The Fortunes of Perkin Warbeck : Walter Scott in the Writings of Mary Shelley

1997 ◽  
pp. 0
Author(s):  
Lidia Garbin
Keyword(s):  
Mary Shelley ◽  
Walter Scott

Ancestral Piles

2018 ◽  
pp. 519-541
Author(s):  
Sean Moreland
Keyword(s):  
Eighteenth Century ◽  
Mary Shelley ◽  
Sir Walter Scott ◽  
Charles Brockden Brown ◽  
William Godwin ◽  
Ann Radcliffe ◽  
Horace Walpole ◽  
Architectural Model ◽  
Walter Scott

This essay examines Poe’s conception and use of the Gothic via his engagements with the work of earlier writers from Horace Walpole through Ann Radcliffe, William Godwin, Charles Brockden Brown, Mary Shelley, and E. T. A. Hoffmann. Poe’s uses of the Gothic, and his relationship with the work of these writers, was informed by his philosophical materialism and framed by his dialogue with the writings of Sir Walter Scott. Tracing these associations reveals Poe’s transformation of the idea of “Gothic structure” from an architectural model, the ancestral pile of the eighteenth-century Gothic, to one of energetic transformation, the electric pile featured in many of Poe’s tales.

scholarly journals Walter Scott and Blackwood's: Writing for the Adventurers

Romanticism ◽  
2017 ◽  
Vol 23 (3) ◽  
pp. 215-223
Author(s):  
Alison Lumsden
Keyword(s):  
Short Story ◽  
Mary Shelley ◽  
Walter Scott ◽  
Publishing Career

The significance of Scott as a literary and cultural critic is little understood. Yet Scott was a lively participant in journal culture and contributed to it throughout his publishing career, writing for Blackwood's from its inception in 1817 until near the end of his life in 1829. Scott established himself as one of the finest critics and reviewers of his day, offering pertinent remarks on, among others, Byron, Mary Shelley, and Austen. This article explores Scott's contributions to Blackwood’s, his reasons for publishing in this often combative space, and the ways in which it offers Scott an opportunity to explore new aspects of his creativity. It pays attention to Scott's pieces on Scottish gypsies and to his iconic review of Frankenstein. It also examines his forays into the genre of ‘tale’, the ways in which they facilitate the development of the short story, and how they contribute to the development of Scott's career.

The Genius of Old Romance

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.

MARY SHELLEY, WALTER SCOTT, AND “MAGA”

1962 ◽  
Vol 9 (11) ◽  
pp. 420-421
Author(s):  
IRVING ASSEY
Keyword(s):  
Mary Shelley ◽  
Walter Scott

A Parliament of Monsters: Romantic Nonhumans and Victorian Erasure

2018 ◽  
Author(s):  
Ted Geier
Keyword(s):  
Mary Shelley ◽  
Bleak House ◽  
Bartholomew Fair

Shows the robust nonhuman concern in Romantic works through new readings of Mary Shelley, Burns, Wordsworth, Clare, and Coleridge. The chapter traces these themes and forms of threatened, abject life as an expansive multispecies community of suffering. These works interrogate the weakness of expressive forms, performing the very captivity they lament. Wordsworth’s poem on the Bartholomew Fair is a fulcrum to the London studies in the book. These forms of expression are then examined in Dickens’s narratology and the narrator-object Esther in Bleak House.

Sign in / Sign up

Export Citation Format

Share Document