Most critics of The Lord of the Rings correlate Tolkien's work to ancient texts, like Beowulf, the Elder Edda, and medieval romances. While the connection between these traditional materials and Tolkien is valid, it neglects a key feature of Tolkien's work and one of the author's desires, which was to fashion a sort of history that felt as real as any other old story. Moreover, it glosses over the rather obvious point that Tolkien is writing a novel, or at any rate a long work of prose fiction that owes a good deal to the novel tradition. Therefore, through careful attention to the formal textures of Tolkien's work, melding together both genre criticism and formal analysis (and with a sound understanding of literary history), I argue that Tolkien's work follows a more modern vein and aligns with the nineteenth-century historical novel, the genre pioneered by Sir Walter Scott. The projects of Tolkien and Scott parallel one another in many respects that deserve critical attention. This essay begins the discussion by addressing just one, somewhat surprising, point of comparison: the writers' use of poetry. I observe that Tolkien and Scott utilized poetry in similar ways, and I parse the poems into three distinct categories: low culture poems, high culture poems, and poems which straddle the divide between the two. All of this demonstrates how each piece of poetry, written in an antique style, saturates the texts with historic atmosphere and depth. This lends a sense of authenticity and realism to Scott's works, and later it buttresses Tolkien's attempts to foster "the dust of history" and create an illusion of authenticity and realism for Middle Earth's (imaginary) past.

While authors have appropriated literary works for centuries, they have also appropriated historical settings and places well outside their own realities, creating new works in historical settings that reflect a new cultural purpose. The Restoration and eighteenth century are frequent subjects of popular formula-fiction romances due to the distinctive, easily replicated atmospheres; but the period has also inspired serious, traditional historical fiction and fictionalized biography as well as productions of novels from the period. This panel focuses on the long eighteenth century and the period’s intrigue for filmmakers, TV producers and audiences in a modern-day culture

John Macrone (1809-1837) was a Scotsman who arrived in London around 1830 and became a publisher, in partnership with James Cochrane between January 1833 and August 1834, and independently between October 1834 and his death in September 1837. A friend of Dickens and Thackeray, he published Sketches by Boz and, posthumously, The Paris Sketch Book. One of his other projects was a life of Scott, which he began to write soon after the death of the novelist; but his book, chiefly remembered because Hogg wrote his Anecdotes of Scott for inclusion in it, fell under the displeasure of Lockhart, and was cancelled shortly before it was to have been published. A fragmentary manuscript, however, was recently discovered by the author of this thesis and has now been edited for the first time, together with a biographical study of Macrone, in which extensive use is made of previously unpublished and uncollected material.

艾凡赫（又名劫後英雄傳）是華特．史考特(Sir Walter Scott，有時譯為司各特)所作的威佛利系列小說(Waverley Novels)中最受歡的小說之一。史考特在出版了幾本有關蘇格蘭的小說之後，決定嘗試寫一部純粹只與英格蘭有關的作品。在閱覽評論艾凡赫的文章中，我發現大部分的學者忽略了艾凡赫或許與蘇格蘭有關的可能性。因此我決定透過蘇格蘭國族主義的角度來分析艾凡赫，探究其與蘇格蘭的關係。 從中古世紀到十九世紀的蘇格蘭歷史中，我得到了啟發。我認為我們可以將國族主義形成的過程分成「集體身分認同」、「國家和國族主義」以及「國家身分認同與進階國族主義」來討論。本論文共有五個章節，除了序論和結論之外，中間三個章節將按照上述的三點進行分析。第一章將藉由閱讀蘇格蘭中古歷史和文學作品從中了解蘇格蘭集體身分認同的形成，並將其形成的模式套用於艾凡赫，進而解釋理查國王(King Richard)如何建立英格蘭集體身分認同。第二章所探討的是蘇格蘭歷史與威佛利中蘇格蘭如何成為國家以及其國族主義的建立，並以所得的結果分析理查國王如何使英格蘭成為真正的國家與其建立英格蘭國族主義的手法。第三章將重點擺在小說中英格蘭國家身分認同與其進階的國族主義，希望經由與前兩章相同的對應手法反向解釋史考特如何運用艾凡赫表達自己的蘇格蘭國家身分認同以及其進階的蘇格蘭國族主義。 / Among Sir Walter Scott’s Waverley Novels, Ivanhoe is one of the most popular works. After writing several novels related to Scotland, Scott boldly attempted to create a purely English novel as an experiment in his life as a novelist. In reviewing the papers on Ivanhoe, I find that critics in and after Scott’s time seem to overlook the possibility that Ivanhoe, like any of its predecessor, is related to Scotland. Therefore, this thesis examines the relationship between Scottish history and Ivanhoe from the perspective of nationalism. Learning from Scottish history, I suggest discussing the formation of Scottish nationalism from aspects of “collective identity,” “nation and nationalism,” and “national identity and advanced nationalism.” The thesis is divided into three chapters according to aspects and a concluding chapter. Chapter One focuses on the building of Scottish identity in history and the building of English identity in Ivanhoe. Chapter Two discusses Scotland as a nation, the appearance of Scottish nationalism before the Union and Scottish nationalism in Waverley and Ivanhoe. Chapter Three looks into while the characters exhibit their English national identity and King Richard pursues his advanced English nationalism in the novel, Scott shows his Scottish national identity and develops an advanced Scottish nationalism that, with a well-preserved Scottish national identity, consecrates to reach a harmonious peace between the Scots and the English via Ivanhoe. Conclusion closes the thesis by reconfirming the relationship between Scott’s Ivanhoe and Scotland through the three-stage process of Scottish nationalism.

in English The aim of this thesis is to interpret and categorize the lesser known novel Thaddeus of Warsaw by the Scottish author Jane Porter. The novel is characterised by the use of several genre conventions - most importantly those commonly found in the conservative anti-jacobin novel or national tale, historical novel and novel of sensibility. Porter's novel is interpreted from all three perspectives and also compared to other relevant novels from roughly the same period: Self- Control by Mary Brunton, The Old English Baron by Clary Reeve and The Wild Irish Girl by Lady Morgan. The comparison aims at the contextualization of Thaddeus of Warsaw and the observation of similarities and differences in the approach to certain themes or motives. The most important motives is that of a trial that shows the character of the protagonist in action, continuity, universality and even a certain parabolic nature of history, an emphasis on virtue and the use of sentimental conventions to portray the emotions of characters. This analysis is preceded by an interpretation of two authorial prefaces. The new one (from 1831) claims that the work it comments on is a historical novel published even before Sir Walter Scott's Waverley, usually considered the first historical novel. The older preface published alongside...

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Persistent Pasts: Historical Palimpsests in Nineteenth-Century Prose traces Victorian historical discourse with specific attention to the works of Thomas Carlyle and George Eliot and their relation to historicism in earlier works by Sir Walter Scott and James Hogg. I argue that the Victorian response to the tense relation between the materialist Enlightenment and the idealist rhetoric of Romanticism marks a decidedly ethical turn in Victorian historical discourse. The writers introduce the dialectic of enlightened empiricism and romantic idealism to invoke the historical imagination as an ethical response to the call of the past. I read the dialectic and its invitation to ethics through the figure of the palimpsest. Drawing upon theoretical work on the palimpsest from Carlyle and de Quincey through Gérard Genette and Sarah Dillon, I analyze ways in which the materialist and idealist discourses interrupt each other and persist in one another. Central to my argument are concepts drawn from Walter Benjamin, Emmanuel Levinas, Richard Rorty, and Frank Ankersmit that challenge and / or affirm historical materiality.

"Image and Text" focuses on the consequences of multi-media interaction on the concept of a work's meaning(s) in three distinct publishing trends in nineteenth-century Britain: graphic satire, the literary annuals, and book illustration. The graphic satire of engravers James Gillray and George Cruikshank is replete with textual components that rely on the interaction of media for the overall satirical impact. Literary annuals combine engravings with the ekphrastic poetry of writers including William Wordsworth, Samuel Taylor Coleridge, Robert Southey, and Letitia Elizabeth Landon. Book illustrations provided writers Sir Walter Scott and Alfred, Lord Tennyson a means to recycle previously published works as "new" texts; the engravings promote an illusion of textual originality and reality by imparting visual meanings onto the text. In turn, the close proximity of text to image changes visual meanings by making the images susceptible to textual meanings. Many of the theoretical implications resulting from the pairing of media resound in modern film adaptations, which often provide commentary about nineteenth-century visual culture and the self-reflexivity of media. The critical heritage that has responded to the pairing of media in nineteenth-century print culture often expresses uneasiness with the relationship between text and mechanically produced images, and this uneasiness has often resulted in the treatment of text and image as separate components of multi-media works. "Image and Text" recovers the dialogue between media in nineteenth-century print forms often overlooked in critical commentary that favors the study of an elusive and sometimes fictional concept of an original work; each chapter acknowledges the collaborative nature of the production of multi-media works and their ability to promote textual newness, originality (or the illusion of originality), and (un)reality. Multi-media works challenge critical conventions regarding artistic and authorial originality, and they enter into battles over fidelity of meaning. By recognizing multi-media works as part of a diverse genre it becomes possible to expand critical dialogue about such works past fidelity studies. Text and image cannot faithfully represent the other; what they can do is engage in dialogue: with each other, with their historical and cultural moments, and with their successors and predecessors.

A Romantic Bildung: The Development of Coming-of-Age Novels in the Romantic Period (1782-1817) explore la naissance et le développement du roman de formation en Europe à l’époque romantique. Celle-ci est le témoin de nombreuses discussions sur les Droits de l’homme et de la montée du nationalisme en Europe. Au même moment, la littérature se transforme pour laisser plus de place à la subjectivité du personnage. Tout cela donne naissance à un nouveau genre littéraire : le Bildungsroman, ou roman de formation et d’éducation. Contrairement à la définition actuelle du genre, le Bildungsroman est transnational, c’est-à-dire qu’il ne provient pas exclusivement d’Allemagne, mais de partout en Europe. A Romantic Bildung se penche donc sur le sujet en analysant de façon thématique la trame narrative de Cecilia, or Memoirs of an Heiress (1782), Emmeline, the Orphan of the Castle (1788), Mansfield Park (1814), Waverley; or, 'Tis Sixty Years Since (1814), Emma (1815), ainsi que d’Ormond, a Tale (1817) et sur leur appartenance au roman de l’époque romantique. En comparant les étapes d’éducation, d’indépendance, et de retour à la société des protagonistes, ces romans font ressortir les similitudes qui caractérisent le Bildungsroman. / A Romantic Bildung: The Development of Coming-of-Age Novels in the Romantic Period (1782-1817) explores the birth and development of the Bildungsroman during the Romantic period. The latter is characterized by the numerous discourses on the Rights of men as well as the rise of nationalism. At the same time, Romantic writers transform literature by increasing the protagonist’s subjectivity and in turns, create a new genre of narrative: the Bildungsroman, in which the protagonist’s development and growth is the main focus. Contrary to current definition of the genre, the Bildungsroman—or coming-of-age novel—is a transnational product: it is obviously found in Germany, but also in France, England, Ireland, and Scotland, to name a few, during the Romantic period. Through a thematic analysis of Cecilia, or Memoirs of an Heiress (1782), Emmeline, the Orphan of the Castle (1788), Mansfield Park (1814), Waverley; or, 'Tis Sixty Years Since (1814), Emma (1815), and Ormond, A Tale (1815), A Romantic Bildung traces the narrative structure of the genre and it locates its essence in the Romantic novel. By comparing the narrative’s steps of education, independence, and return to society, the characteristics of the genre are revealed.

In recent decades there have been many attempts to pull Austen into the fold of high Romantic literature. On one level, these thematic comparisons are useful, for Austen has long been anachronistically treated as separate from the Romantic tradition. In the past, her writings have essentially straddled Romantic classification, labeled either as hangers-on in the satiric eighteenth-century literary tradition or as early artifacts of a kind of proto-Victorianism. To a large extent, scholars have described Austen as a writer departing from, rather than embracing, the literary trends of the Romantic era. Yet, while recent publications depicting a “Romantic Austen” yield impressive insights into the timeliness of her fiction, they haven't fully addressed Austen's participation in some of the most crucial literary debates of her time. Thus, it is my intention in this essay to extend the discussion of Austen as a Romantic to her participation in Romantic-era debates over emergent literary categories of authorship and realism. I argue that we can best contextualize Austen by examining how her model of authorship differs from those that surfaced in literary conversations of the time, particularly those relating to the high Romantic myth of the solitary genius. Likewise, as questions of solitary authorship often overlap with discussions of realism and romance in literature, it is important to reexamine how Austen responds to these categories, particularly in the context of a strictly Romantic engagement with these terms. I find that, though Austen's writing has long been implicated in the emergence of realism in literature, little has been written to link this impulse to the earlier emergence of Romantic-era categories of authorship and literary creativity. I contend that Austen's self-projection (as both an author and realist) engages with Romantic-era literary debates over these categories; likewise, I argue that her response to these emergent concerns is more complex and nuanced than has heretofore been accounted for in literary scholarship.