1803–1806

Mapping Intimacies ◽

10.3828/liverpool/9781800859531.003.0002 ◽

2021 ◽

pp. 59-88

Keyword(s):

Robert Southey ◽

The Arts ◽

Literary Heritage ◽

Walter Scott ◽

Depth And Complexity

The letters in Part I show Beaumont cultivating a dynamic of critical exchange with Wordsworth. Beaumont’s love of the theatre serves as a pathway to a broader discussion of the arts: they discuss the paintings of David Wilkie and Henry Edridge as well as the poetry of Robert Southey and Walter Scott. Following the death of John Wordsworth, letters concerning ‘Character of the Happy Warrior’ and ‘Elegiac Stanzas’ (touching on issues including politics, fortitude, hope and grief) demonstrate the depth and complexity of the developing friendship between Beaumont and Wordsworth. Sir George introduces Wordsworth to the literary heritage of his Coleorton estate, begins to involve him in decisions about the landscaping of the grounds, and invites him to design a Winter Garden.

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Dramatic Disappearances: Mary Elizabeth Braddon and the Staging of Theatrical Character

Victorian Literature and Culture ◽

10.1017/s1060150300004794 ◽

1997 ◽

Vol 25 (2) ◽

pp. 279-291 ◽

Cited By ~ 1

Author(s):

Ruth Burridge Lindemann

Keyword(s):

Charles Dickens ◽

Cultural Change ◽

Sir Walter Scott ◽

Mary Elizabeth Braddon ◽

Middle Classes ◽

The Arts ◽

Walter Scott ◽

Dramatic Adaptations ◽

Sensation Novels ◽

Lady Audley's Secret

Finding themselves with more money and more time in which to spend it, the middle classes began in the 1860s to renegotiate their relationship to the arts, and to theater in particular. Recording and rendering visible this process of cultural change are the popular sensation novels of Mary Elizabeth Braddon, author of Lady Audley's Secret, and the numerous dramatic adaptations of her work. Braddon shares with Charles Dickens and Sir Walter Scott the distinction of being one of the novelists whose work was most frequently adapted for the stage. Unlike Dickens, however, she often responded favorably to the efforts of her adapters. This congenial relationship resulted, no doubt, from the three years she spent performing on the provincial stage in the late 1850s. Her continuing interest in the theater and theater people is reflected in their frequent appearance in her novels.

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THE PERSONAL ACCOUNT BOOKS OF SIR WALTER SCOTT

Accounting Historians Journal ◽

10.2308/0148-4184.29.2.59 ◽

2002 ◽

Vol 29 (2) ◽

pp. 59-89 ◽

Cited By ~ 3

Author(s):

Sam McKinstry ◽

Marie Fletcher

Keyword(s):

18Th Century ◽

Sir Walter Scott ◽

Point Of View ◽

Accounting Education ◽

Scottish Enlightenment ◽

Personal Account ◽

Arts And Sciences ◽

The Arts ◽

Walter Scott ◽

Financial Arrangements

This study examines the personal account books of Sir Walter Scott, the world-renowned Scottish author, a topic not explored before by Scott scholars or accounting historians. It sets the account books in the context of Scott's accounting education and experience, which took place at the time of the Scottish Enlightenment, an 18th century movement which saw a great flowering of writings on accountancy in Scotland as well as considerable progress in the arts and sciences. The style, layout and content of the account books is also studied from the point of view of elucidating Scott's domestic financial arrangements and expenditure patterns. These are seen as confirming the insights of Vickery [1998], who posits a liberated role for women such as Mrs Scott in ‘genteel’ households, which Scott's undoubtedly was. The study also establishes that Scott's personal expenditures, and indeed his accounting practices, otherwise conformed to the general patriarchal pattern identified by Davidoff and Hall [1987]. The final part of the article uses what has been discovered about Scott's personal accounting to revisit the question of his financial imprudence (or otherwise) in business. It concludes that Scott's risk-taking in business was not unreasonable, and was informed by his bookkeeping knowledge and practices.

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The Genius of Old Romance

Amadis in English ◽

10.1093/oso/9780198832423.003.0007 ◽

2020 ◽

pp. 263-308

Author(s):

Helen Moore

Keyword(s):

Literary History ◽

Mary Shelley ◽

Sir Walter Scott ◽

Considerable Influence ◽

Detailed Consideration ◽

Robert Southey ◽

Historical Authenticity ◽

Edinburgh Review ◽

Detailed Assessment ◽

Walter Scott

In 1803 two new translations of Amadis were published: from French, by W. S. Rose, and from Spanish, by Robert Southey. It was through Southey’s editions of Amadis and Palmerin (1807), another Spanish romance, that Keats, Coleridge, Mary Shelley, and Hazlitt gained their knowledge of the genre. This chapter undertakes the first detailed consideration of Southey’s Amadis and demonstrates that it was heavily dependent upon Anthony Munday’s translation, to an extent not perceived at the time by the critics who praised Southey’s seemingly authentic Elizabethan diction. The translations of Southey and Rose were treated to a detailed assessment by Sir Walter Scott in the Edinburgh Review (1803) and exerted a considerable influence on Scott’s knowledge of medieval literary history and on his novels. The central themes of this chapter are the Romantic preoccupation with the medieval and Elizabethan periods, historical authenticity, and the recreation of the literary past.

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Electron Microscopy in Molecular Biology

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s0424820100060027 ◽

1967 ◽

Vol 25 ◽

pp. 2-3

Author(s):

Cecil E. Hall

Keyword(s):

Electron Microscopy ◽

Molecular Biology ◽

Noise Level ◽

Molecular Structures ◽

Material Structure ◽

The Arts ◽

Shadow Casting ◽

Electron Image ◽

High Degree ◽

Very High

The visualization of organic macromolecules such as proteins, nucleic acids, viruses and virus components has reached its high degree of effectiveness owing to refinements and reliability of instruments and to the invention of methods for enhancing the structure of these materials within the electron image. The latter techniques have been most important because what can be seen depends upon the molecular and atomic character of the object as modified which is rarely evident in the pristine material. Structure may thus be displayed by the arts of positive and negative staining, shadow casting, replication and other techniques. Enhancement of contrast, which delineates bounds of isolated macromolecules has been effected progressively over the years as illustrated in Figs. 1, 2, 3 and 4 by these methods. We now look to the future wondering what other visions are waiting to be seen. The instrument designers will need to exact from the arts of fabrication the performance that theory has prescribed as well as methods for phase and interference contrast with explorations of the potentialities of very high and very low voltages. Chemistry must play an increasingly important part in future progress by providing specific stain molecules of high visibility, substrates of vanishing “noise” level and means for preservation of molecular structures that usually exist in a solvated condition.

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