This thesis is a study of the fifteenth- and sixteenth-century manuscript and print contexts of Older Scots romance. Building on recent developments in Middle English romance scholarship and Older Scots book history, it seeks to contextualise the surviving corpus of Older Scots romances in light of their unique material witnesses and contemporary cultural milieu. Chapters 1 to 8 focus respectively on the following Older Scots romances: the Octosyllabic Alexander, the Buik of King Alexander the Conquerour, Florimond, Lancelot of the Laik, King Orphius and Sir Colling, Golagros and Gawane and Rauf Coilyear, the Scottish Troy Book, and Clariodus. The conclusion assesses and evaluates the most significant and recurring features of these chapters and reveals how they cumulatively deepen our understanding of the book-producing and book-owning culture of fifteenth- and sixteenth-century Scotland. The conclusion also looks forward to new witness- conscious editions of Older Scots romance that endeavour to represent as far as possible a text’s unique and idiosyncratic manuscript and print contexts. In each chapter I examine the set romance’s primary contexts of composition, including authorship, date, and first audience, as well as its secondary publication contexts. A full palaeographical, codicological and bibliographical description of each manuscript and print is provided, with details of when, where and by whom each witness was produced. Information about when and where that witness was read is also given, with details of the owners and readers where known. Significant attention is paid to the use of titles, rubrication and mise-en-page to reveal the trends and bibliographical codes in copying and presentation. Where appropriate, the compilation choices made by scribes and readers are also analysed. Careful assessments of these are shown to aid modern thematic and comparative literary interpretation. Most notably, each chapter of this thesis also provides much-needed new information about fifteenth- and sixteenth-century Scottish literary communities. Several significant and often-overlapping circles of scribes, readers and owners are revealed. The familial, professional and geographical associations between these groups of producers and consumers are traced and consequently new book- publishing and book-owning networks are documented. In further original work, a number of hitherto unknown texts, scribes and readers are also successfully identified.

This thesis examines the processes of writerly and editorial literary production undertaken by women sensation authors in the 1860s and 1870s. This focus represents a shift from the prevailing critical emphasis on the consumption of sensation fiction to the realm of production and therein allows the thesis to analyse the ways in which sensation operates as a set of rhetorical and linguistic strategies for women writers in the changing publishing conditions of mid-to-late Victorian society. I consider the ways in which sensation is an idiom that permeates all aspects of magazine publishing in this period and demonstrate how it could be adapted and become an empowering discourse for women writers and editors. Furthermore, this thesis sees sensation as an important component in the transformation of the press in the 1860s and 1870s. By analysing the specific ways in which sensational strategies were appropriated and transformed, this thesis reassesses the role of sensation in the creation of women’s writing in the second half of the nineteenth century, and consider its legacies in later ‘New Woman’ writers. I achieve this by examining three women editors, who were part of the transformation of magazine publishing in the period. Mary Elizabeth Braddon (1835-1915), Ellen (Mrs. Henry) Wood (1814-1887), and Florence Marryat (1837-1899) all operated as writers and editors in the mid-to-late nineteenth century. They produced varying types of sensational fiction that they serialised in their own monthly magazines, Belgravia, Argosy, and London Society respectively. Sensation provided a dynamic and flexible means for these women author-editors to assert their status in the context of the expansion of the press in the 1860s and 1870s. I argue that their work invites a more fluid and generous critical definition of sensation.

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published_or_final_version / Chinese / Master / Master of Philosophy

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This thesis addresses the teleological relationship between national identity and national consciousness in the specific definition of Canada as a northern nation by giving a descriptive account of representative texts in which the north figures as a central theme, including: ethnography, travel writing, autobiography, adventure stories, poetry, and novels. It argues that the collective Canadian identity idealized in the representation of the north is not organic but constructed in terms of such characteristics as self-sufficiency, independence, and endurance; that these characteristics are inflected by ideas of gender and race; and that they are evoked to give the 'deeper justification' of nationhood to the Canadian state. In this description of the mutually dependent definitions of gender, racial, and national identities, the thesis disputes the idea that northern consciousness is the source of a distinct collective identity for Canadians.

This thesis, L'Echec de la litterature quebecoise au XIXe siecle, is focused on the idea that literature was impossible as such in the 19th Century French Quebec. Les Anciens Canadiens serves as a revealer for this issue. The thesis first describes the socio-historical, ideological and literary backgrounds around this novel written by a seignorial class member. So we will see this seignorial class has solidly constituted itself only after the New France transfer to Great Britain. The thesis explains the ideological readjustment after 1837-38 in the French Canadian Society and has an interest in the antagonistic characters of the 19th Century Quebec literary contents: historial and rural novels; patriotic and personal poetry. Next the thesis examines how the Anciens Canadiens text is working, insisting on the logic and the contradictions of this working. Then the thesis explains how it arrived that Les Anciens Canadiens, commanded by a seigniorial ideology, was well received by petit-bourgeois readers. A light is thrown on the possibilities of realism of this novel and the reasons why they have not materialized. Finally, we try to show the contradictions in the petite-bourgeoisie socio-historical situation that have prevented the birth of true literature.

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