The Author and the Shepherd: The Paratextual Self-Representations of James Hogg (1807-1835) This project establishes a literary-cultural trajectory in the career of Scottish poet and author James Hogg (1770-1835) through the close reading of his self-representational paratextual material. It argues that these paratexts played an integral part in Hogg’s writing career and, as such, should be considered among his most important works. Previous critics have drawn attention to Hogg’s paratextual self-representations; this project, however, singles them out for comprehensive analysis as literary texts in their own right, comparing and contrasting how Hogg’s use of such material differed from other writers of his period, as well as how his use of it changed and developed as his career progressed. Their wider cultural significance is also considered. Hogg not only used paratextual material to position himself strategically in his literary world but also to question, challenge and undermine some of the dominant socio-cultural paradigms and hierarchies of the early-nineteenth century, not least the role and position of ‘peasant poets’ (such as himself) in society. Hogg utilised self-representational paratextual material throughout his literary career. Unlike other major writers of the period Hogg, a self-taught shepherd, had to justify and explain his position in society as ‘an author’ through these pseudo-autobiographical paratexts, which he attached to most of his works (in such forms as memoirs, introductions, dedications, notes and footnotes, and introductory paragraphs to stories). Via these liminal devices he created and propagated his authorial persona of ‘The Ettrick Shepherd’, whose main function was to draw attention to Hogg’s preeminent place in the traditional world, and to his status as a ‘peasant poet’. It was on the basis of this position that he argued for his place in the Scottish literary world of the early-nineteenth century and, ultimately, in literary history. His paratextual self-representations are thus a crucial element in his literary career. Drawing on Gerard Genette’s description of ‘the paratext’, the authorial theories of Roland Barthes and Michel Foucault (along with more recent authorial criticism), as well as autobiographical theory, this project traces Hogg’s changing use of self-representational paratexts throughout his career, from his first major work The Mountain Bard (1807) to his final book of stories Tales of the Wars of Montrose (1835). By reading Hogg’s paratexts closely, this project presents a unique view – from the inside out – of the specific literary world into which Hogg attempted to position himself as an author.

This thesis argues that ‘fairy writing’ in the nineteenth-century Scottish literature serves as a peculiar site which accommodates various, often ambiguous and subversive, responses to the processes of constructing new national identities occurring in, and outwith, post-union Scotland. It contends that a pathetic sense of loss, emptiness and absence, together with strong preoccupations with the land, and a desire to perpetuate the nation which has become state-less, commonly underpin the wide variety of fairy writings by Walter Scott, John Black, James Hogg and Andrew Lang. The disappearing fairies and elusive fairy queens who haunt subterranean realms, together with the immaterialised and etherealised homeland, are frequently depicted in the works of fairy writing explored in this study. While they metaphorise the loss of the state, the rightful monarch and the old national identity, they also serve to symbolically, and strategically, immortalise the Scottish nation through mythification and romanticisation within the subliminal textual layers of fairy writing. Choosing four authors in Scottish literature, this thesis explores the spectrum of the wide range of fairy writing created during the long nineteenth century, shedding new light on the contrast, as well as the echoes, between Romantic and Victorian writing. It specifically suggests that fairy narratives by Black and Hogg display ironic self-consciousness of those who were involved in the processes of cultural nation-building in the post-union Britain. This thesis also contends that Scottish fairy writing serves as a problematic site of experimentation where different genres, values and ideas clash and conflict, generating intensified tension, and rarely bringing negotiation without haunting aftertaste. It is contended that genre-mixing is a common methodological feature employed by the four authors, and moreover, that the act of genre-mixing itself is metaphorical of the creation of new and hybrid national identity, which also foregrounds its artificiality, inventedness and internal cracks. This study reassesses a long-forgotten material: The Falls of Clyde (1806) by John Black. It also draws attention to the relatively ‘marginal’ texts by Scott and Hogg, and attempts a radical interpretation of Langian works, arguing that Lang played a significant role in the processes of the diasporic re-imagining of Scottishness which were arguably undertaken outside Scotland by Briticised elites, and are a neglected yet important part of post-Union Scottish nation writing. Drawing on a wide range of texts and paratexts, this study foregrounds a profound complicity in the conceptions of Scotland and national identity inscribed in fairy narratives, perceiving the sub-genre as a site of realism rather than fantasy.

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.

This study examines neglected aspects of the educational history of Texas. Although much emphasis has been placed on the western, frontier aspects of the state in the years after Appomattox, this study assumes that Texas remained primarily a southern state until 1900, and its economic, political, social, and educational development followed the patterns of the other ex-Confederate states as outlined by C. Vann Woodward in his Origins of the New South. This study of the educational history of Texas should aid in understanding such developments for the South as a whole. For the purposes of this study, "education" is defined in terms of institutions specifically created for the formal education of the young. Additionally, the terms "public education" and "private education" are used extensively. It is a contention of this study that the obvious differences between public and private schools in the last half of the twentieth century were not so obvious in the last half of the nineteenth, at least in Texas. Finally, an attempt has been made to confine the study to those areas of formal schooling which are today commonly called primary and secondary, although this was difficult because of the lack of definition used in naming schools, and because many of the academies, institutes, colleges, and universities of the period enrolled students from the primary level to the collegiate level.

This dissertation is an ethnographic analysis of the ways in which disenfranchised Black communities mobilize cultural legacies of maroonage to empower themselves through the establishment of independent educational institutions. Using Kamali Academy, an African-centered, systematic home school in New Orleans, Louisiana, as a case study and ethnographic site, I examine two primary questions: What does the relationship between maroonage, as a political-cultural praxis, and independent Black educational institutions tell us about the construction of autonomous Black communities in the United States? Specifically, what does Kamali Academy teach us about these communities’ viability as interventions into a failing educational system that marginalizes Black students and families in New Orleans? Building on existing scholarship, I highlight maroonage as a method of community construction within a dominant socio-political structure. I depart from the literature, however, by rearticulating maroonage as a translocal and transhistorical cultural tradition, a process by which individuals and communities disengage from the dominant structure and re-engage in affirming and positive institutions. When considered within the context of both the charter school movement that has taken over New Orleans public schools since Hurricane Katrina as well as the extensive legacy of the struggle for independent Black education in the United States, Kamali Academy provides insight into what I have termed institutional maroonage, or the formation and maintenance of independent Black institutions that serve as spaces for community building and benefit the interests of Black freedom. / text

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The legitimacy of judicial review based upon Canada’s Charter of Rights and Freedoms remains a topic of intense public debate. This thesis considers whether the typical justificatory arguments in favour of judicial review can withstand critical scrutiny. Chapter one canvasses the arguments of many of Canada’s Charter sceptics as well as select international commentators. Chapter two examines Peter Hogg’s claim that it is appropriate to consider the process of judicial review as a form of institutional dialogue between courts and legislative assemblies. It is argued that judicial supremacy is a more accurate description of current institutional arrangements. Chapter three scrutinizes the claim that judicial review has some special capacity to provide appropriate protection for minority rights. Finally, chapter four examines whether section 33 of the Charter can be rehabilitated in order to recalibrate current institutional arrangements. I conclude that it may be possible to limit judicial supremacy.

This thesis investigates in which ways Samuel R. Delany’s novel Hogg challenge the discourse of normality as stipulated, supported and maintained by the capitalist Oedipal repression of desire. Drawing from Deleuze and Guattari’s theory of the Anti-Oedipus, this thesis explores how Deleuze and Guattari’s notion of desire as a free and productive force can be seen as a disruptive element in a society that relies on repression of the subject for its stability. Furthermore, this thesis explores how the novel questions the understanding of civilisation being dependent on the individual’s submission to the Oedipus triangulation and in extension the Oedipal capitalist separation between the public and the private sphere. Ultimately, the main argument claims that Oedipal repression of desire only allows desire to invest in a restricted number of representations, making other identities than the heteronormative suspicious or invisible.  Hogg depicts a society where capitalism commodifies everything, and need the Oedipal subject to ensure its stability. The characters in the novel that do not subject themselves to the capitalist discourse escape the subjection to the Oedipal triangulation, and are thus free to invest their desire in any way they choose, primarily in non-heterosexual and salirophiliac activities. These characters can be seen as schizoid subjects that are constantly threatening to expose the fragility of the social structure by embodying a contrast to the hegemonic discourse and therefore constantly question its authority as main creator of reason and reality.

Reading James Hogg’s 1824 novel The Private Memoirs and Confessions of a Justified Sinner through a postsecular lens provides a new framework for spirituality. This framework establishes spirituality as a place of tension and uncertainty between the text’s main ideologies—Enlightenment rationality and religious, specifically Calvinist, fanaticism. The text explores this place of tension through its doubled narrative structure and by demonstrating the crisis of faith that the fictional Editor of the text undergoes. Confessions brings a compelling new paradigm to discussions of the postsecular that allows insight into the complex intersections of Enlightenment rationality and empiricism as well as religious zealotry and the supernatural.

In The Private Memoirs and Confessions of a Justified Sinner (1824), James Hogg uses the uncanny trope of the bier-right, a medieval superstitious belief of Christian origin that a murdered corpse will bleed in the presence or at the touch of the actual murderer, to negotiate his struggle with fading belief in local superstitions and religious faith in the Scottish Borders. Examining the origins of the bier-right, court cases involving the bier-right, and Hogg's minor works using the bier-right I offer a comparison of how Hogg manipulates and morphs this trope in Confessions. I also argue that the main character, the sinner Robert Wringhim, becomes a living-dead embodiment of the bier-right corpse.