Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Modern Romance examines the relationship between the revival of romance form and the ascendancy of the novel in British literary culture, from 1760 to 1850. The revival of romance as the literary embodiment of a national cultural identity provided a metaphor for the 'authenticity' of the novel itself, set against the changing formations of modern life. The material conditions, cultural status and formal repertoire of prose fiction were given a canonical transformation, leading to the form's nineteenth-century heyday, in Scott's Waverley novels. Ian Duncan's illuminating and innovative study begins with the first identification of modern prose fiction with romance form in the late eighteenth-century Gothic novel, and moves through Scott's highly influential dialectical blend of romance and history, to his relations with his successor in the role of national author, Charles Dickens.

As traditional social hierarchies fall away, ever steeper levels of economic inequality and the entrenchment of new class distinctions lend a new glamor to the idea of aristocracy: witness the worldwide popularity of Downton Abbey, or the seemingly insatiable public fascination with the private lives of the British royal family. This collection of essays investigates the enduring attraction with the icon of the aristocrat and the spectacle of aristocratic society. It traces the ambivalent reactions the aristocracy provokes and the needs (political, ideological, psychological, and otherwise) it caters to in modern times when the economic power of the landed classes have been eroded and their political role curtailed. In this interdisciplinary collection, aristocracy is considered from multiple viewpoints, including British and American literature, European history and politics, cultural studies, linguistics, visual arts, music, and media studies.

For the most popular of his Scottish romances, published at the end of 1817, Scott drew on the legends and historical anecdotes about Rob Roy MacGregor he had collected in his youth. The famous outlaw is only one of a series of vivid characters who cast their spell of the novel's hero, Frank Osbaldistone, on his journey through the wild northern territories of the new United Kingdom. Banished from his father's house, falling hopelessly in love with the spirited Diana Vernon, Frank becomes involved in he conspiracy surrounding the disastrous Jacobite rising of 1715. His adventures take him to `MacGregor's country', across the Highland Line, where he finds cruelty, heartbreak, and some unlikely friends. By turns thrilling and comic, Rob Roy contains Scott's most sophisticated treatment of the Scottish Highlands as an imaginary space where the modern and the primitive come together. Newly edited from the `Magnum Opus' text of 1830, this edition includes full explanatory notes and a critical introduction exploring the originality and complexity of Scott's achievement. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

More than a century after the Norman Conquest, England remains a colony of foreign warlords. The dissolute Prince John plots to seize his brother's crown, his barons terrorize the country, and the mysterious outlaw Robin Hood haunts the ancient greenwood. The secret return of King Richard and the disinherited Saxon knight, Ivanhoe, heralds the start of a splendid and tumultuous romance, featuring the tournament at Ashby-de-la-Zouche, the siege of Torquilstone, and the clash of wills between the wicked Templar Bois-Guilbert and the sublime Jewess Rebecca. In Ivanhoe Scott fashioned an imperial myth of national cultural identity that has shaped the popular imagination ever since its first appearance at the end of 1819. The most famous of Scottish novelists drew on the conventions of Gothic fiction, including its risky sexual and racial themes, to explore the violent origins and limits of English nationality. This edition uses the 1830 Magnum Opus text, corrected against the Interleaved Set, and incorporates readings from Scott's manuscript. The introduction examines the originality and cultural importance of Ivanhoe, and draws on current work by historians and cultural critics. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Originally published in 2004, Scotland and the Borders of Romanticism is a collection of critical essays devoted to Scottish writing between 1745 and 1830 - a key period marking the contested divide between Scottish Enlightenment and Romanticism in British literary history. Essays in the volume, by leading scholars from Scotland, England, Canada and the USA, address a range of major figures and topics, among them Hume and the Romantic imagination, Burns's poetry, the Scottish song and ballad revivals, gender and national tradition, the prose fiction of Walter Scott and James Hogg, the national theatre of Joanna Baillie, the Romantic varieties of historicism and antiquarianism, Romantic Orientalism, and Scotland as a site of English cultural fantasies. The essays undertake a collective rethinking of the national and period categories that have structured British literary history, by examining the relations between the concepts of Enlightenment and Romanticism as well as between Scottish and English writing.

Modern Romance examines the relationship between the revival of romance form and the ascendancy of the novel in British literary culture, from 1760 to 1850. The revival of romance as the literary embodiment of a national cultural identity provided a metaphor for the 'authenticity' of the novel itself, set against the changing formations of modern life. The material conditions, cultural status and formal repertoire of prose fiction were given a canonical transformation, leading to the form's nineteenth-century heyday, in Scott's Waverley novels. Ian Duncan's illuminating and innovative study begins with the first identification of modern prose fiction with romance form in the late eighteenth-century Gothic novel, and moves through Scott's highly influential dialectical blend of romance and history, to his relations with his successor in the role of national author, Charles Dickens.

Originally published in 2004, Scotland and the Borders of Romanticism is a collection of critical essays devoted to Scottish writing between 1745 and 1830 - a key period marking the contested divide between Scottish Enlightenment and Romanticism in British literary history. Essays in the volume, by leading scholars from Scotland, England, Canada and the USA, address a range of major figures and topics, among them Hume and the Romantic imagination, Burns's poetry, the Scottish song and ballad revivals, gender and national tradition, the prose fiction of Walter Scott and James Hogg, the national theatre of Joanna Baillie, the Romantic varieties of historicism and antiquarianism, Romantic Orientalism, and Scotland as a site of English cultural fantasies. The essays undertake a collective rethinking of the national and period categories that have structured British literary history, by examining the relations between the concepts of Enlightenment and Romanticism as well as between Scottish and English writing.

A major rethinking of the European novel and its relationship to early evolutionary science The 120 years between Henry Fielding's Tom Jones (1749) and George Eliot's Middlemarch (1871) marked both the rise of the novel and the shift from the presumption of a stable, universal human nature to one that changes over time. In Human Forms, Ian Duncan reorients our understanding of the novel's formation during its cultural ascendancy, arguing that fiction produced new knowledge in a period characterized by the interplay between literary and scientific discourses-even as the two were separating into distinct domains. Duncan focuses on several crisis points: the contentious formation of a natural history of the human species in the late Enlightenment; the emergence of new genres such as the Romantic bildungsroman; historical novels by Walter Scott and Victor Hugo that confronted the dissolution of the idea of a fixed human nature; Charles Dickens's transformist aesthetic and its challenge to Victorian realism; and George Eliot's reckoning with the nineteenth-century revolutions in the human and natural sciences. Modeling the modern scientific conception of a developmental human nature, the novel became a major experimental instrument for managing the new set of divisions-between nature and history, individual and species, human and biological life-that replaced the ancient schism between animal body and immortal soul. The first book to explore the interaction of European fiction with "the natural history of man" from the late Enlightenment through the mid-Victorian era, Human Forms sets a new standard for work on natural history and the novel.

Winter Evening Tales (1820; second edition 1821) was James Hogg's most successful work of prose fiction in his lifetime. Exhibiting the most complex genesis of any of Hogg's works, it is the outstanding example of a 'national' genre pioneered by him -- the miscellaneous collection of popular and traditional narratives. Hogg's experimental medley of novellas, tales, poems and sketches posed a lively alternative to the dominant form of the historical novel established by Walter Scott. The collection includes terse masterpieces of mystery and the uncanny, virtuoso improvisations on folktale themes, and -- the highlights of the edition -- two brilliant autobiographical novellas, The Renowned Adventures of Basil Lee and Love Adventures of Mr George Cochrane. Reprinted in incomplete and unreliable texts in Victorian editions of Hogg's works, Winter Evening Tales fell into almost total obscurity after the author's death. The Stirling/ South Carolina Edition of the Collected Works of James Hogg is delighted to republish this key work in Hogg's career in its entirety for the first time since the early nineteenth century.

Scott's Shadow is the first comprehensive account of the flowering of Scottish fiction between 1802 and 1832, when post-Enlightenment Edinburgh rivaled London as a center for literary and cultural innovation. Ian Duncan shows how Walter Scott became the central figure in these developments, and how he helped redefine the novel as the principal modern genre for the representation of national historical life. Duncan traces the rise of a cultural nationalist ideology and the ascendancy of Scott's Waverley novels in the years after Waterloo. He argues that the key to Scott's achievement and its unprecedented impact was the actualization of a realist aesthetic of fiction, one that offered a socializing model of the imagination as first theorized by Scottish philosopher and historian David Hume. This aesthetic, Duncan contends, provides a powerful novelistic alternative to the Kantian-Coleridgean account of the imagination that has been taken as normative for British Romanticism since the early twentieth century. Duncan goes on to examine in detail how other Scottish writers inspired by Scott's innovations--James Hogg and John Galt in particular--produced in their own novels and tales rival accounts of regional, national, and imperial history. Scott's Shadow illuminates a major but neglected episode of British Romanticism as well as a pivotal moment in the history and development of the novel.

One of the supreme masterpieces of Romantic fiction and Scottish literature, The Private Memoirs and Confessions of a Justified Sinner is a terrifying tale of murder and amorality, and of one man's descent into madness and despair. James Hogg's sardonic novel follows a young man who, falling under the spell of a mysterious stranger who bears an uncanny likeness to himself, embarks on a career as a serial murderer. The memoirs are presented by a narrator whose attempts to explain the story only succeed in intensifying its more baffling and bizarre aspects. Is the young man the victim of a psychotic delusion, or has he been tempted by the devil to wage war against God's enemies? The authoritative and lively introduction by Ian Duncan covers the full range of historical and religious themes and contexts, offers a richer and more accurate consideration of the novel's relation to Romantic fiction than found elsewhere, and sheds new light on the novel's treatment of fanaticism. Copious notes identify the novel's historical, biblical, theological, and literary allusions.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

`the ordinary laws of Nature are suspended. The various checks with influence the struggle for existence in the world at large are all neutralized or altered. Creatures survive which would otherwise disappear.' Headed by the larger than life figure of Professor Challenger, a scientific expedition sets out to explore a plateau in South America that remains frozen in time from the days when dinosaurs roamed the Earth. Seemingly impossible to penetrate, this lost word holds great danger for the four men, whether from fiendish ape-men or terrifying prehistoric creatures. Arthur Conan Doyle's classic tale of adventure and discovery still excites the reader today, just as dinosaurs continue to grip the popular imagination. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

James Hogg (1770-1835) is increasingly recognised as a major Scottish author and one of the most original figures in European Romanticism. 16 essays written by international experts on Hogg draw on recent breakthroughs in research to illuminate the contexts and debates that helped to shape his writings. The book provides an indispensable guide to Hogg's life and worlds, his publishing history, reception and reputation, his treatments of politics, religion, nationality, social class, sexuality and gender, and the diverse literary forms - ballads, songs, poems, drama, short stories, novels, periodicals - in which he wrote. Key Features: * Thorough coverage of the whole of Hogg's works, career and contexts, as well as detailed considerations of his most famous work, Private Memoirs and Confessions of a Justified Sinner * The contributors are all major figures in Hogg studies and include editors of the definitive Stirling South Carolina Research Edition of the Collected Works of James Hogg, including Caroline McCracken-Flesher (Wyoming), Hans de Groot (Toronto), Penny Fielding(Edinburgh), Peter Garside (Edinburgh) and Gillian Hughes.

'Your bed shall be the moorcock's, and your life shall be like the hunted deer's, and ye shall sleep with your hand upon your weapons.' Tricked out of his inheritance, shanghaied, shipwrecked off the west coast of Scotland, David Balfour finds himself fleeing for his life in the dangerous company of Jacobite outlaw and suspected assassin Alan Breck Stewart. Their unlikely friendship is put to the test as they dodge government troops across the Scottish Highlands. Set in the aftermath of the 1745 rebellion, Kidnapped transforms the Romantic historical novel into the modern thriller. Its heart-stopping scenes of cross-country pursuit, distilled to a pure intensity in Stevenson's prose, have become a staple of adventure stories from John Buchan to Alfred Hitchcock and Ian Fleming. Kidnapped remains as exhilarating today as when it was first published in 1886. This new edition is based on the 1895 text, incorporating Stevenson's last thoughts about the novel before his death. It includes Stevenson's 'Note to Kidnapped', reprinted for the first time since 1922. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.