and stylists.

Reviews

2007 ◽  
Vol 1 (2) ◽  
pp. 213-220
Author(s):  
Reviews Poston-Anderson ◽  
Magnus Schneider ◽  
Ben Wiles
Keyword(s):  
Nineteenth Century ◽  
Princeton University ◽  
Music Hall

Dance and Dancers in the Victorian and Edwardian Music Hall Ballet, Music in Nineteenth-Century Britain series, Alexandra Carter, (2005) Aldershot: Ashgate, 177 pp., ISBN 0 7546 3736 0 (hbk), 50.00Operatic Migrations: Transforming Works and Crossing Boundaries, Roberta Montemorra Marvin and Downing A. Thomas (eds.), (2006) Aldershot (UK) and Burlington (US): Ashgate, 274 pp., ISBN 0 7546 5098 7 (hbk), 65.00The Musical as Drama: A Study of the Principles and Conventions Behind Musical Shows from Kern to Sondheim, Scott McMillin, (2006) Princeton: Princeton University Press, 230 pp., ISBN 0691127301 (hbk), 15.95

A Bibliography of British Travel Books on Argentina: 1810-1860

1959 ◽  
Vol 16 (2) ◽  
pp. 133-143 ◽  
Author(s):  
S. Samuel Trifilo
Keyword(s):  
Nineteenth Century ◽  
Great Britain ◽  
Travel Literature ◽  
Literary Form ◽  
Full Length ◽  
Living Room ◽  
Travel Books ◽  
The World ◽  
Written Word ◽  
Source Of Information

Books of travel and books inspired by travel have probably been more popular in Great Britain than any other literary form, with the exception of novels.This was especially true in the nineteenth century, when travel, owing to the lack of today's facilities, was reserved for the relative few. During that period, photography had not yet replaced the written word, as is happening in our own generation. The nineteenth-century Englishman wandered through the medium of a travel book and not through newsreels, travelogues, and even full-length movies. Today, the Englishman, like the American, is able to sit in his living room and see the world on his television screen. He is not dependent on literature to the extent that his grandfather or great-grandfather was. For the Englishman of the nineteenth century, therefore, travel literature was very important. Often, these books furnished the only source of information concerning strange lands and strange peoples.

"TOUS LES MATINS DU MONDE": POETRY OF FADING SOUND

2021 ◽  
Vol 1 (4) ◽  
pp. 100-107
Author(s):  
Yu. A. Finkelshtein ◽  
Keyword(s):  
Mass Culture ◽  
Film Industry ◽  
Historical Background ◽  
Present Moment ◽  
Feature Film ◽  
Viola Da Gamba ◽  
Emotional Perception ◽  
Baroque Music ◽  
The Aesthetic ◽  
True Values

The object of the article is Alain Corneau's feature film "All the Mornings of the World" ("Tous les matins du monde", 1991). The movie is considered as a work of art with strong postmodern tendencies. The director uses music written in the XVIIth century to create an image of the era. The image of the gambist de Sainte-Colombe is formed on the basis of the aesthetic and emotional perception of his works by the creators of the movie. The timbre of viola da gamba, one of the key features of which is rapid fading, defines the main philosophical idea of the film. The "disadvantage" of the instrument, which contributed to its short life in art, is perceived by the filmmakers as its original value. The rapidly fading sound becomes a metaphorical symbol of dying and rebirth, death and immortality being one. In addition, Baroque music performs the function of temporary "immersion". Using the music of ancient styles, the film industry gains a foothold in true values and an element of authenticity. In turn, by participating in cinema, it appropriates the features of mass culture: lightness, illusiveness, and easy accessibility. Such ambivalence is also characteristic of the plot, in which events that evoke completely modern feelings take place against a historical background far removed from the present moment.

FORMS IN MOTION: THE POETIC PROSE OF ROBERT MACFARLANE AND KATHLEEN JAMIE

2021 ◽  
Author(s):  
Stefanie John
Keyword(s):  
Nineteenth Century ◽  
Nature Writing ◽  
Prose Poem ◽  
Non Fiction ◽  
Poetic Prose

Abstract This essay examines the use of poetic prose in recent non-fiction by Robert Macfarlane and Kathleen Jamie. Drawing on selected chapters from Macfarlane’s The Old Ways (2012), Jamie’s Sightlines (2012), and a prose poem from Jamie’s The Bonniest Companie (2015), it demonstrates the hybridity of contemporary nature writing by paying attention to the works’ transgressions of the bounds of verse and prose. After introducing the nineteenth-century debate on differences between lyric and prosaic language and outlining Romantic efforts to poeticize prose descriptions of nature and environment, the article discusses Macfarlane’s and Jamie’s role in this conversation. I argue that formal transgressions – evident in metrical and rhyming effects, typographical experiments, imagery, and allusion – are especially strong in passages that describe movement: in accounts of walking or in observations of the shifting motions of light and weather. Prose forms that approximate and integrate lyricism here enhance a sense of transience as well as exhibit the continuity of human and non-human worlds. Self-consciously tracing the footsteps of other poets who have traversed genre boundaries, Macfarlane’s and Jamie’s work establishes nature writing as a form that is persistently on the move.

Ally Sloper on Stage

2009 ◽  
Vol 2 (2) ◽  
pp. 205-225
Author(s):  
Roger Sabin
Keyword(s):  
Nineteenth Century ◽  
Working Class ◽  
Moral Outrage ◽  
Commercial Exploitation ◽  
Music Hall

The article argues that the significance of the nineteenth-century comics character Ally Sloper cannot be understood without reference to the parallel career that this fictional celebrity developed across other media, most notably music hall. The history and evolution of the textual character, and of his various incarnations on stage and screen, are chronicled, with the aim both of documenting the expansion of working-class leisure culture and of demonstrating the centrality of Sloper to the development of a specifically British theatrical tradition that moved away from earlier continental models. Contemporary responses to Sloper, including moral outrage, are discussed, and the article concludes by analysing the skilled commercial exploitation of the character which would influence later practices in the twentieth and twenty-first centuries.

Scottish Gothic Drama

2017 ◽  
pp. 59-74
Author(s):  
Barbara A. E. Bell
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Good Deal ◽  
Late Nineteenth Century ◽  
Visual Effects ◽  
Gothic Revival ◽  
Performance Culture ◽  
Late Nineteenth ◽  
Music Hall ◽  
The Way

Scottish theatre, from the mid-eighteenth century onwards, has been characterised by a distinctive performance culture that values anti-illusionist techniques, breaking the fourth wall, music and song, strongly physical acting styles and striking visual effects. These were accepted traits of the Georgian theatre as a whole; however, they endured in Scotland through the music hall and pantomime traditions, when late nineteenth-century Western theatre was focused on realism/naturalism. Their importance to the search for a distinctive Scottish Gothic Drama lies in the way that the conditions of the Scottish theatre during the Gothic Revival valued these skills and effects. That theatre was heavily constricted in what it could play by censorship from London and writers were cautious in their approach to ‘national’ topics. At the same time a good deal of work portraying Scotland as an inherently Gothic setting was imported onto Scottish stages.

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