Diss.--Erlangen-Nürnberg--Universität Erlangen-Nürnberg, 1989.

L'œuvre de Walter Scott (1771–1832), James Hogg (1770–1835) et Robert Louis Stevenson (1850–1894) est traversée par une tension qui dénaturalise l'Écosse historique et politique pour la recréer en fiction, posant la scotticité comme une construction problématique qui appelle sans cesse de nouvelles définitions, afin d'en retrouver le sens ou d'en faire son domaine à soi. La figuration des enjeux nationaux se fait à travers le thème des diverses rébellions jacobites au cours du XVIIIème siècle, mais l'Histoire est subordonnée aux enjeux littéraires et politiques du présent des auteurs. Walter Scott pose en littérature les bases d'une conciliation viable de "l'être" écossais avec la domination du pouvoir britannique, là où Hogg réagit en cherchant dans un passé plus lointain la source inépuisable (et au premier chef, fictionnelle) d'une Écosse mythique insaisissable. Stevenson, quant à lui, hérite de ce dilemme et choisit, en fiction comme dans la réalité, la fuite et l'exil pour pouvoir exister librement dans un monde dégagé du poids d'un passé par trop lourd à porter. / A tension runs through the Scottish-themed novels of Walter Scott (1771–1832), James Hogg (1770–1835) and Robert Louis Stevenson (1850–1894), denaturalizing historical and political Scotland to recreate it fictionally, as a problematic construct constantly calling for new definitions, so as to find new meaning for it, or to reappropriate it as one's own. The representation of national interests is effected through the running theme of the various Jacobite rebellions during the eighteenth century and their not-so-immediate consequences, but history is subordinated to the literary and political stakes of the authors' present. W. Scott literarily posits the basis for a viable conciliation of the "Scottish self" with the rule of the British state. Hogg responds to this by looking for the source of an inexhaustible, evanescent and, primarily, fictional Scotland in a more distant past. Stevenson, as for him, inherits this quandary and ultimately chooses, in fiction as in real life, to escape and exile himself so as to live freely in a world detached of an all-too-heavy past.

James Hogg (1770-1835) was highly regarded as a writer during his lifetime, but after his death his reputation declined. During the nineteenth century Hogg's works were widely available in editions based on collections published shortly after his death by Blackie & Son of Glasgow. These editions were sadly inadequate, in particular with regard to Hogg's prose. They completely omitted several works of great merit for example, The Three Perils of Woman; and they printed thoroughly corrupt texts of a number of Hogg's major works - for example The Private Memoirs and Confessions of a Justified Sinner. In recent years, more reliable editions of a number of Hogg's works have been published. This has encouraged a revival of interest in Hogg, and his reputation has increased substantially. A just estimate of the full range and depth of Hogg's achievement will only become possible, however, once the many remaining textual and bibliographical problems have been solved. The present thesis seeks to make a contribution to the completion of this task by providing a detailed examination of the textual problems presented by a number of Hogg's more important prose works; and by providing an annotated listing of all the surviving texts of Hogg's prose which are of interest to an editor.

This thesis examines the nature of identity and the problems implicit in attempts to affirm it within the context of nineteenth century modernity. By exploring a number of texts from Romanticism to the fin de siecle, it can be. seen that autonomous and coherent identity is not a stable entity. Drawing upon Rene Descartes'work on constructions of selfhood as a starting point, these ideas can be detected in an assessment of identity's alter ego - the disidentical self which is characterised by masks, disguises, madness, pathological behaviour, criminality and addiction. Examples of such paradigms for disidentity can be found in a variety of cultural texts and genres throughout the century, from the self-consciously 'high' poetry of Matthew Arnold, Alfred Tennyson and Gerard Manley Hopkins to the popular Gothic novels of Robert Louis Stevenson, Oscar Wilde and Bram Stoker. These metaphorisations of a crisis for identity in the nineteenth century are reflected in the analyses of insanity by physicians such as W.A.F. Browne and Henry Maudsley, prominent cultural critics such as Arthur Hallam and Amold, and the degeneration theorists of the late nineteenth century. Much of the project is shaped by Karl Marx and Friedrich Engels' assessment of modernity found in The Communist Manifesto, in particular their descriptions of nineteenth century socio-cultural topographies as fluid and vaporous. Stable identity is effectively threatened from a plethora of directions, including the Orient, criminality, sexual deviancy, scientific discovery and accelerated social change. Taking into consideration the many different ways in which identity can be problematised in the nineteenth century, three important sites of disidentification have been chosen for the purposes of this argument. Chapter one examines the split-personality, chapter two religious madness, and chapter three addiction. Each chapter demonstrates that within the conditions of nineteenth century modernity, the fragility and consequent fragmentation of individual identity is evoked in many different manifestations.

For most twentieth-century readers, the name of James Hogg, if it means anything at all, is inextricably linked with The Confessions of a Justified Sinner, which has been hailed as one of the most important of all Scottish novels. However, this was not always the case: in fact, his considerable reputation ln his own day was won not by The Confessions, which was read by few of his contemporaries, but by his poems, such as The Queen's Wake or The Pilgrims of the Sun, and by songs such as "When the kye comes hame" and "The Skylark" which were the mainstay of many an Edinburgh social gathering, and maintained their popularity throughout the century. However, towards its end, prominent literary critics such as George Saintsbury and Andrew Lang were already giving The Confessions of a Justified Sinner the notice which was to raise it to the position of overwhelming dominance over the rest of Hogg's work which it enjoyed until the past few years. However, the recent publication after many years of absence from print of The Three Perils of Man and The Brownie of Bodsbeck, together with a volume of selected poems and one which reprints some of Hogg's best short stories, and the steady growth in the number of specialised articles on Hogg's work, notably ones by Douglas Gifford, Douglas Mack, and Alexander Scott, suggest that there is need to consider the rest of Hogg's output and the position The Confessions holds in his development. It must seem to many present-day readers that Hogg s wrltlng of The Confessions of a Justified Sinner was little short of miraculous, for to a reader who lacks any idea of the works that led up to it, The Confessions seems a surprlslng work to be produced by a fifty-five year old Border sheep farmer, who was confessedly illiterate until the eighteenth year of his life. Earlier surveys of his career by Edith C Batho and Louis Simpson, while containing much interesting biographical detail and stimulating critical comment, have for the most part failed to discern any pattern in the author's career which can account for his achievement in this novel. The intention behind this thesis is to explain, by describing Hogg's literary development from the days of his illiteracy to the time when he could be treated an an equal by the foremost literary figures of his day, how far Hogg's success in The Confessions was the consequence of his experience in his earlier writing. This study will discuss to what extent the course of Hogg's career was affected by the unusual circumstances of his education, as he tackled in an acute form the problems faced by all writers in finding their own voice when under the influence of powerful literary examples. The study is not meant to be a biography of Hogg, though certainly biographical details are included, and the discussion follows for the most part a chronological path: at all periods of Hogg's life the natural development of his talent came into conflict with the need to earn a living, while his confidence in his powers was frequently drained by the personal insecurity which arose from his unusual background. However, no new facts are presented, the details being taken in the main from Douglas S Mack's careful edition of Hogg's Memoir of the Author's Life, supplemented by some of the information contained in the Hogg letters to be found in the National Library of Scotland. Equally, this discussion is not meant to be an 'exhaustive survey of the sources of Hogg's works: no attempt has been made to identify every influence to which the author was exposed. It is the contention of this thesis that there is a self-evident model, about which the author was seldom secretive, behind each of his more important writings, and that of much greater interest than any list of all. Hogg's sources is the consideration of how he coped with the knowledge that he was following in the footsteps of a predecessor, and how far he succeeded in producing individual work while under those pressures. To that end, I have concentrated on the extent to which each of his most important poems and each of his longer stories is a consistent and coherent whole. This has involved me 1n a discussion of the form and content of each of these works in an attempt to establish whether the author has realised his intentions in it without being deflected by external pressures. A final chapter discusses the pieces he wrote for the less formal context of the literary magazines of his day and seeks to determine the value of these miscellaneous works, to which he devoted most of his attention in the last years of his life. Several other more peripheral discussions have been rendered necessary only because of the incomplete nature of Scottish Literature studies at the present time, when so much groundwork must be done before one can begin to concentrate on more specific subjects.

In recent years the writings of James Hogg have attracted much critical interest. Illuminating work has been done, but so far scholarship has not successfully come to terms with Hogg's great debt to tradition, despite the fact that this debt has long been recognised. Sir George Douglas wrote in 1899 that in his better prose tales Hogg "has incorporated the whole body of the floating popular mythology of Scotland - a fact which, should the day ever come when the stories fail to charm as stories, will still command for them the regard of students of history and folk-lore. An understanding of the role and use of folk tradition in literature has been difficult to achieve because of the lack of proper critical tools to permit objective assessment. By literary standards folk tradition has been devalued to the status of "fairy tales" something pleasant for children - and its workings often seem to smack of the irrational or highly coincidental. The fact that Hogg, or any other writer, uses folk tradition in his literary work should not be taken as some sort of aberration from literary convention but rather as a positive contribution. However, merely recognising its presence is not enough. The present work will therefore concern itself with the kinds of tradition Hogg uses, the status and meaning of these traditions and the way in which Hogg adapts and develops them to meet the needs of a new audience that is literary rather than traditional. Any discussion of Hogg's relationship with folklore must first examine Hogg's upbringing and education and the nature of the Border community in which he grew up to try and discover something about the kind of traditional sources Hogg would have known, the kind of material available and the status it would have enjoyed. All these things governed Hogg's own attitude to different types of folk tradition and therefore helped to determine the ways in which he presented his material and ideas. It is helpful to begin a study of Hogg's work by way of his songs. Songwriting provides a natural and acceptable transition from folk tradition to literature as it has a well-developed tradition of its own. This stage of Hogg's work is very important in helping to establish an idea of the unity and homogeneity of his work. Hogg was able to compose songs with apparent ease and throughout his career he turned this to good account but his greatest achievements are to be measured in his narrative verse and prose. The narrative verse shows Hogg beginning to develop his own ideas more creatively, hammering out the themes that were eventually to dominate his work. From there it is then possible to make a deeper study of the key themes, principally superstition, the supernatural and religion, history and community. The discussion will concentrate here on the wealth of short prose which forms the bulk of Hogg's work. This is partly to emphasise where the main force of Hogg's creativity lay for this concern seems always to have been with narrative or story. However, the dominance of the novel in literary tradition has led to critical emphasis on the Confessions at the expense of the other shorter works. The nature of the contemporary literary community with its proliferation of magazines, journals and annuals did foster Hogg's preoccupation with the short anecdotal form. Despite this, the preponderance of folk tradition in Hogg's works and the emphasis on a traditional tale telling context and on the sort of community environment in which this tradition survived is illuminating. It suggests that Hogg was not trying to write novels but to recreate in some way the traditional story telling experience through his tales. This can be seen on a larger scale in the Queen's Wake or the story-telling competition in the Three Perils of Man. It is in the form and structure of Hogg's work that the most subtle links are to be found with folk tradition. In particular, by studying form and structure, it is possible to understand more clearly Hogg's exploitation of the narrator's role. Taken over all, this thesis hopes to show the clear links in theme, idea, form and structure between the shortest of Hogg's pieces and longer, more sustained efforts such as the Brownie or the Confessions. An understanding of Hogg's use of folk tradition can therefore do much more than explain certain motifs or odd references. It shows that tradition is not an excuse for sloppy structure or improbable events but a real tool by which Hogg enlarged his creative capability. Thus tradition provides the reader with an important key to Hogg's work. The concern with folk literature in the discussion which follows has necessitated the use of a number of terms drawn from the critical analysis of folklore. The meaning of these terms should be clear from the context but the following brief guide may be helpful. The name Marchen is employed when discussing the magic tale, the fullest and most elaborate form of folk narrative. Examples form types 300-749 in the Aarne-Thomson classification system and the name is taken from Kinder-und Hausmarchen, the collection compiled by Jacob and Wilhelm Grimm. This term is used to avoid the idea of "fairy tales" which has rather dismissive overtones of the nursery. In a traditional community the folktale has a serious role in addition to its entertainment value and these distinctions are important to an understanding of Hogg's use of folklore. The term "informant", used in the discussion of Hogg's family, refers to a source or transmitter of items of folklore from whom material is recorded, learned or otherwise preserved.

This thesis investigates the representation of the supernatural in the literature of Walter Scott and James Hogg. In comparing both authors it takes advantage of two recent scholarly editions: the Stirling/South Carolina edition of Hogg and the Edinburgh Edition of the Waverley Novels. I trace the development of Scott’s persistent interest in various categories of the supernatural: the uncanny; witchcraft; second sight; and astrology. His literary career began in 1796 with translations of German Romantic poetry. These were followed by publication of his collection of ballads and folklore, known as the Minstrelsy of the Scottish Border, 1802-3, and by the longer poems such as The Lay of the Last Minstrel, 1805. Subsequently, Scott’s investigation of the supernatural would continue within a number of key novels and his shorter fiction. The Letters on Demonology and Witchcraft, addressed to J. G. Lockhart, Esq., 1830, was one of his final attempts to establish how far the evidence of a credible witness might supply ineluctable testimony in accounts of the supernatural. Scott’s legal training, and antiquarian skills, lent particular authority into his investigations of the possibilities of the existence, or otherwise, of the supernatural. By way of contrast, James Hogg’s lack of formal education, and scanty knowledge of the progressive advances of the Scottish Enlightenment, was associated with a ready credulity in matters of the supernatural. His literary work, such as The Mountain Bard, 1807, or his later collection of Winter Evening Tales, 1820, demonstrated a familiarity with ballads, and an unlettered folklore tradition, that appeared to confirm his position as a believer in superstitious and irrational practices. However, this thesis will argue that Hogg actually possesses a shrewd and sophisticated understanding of the authority of the supernatural. This is manifest in his literary efforts to record and investigate various types of uncanny testimony, when compared with those of Scott. Hogg’s view of the supernatural is complex and essentially subversive. His final novel, The Private Memoirs and Confessions of a Justified Sinner, 1824, and his later contributions to the fashionable annuals and giftbooks published between 1826 and 1834, reveal an author deeply engaged with demonstrating the unique role of the supernatural within Scottish society, particularly as a channel of dissent and discord. The Ettrick Shepherd and the Author of Waverley founded their literary relationship upon a shared enthusiasm for the supernatural tales and traditions of the Scottish Borders. Their friendship was both competitive and complementary. Critics have generally tended to assume that Scott, rather than Hogg, was the sceptical party where belief in the existence of the supernatural is concerned. However, closer examination of their work reveals that such assumptions do not necessarily stand up. Ultimately, Hogg emerges as the author with greater resistance to an irrational belief in the supernatural. His position as an observer, and critic, of the antiquarian and enlightened literary establishment, with its dependence on the authority of printed texts, is developed through his literary investigation of the supernatural. My choice of works to consider has been necessarily limited by questions of space. Where possible, I have selected those texts that seem to me to offer ready comparison between the two authors. Some novels such as Scott’s The Antiquary, 1816, or The Pirate, 1822, might be regarded as worthy of inclusion in this study of the supernatural. However, there are no real equivalents of these in Hogg’s work.

Houston, Texas, the fourth largest metropolitan area in the United States, has several structures named after historically male leaders of the city―George R. Brown Convention Center, Mickey Leland Federal Building, William P. Hobby Airport, and Jesse H. Jones Hall. However, Houston women have also had a history that included positions of leadership in the community. Not only were women instrumental in creating the city’s cultural institutions such as the Houston Symphony, Alley Theater, and Houston Public Library, but female community leaders were also responsible for social and political reforms including the integration of public facilities in Houston and the campaign for women’s suffrage. These women leaders have not been recognized, and there are no public buildings in Houston that bear the names of women. This study seeks, in part, to make known the achievements of two women―one white, one black―who played an integral part in the political and cultural fabric of twentieth century Houston. The purpose of this dissertation was to analyze the relationship between educational experience and community leadership in the lives of two female community leaders in Houston, Texas, Ima Hogg and Christia Daniels Adair. Utilizing published interviews, government records, and manuscript collections, I detail the beliefs and values taught and modeled by parents and reinforced by church, school, and community, as well as the knowledge and skills developed through organizational work and self-directed study. Upon initial observation, the lives of Ima Hogg and Christia Adair seemed quite different, separated by issues of race and class. However, by examining both the formal and informal educational experiences of these two women, common patterns or themes emerged. The themes were identified as service to community, expectations of success and leadership, a belief in the value of education and lifelong learning, and the development of leadership skills. The informal educational experience, in particular, proved to be especially significant in the development of leadership skills for these women and in their eventual roles as community leaders. Using these themes, this study analyzes the education of two female community leaders as a way of understanding the relationship between women’s education and women’s achievement.

Thesis (Ph. D.)--University of Texas at Austin, 2005. / Supervisor: Lisa L. Moore. Vita. Includes bibliographical references.

This dissertation examines the use of images of graveyards and death in the writings of the ‘Blackwood’s group’, a coterie of authors and poets who published their writing either within the influential Tory periodical Blackwood’s Edinburgh Magazine or with the publisher William Blackwood and Sons in the early decades of the nineteenth century. I argue that Blackwoodian texts like Lights and Shadows of Scottish Life (1822) by John Wilson imagined the rural Scottish graveyard as a repository for the traditional values and social structures which appeared to be under threat in the rapidly modernising British nation. In these texts the kirkyard functions as a key symbolic space, creating an imagined national ‘home’ for British readers in the idealised Scottish village graveyard. This nostalgic pastoral image of the eternal kirkyard is however in opposition to Blackwood’s Magazine’s reputation for violent, urbane wit and sensational gothic stories. The Noctes Ambrosianae and Tales of Terror articulate a modern, masculine and elite image of the magazine which seem at odds with the domestic, pastoral Scottishness offered in the ‘Scotch novels’ and regional tales. William Blackwood’s publishing house and magazine are at once synonymous with two apparently opposing world views and target readerships, and this tension is most strongly articulated in the tidy Scots graves and unburied corpses of the magazine’s fiction. I examine works published by John Wilson, J.G. Lockhart, James Hogg, D.M. Moir, Henry Thomson, Robert McNish, John Galt, Samuel Warren, James Montgomery and Thomas de Quincey, between the magazine’s foundation in 1817 and the increasing defection of these original Blackwoodians to other periodicals and the retirement of the Noctes Ambrosianae series in the late 1830s. I identify a series of conventions associated with an idealised Blackwoodian rural death before examining the ways in which tales where the conventions of this 'good death' and burial are disrupted by crime, bodysnatching, epidemic disease and suicide challenge or reinforce the world view the rural texts articulated. Chapter one focuses on eighteenth-century ideas about death and sociability. Looking at a group of texts which span from Robert Blair’s The Grave (1746) to Edmund Burke’s revolutionary period writings of the 1790s, it traces what Ester Schor has termed a ‘transition from the “natural” sympathies of the Enlightenment to the “political” sympathies of a revolutionary age’ (75). I argue that in particular Edmund Burke’s creation of a conservative image of nation based on tradition and ancestry acted as a foundation for the type of politicised engagement with the dead which characterised the work of the Blackwood’s group. Chapter two builds upon recent identifications of a Blackwoodian regional tale tradition by highlighting the crucial role of death and the kirkyard in this provincial fiction. Placing John Wilson’s highly popular story series Lights and Shadows of Scottish Life in relation to contemporary debates about Evangelical religion, readership and nation, reveals a series of ideas and conventions which can be identified in other rural writing by John Galt, J.G. Lockhart and James Hogg. Having established an image of what a ‘good death’ might look like and stand for within the Blackwoodian imagination, I turn my attention to deaths which do not follow these conventions. Chapter three explores Blackwood’s Edinburgh Magazine’s well-documented fascination with spectacular violence in three of the magazine’s signature Tales of Terror and Thomas De Quincey’s ‘On Murder’ essays (1827, 1839). Chapter four looks at three stories from the magazine which feature bodysnatching, focusing on the role which doctors and provincial communities play within these texts. Chapter five compares responses to the 1832 cholera epidemic by James Montgomery and James Hogg. Finally, Chapter six argues for a reading of James Hogg’s Confessions of a Justified Sinner (1824) which foregrounds the role of the suicide’s body within the narrative based on the representations of suicide in contemporary discussion and in Galt’s Annals of the Parish (1821).