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.

I vår uppsats har vi undersökt hur medierapporteringen av dokusåpan Paradise Hotel har förändrats under tidsperioden 2005 till 2014. Vi har gjort detta genom att undersöka medierapporteringen över tid och jämfört Aftonbladets och Expressens pappersartiklar från de valda åren med varandra. De konkreta frågor som ställts till artiklarna är "hur har rubrikerna förändrats?", "vilken vinkling har artiklarna?", "hur beskrivs deltagarna?" samt "vilken sorts personer rapporteras det om mest?". Eftersom vår studie handlar om en förändrad medierapportering av en dokusåpa så kan den ses som ett fall av kvällspressens nöjesrapportering. Det vi har kommit fram till genom att studera de valda artiklarna är att de artiklar som publiceras i Aftonbladets och Expressens pappersupplagor som uppmärksammar Paradise Hotel i dag inte vinklas hårdare nu. Samtidigt har vi sett en förändring där media har gått från att beskriva programmet som något skandalomsusat till en mjukare beskrivning där negativa epitet som "sexsåpa" i lika hög grad som tidigare inte används i tidningsartiklar om programmet . Rapporteringens fokus har också flyttat från konflikter och bråk deltagarna emellan till sex, relationer och deltagarnas privatliv. Således gestaltas såväl programmet som dess deltagare på ett annorlunda sätt idag än vad de gjordes år 2005, dock nödvändigtvis inte hårdare

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.

Mary Wingfield Scott (1895-1983) was a leading figure in the historic preservation movement in Richmond, Virginia. Scott demonstrated a preservation philosophy that transitioned from the sentimental, patriotic focus of early preservation efforts to a modern, academic approach that valued the built environment for its relationship to the city and its history. Scott educated persons on the value of preserving houses that were architecturally significant or connected to the city’s heritage. She documented the antebellum housing of Richmond in two books, founded the William Byrd Branch of the APVA, conducted walking tours throughout the city, wrote a newsletter for the William Byrd Branch, and purchased houses to prevent their demolition. Scott was a strong advocate of adaptive reuse, which she applied to the Greek Revival houses known as Linden Row. Scott’s approach to preservation is mirrored in the National Historic Preservation Act (NHPA) enacted in 1966 and Richmond’s 2009 Downtown Plan.

The thesis is about life and personality of John Gibson Lockhart (1794-1854), who was a notable Scottish literary critic and biographer. The first part of the thesis is a brief narrative of his life. The second part is dedicated to the history and manners of Lockhart's family, which was closely related to Sir Walter Scott. This family is compared with a typical family of the period. The third part is tracing Lockhart's influence over the Scottish national movement.

Typescript (photocopy). / Digitized by Kansas Correctional Industries / Department: English.

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.

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This research examines the application of Scott McCloud's theory of the Infinite canvas, specifically the horizontal example outlined in Reinventing Comics (McCloud, 2000). It focuses on the useability and effectiveness of the Infinite canvas theory when applied as a practical example of a comic outcome for the Internet. This practical application of McCloud's horizontal Infinite canvas model has been achieved by creating a digital comic entitled Sad Reflections; a continuous horizontal narrative that is 20cm in height and 828cm in length and was designed to be viewed in a digital environment. This comic incorporates traditional comic techniques of gutters, time frames, line, with combining words and pictures, as outlined by McCloud (1993) in his first theoretical text Understanding Comics. These techniques are used to ensure that the project fulfilled the technical criteria used by the comic book industry to create comics. The project also incorporates McCloud's personally devised Infinite canvas techniques of trails, distance pacing, narrative subdivision, sustained rhythm and gradualism as outlined on his website. These new techniques are applied to assess their effectiveness in the creation of the horizontal Infinite canvas and ability to be integrated with traditional comic techniques. The focus of this project is to examine the strengths and weaknesses of McCloud's Infinite canvas theory when applied to the practical comic outcome of the Sad Reflections. Three key questions are used to guide this research. These questions are: 1. Does the application of traditional comic techniques affect the effectiveness of the Infinite canvas when implemented to a horizontal format? 2. Are the new Infinite canvas techniques as outlined by McCloud able to be applied to a horizontal format and what impact do these techniques have on the process? 3. Is the application of a horizontal Infinite canvas of benefit to future developers of web comics? Based on the outcomes of the above questions, this paper nominates strategies, considerations and suitable production processes for future developers of web comics.

Georg Lukács The Historical Novel continues to have a wide influence in Walter Scott criticism. However, Lukács theoretical insights into the role of genre in Scotts work remains underappreciated. This thesis takes for its departure Lukács summary that "the profound grasp of the historical factor in human life demands a dramatic concentration of the epic framework" (41). Lukács description of these two forms, dramatic and epic, is then applied in a reading of Scotts The Heart of Midlothian. Lukács terms offer a way of describing how Scotts fiction works, as the interplay of dramatic and epic motifs provide the aesthetic mediation for Midlothians social and political concerns. The chief problem raised through this reading is the role of genre in establishing a sense of historical necessity. In The Heart of Midlothian, the role of genre is made concrete in the novels gradual transition. Opening with dramatic social unrest, the novel shifts attention to the epic journey of Jeanie Deans and how her intervention re-establishes domestic and political harmony within the world of the novel. The interplay of dramatic and epic forms establishes a sense of internal necessity, as each major character organically finds his or her role in the overall course of progress. The thesis turns in its final chapter and conclusion to a resistance in Midlothian to the "dramatic concentration of the epic framework." Thus instead of solely applying Lukács categories to a Scott, the conclusion of the thesis turns Scott against Lukács. Midlothians conclusion evinces the resistance of Scott the storyteller to Scott the novelist of historical necessity, as the storyteller re-opens a sense of unforeseen possibility at the novels conclusion. The thesis concludes with a meditation on the ethical implications of Scotts competing narrative practices, that is, the dissonance between the historical novelist and the storyteller.