This volume of Robert Burns's Commonplace Books, Tours Journals and Miscellaneous Prose Works is a major contribution to our understanding of the life and writings of one of the major Scottish, and British, poets of all times. To the extent that the Commonplace Books and other prose writings offer a glimpse into Burns's creative workshop, they record the self-conscious poetic development of a man who was endowed with none of the advantages of birth and education enjoyed by many other writers. Spanning nearly two decades of his sadly foreshortened life, they permit a new understanding of his unique relationship to the literary and social culture of late eighteenth-century Scotland, and help explain how and why this humbly-born Ayrshire farmer became a poet of world renown. The items included here have never before been published complete in one volume (some are published for the first time), and they are arranged chronologically in order to highlight the major creative stages of his life. In contrast to the poems and songs, most of the material included was unpublished during the poet's lifetime, so this new edition is largely based on fresh transcriptions of manuscripts in Burns's hand, or in the hands of his various amanuenses. It offers diplomatic transcriptions that adhere as closely as possible to RB's original manuscript page, retaining his eccentric spellings, capitalisation, long and short dashes, punctuation, and use of ampersands, as well as marking revisions and elisions. The edition features a general introduction, and each item is preceded by full headnote, assessing its importance in relation to Burns's life and poetic corpus. Notes explicate names, cultural, historical and literary references, providing full cross-references these with the poetry and correspondence.

Robert Burns and Pastoral is a full-scale reassessment of the writings of Robert Burns (1759-1796), arguably the most original poet writing in the British Isles between Pope and Blake, and the creator of the first modern vernacular style in British poetry. Although still celebrated as Scotland's national poet, Burns has long been marginalised in English literary studies worldwide, due to a mistaken view that his poetry is linguistically incomprehensible and of interest to Scottish readers only. Nigel Leask challenges this view by interpreting Burns's poetry as an innovative and critical engagement with the experience of rural modernity, namely to the revolutionary transformation of Scottish agriculture and society in the decades between 1760 and 1800, thereby resituating it within the mainstream of the Scottish and European enlightenments. Detailed study of the literary, social, and historical contexts of Burns's poetry explodes the myth of the 'Heaven-taught ploughman', revealing his poetic artfulness and critical acumen as a social observer, as well as his significance as a Romantic precursor. Leask discusses Burns's radical decision to write 'Scots pastoral' (rather than English georgic) poetry in the tradition of Allan Ramsay and Robert Fergusson, focusing on themes of Scottish and British identity, agricultural improvement, poetic self-fashioning, language, politics, religion, patronage, poverty, antiquarianism, and the animal world. The book offers fresh interpretations of all Burns's major poems and some of the songs, the first to do so since Thomas Crawford's landmark study of 1960. It concludes with a new assessment of his importance for British Romanticism and to a 'Four Nations' understanding of Scottish literature and culture.

Robert Burns and Pastoral is a full-scale reassessment of the writings of Robert Burns (1759-1796), arguably the most original poet writing in the British Isles between Pope and Blake, and the creator of the first modern vernacular style in British poetry. Although still celebrated as Scotland's national poet, Burns has long been marginalised in English literary studies worldwide, due to a mistaken view that his poetry is linguistically incomprehensible and of interest to Scottish readers only. Nigel Leask challenges this view by interpreting Burns's poetry as an innovative and critical engagement with the experience of rural modernity, namely to the revolutionary transformation of Scottish agriculture and society in the decades between 1760 and 1800, thereby resituating it within the mainstream of the Scottish and European enlightenments. Detailed study of the literary, social, and historical contexts of Burns's poetry explodes the myth of the 'Heaven-taught ploughman', revealing his poetic artfulness and critical acumen as a social observer, as well as his significance as a Romantic precursor. Leask discusses Burns's radical decision to write 'Scots pastoral' (rather than English georgic) poetry in the tradition of Allan Ramsay and Robert Fergusson, focusing on themes of Scottish and British identity, agricultural improvement, poetic self-fashioning, language, politics, religion, patronage, poverty, antiquarianism, and the animal world. The book offers fresh interpretations of all Burns's major poems and some of the songs, the first to do so since Thomas Crawford's landmark study of 1960. It concludes with a new assessment of his importance for British Romanticism and to a 'Four Nations' understanding of Scottish literature and culture.

Human capital theory, developing children as future workers, shapes thinking about early childhood education policy around the globe. International contributors problematize this thinking and offer alternatives.

The decades between 1770 and 1840 are rich in exotic accounts of the ruin-strewn landscapes of Ethiopia, Egypt, India, and Mexico. Yet it is a field which has been neglected by scholars and which - unjustifiably - remains outside the literary canon. In this pioneering book, Nigel Leask studies the Romantic obsession with these 'antique lands', drawing generously on a wide range of eighteenth and nineteenth-century travel books, as well as on recent scholarship in literature, history, geography, and anthropology. Viewing the texts primarily as literary works rather than 'transparent' adventure stories or documentary sources, he sets out to challenge the tendency in modern academic work to overemphasize the authoritative character of colonial discourse. Instead, he addresses the relationship between narrative, aesthetics, and colonialism through the unstable discourse of antiquarianism, exploring the effects of problems of credit worthiness, and the nebulous epistemological claims of 'curiosity' (a leitmotif of the accounts studied here), on the contemporary status of travel writing. Attentive to the often divergent idioms of elite and popular exoticism, Curiosity and the Aesthetics of Travel Writing plots the transformation of the travelogue through the period, as the baroque particularism of curiosity was challenged by picturesque aesthetics, systematic 'geographical narrative', and the emergence of a 'transcendental self' axiomatic to Romantic culture. In so doing it offers an important reformulation of the relations between literature, aesthetics, and empire in the late Enlightenment and Romantic periods.

The first book of its kind to study the Romantic obsession with the 'antique lands' of Ethiopia, Egypt, India, and Mexico, Curiosity and the Aesthetics of Travel Writing is an important contribution to the recent wave of interest in exotic travel writing. Drawing generously on both original texts and modern scholarship in literature, history, geography, and anthropology, it focuses on the unstable discourse of 'curiosity' to offer an important reformulation of the relations between literature, aesthetics, and colonialism in the period.

Stepping Westward is the first book dedicated to the literature of the Scottish Highland tour of 1720-1830, a major cultural phenomenon that attracted writers and artists like Pennant, Johnson and Boswell, William and Dorothy Wordsworth, Coleridge, Scott, Hogg, Keats, Daniell, and Turner, as well as numerous less celebrated travellers and tourists. Addressing more than a century's worth of literary and visual representations of the Highlands, the book casts new light on how the tour developed a modern literature of place, acting as a catalyst for thinking about improvement, landscape, and the shaping of British, Scottish, and Gaelic identities. It pays attention to the relationship between travellers and the native Gaels, whose world was plunged into crisis by rapid and forced social change. At the book's core lie the best-selling tours of Pennant and Dr Johnson, associated with attempts to 'improve' the intractable Gaidhealtachd in the wake of Culloden. Alongside the Ossian craze and Gilpin's picturesque, their books stimulated a wave of 'home tours' from the 1770s through the romantic period, including writing by women like Sarah Murray and Dorothy Wordsworth. The incidence of published Highland Tours (many lavishly illustrated), peaked around 1800, but as the genre reached exhaustion, the 'romantic Highlands' were reinvented in Scott's poems and novels, coinciding with steam boats and mass tourism, but also rack-renting, sheep clearance, and emigration.

From the ballad-seller to the Highland bard, from 'pot-house politics' to the language of low and rustic life, the writers and artists of the British Romantic period drew eclectic inspiration from the realm of plebeian experience, even as they helped to constitute the field of popular culture as a new object of polite consumption. Representing the work of leading scholars from both Britain and North America, Romanticism and Popular Culture in Britain and Ireland offers a series of fascinating insights into changing representations of 'the people', while demonstrating at the same time a unifying commitment to rethinking some of the fundamental categories that have shaped our view of the Romantic period. Addressing a series of key themes, including the ballad revival, popular politics, urbanization, and literary canon-formation, the 2009 volume also contains a substantial introductory essay, which provides a wide-ranging theoretical and historical overview of the subject.

From the ballad-seller to the Highland bard, from 'pot-house politics' to the language of low and rustic life, the writers and artists of the British Romantic period drew eclectic inspiration from the realm of plebeian experience, even as they helped to constitute the field of popular culture as a new object of polite consumption. Representing the work of leading scholars from both Britain and North America, Romanticism and Popular Culture in Britain and Ireland offers a series of fascinating insights into changing representations of 'the people', while demonstrating at the same time a unifying commitment to rethinking some of the fundamental categories that have shaped our view of the Romantic period. Addressing a series of key themes, including the ballad revival, popular politics, urbanization, and literary canon-formation, the 2009 volume also contains a substantial introductory essay, which provides a wide-ranging theoretical and historical overview of the subject.

The recent turn to political and historical readings of Romanticism has given us a more complex picture of the institutional, cultural and sexual politics of the period. There has been a tendency, however, to confine such study to the European scene. In this book, Nigel Leask sets out to study the work of Byron, Shelley and De Quincey (together with a number of other major and minor Romantic writers, including Robert Southey and Tom Moore) in relation to Britain's imperial designs on the 'Orient'. Combining historical and theoretical approaches with detailed analyses of specific works, it examines the anxieties and instabilities of Romantic representations of the Ottoman Empire, India, China and the Far East. It argues that these anxieties were not marginal but central to the major concerns of British Romantic writers. The book is illustrated with a number of engravings from the period, giving a visual dimension to the discussion of Romantic representations of the East.

Robert Burns has been a key figure in Scottish identity globally since his death in 1796. But he has always been much more than that. In America, his admirers have included Emerson, President Lincoln, Maya Angelou and many others, for Burns was long held to be a friend to the American way of life, an opponent of kings and tyranny, and someone who proved that the values that built the United States were not extinct in Europe. In Europe itself, Burns was seen as both an authentic voice of the people-a representative of their way of life-and a progressive, informed and radical writer. In the British Empire and later the Commonwealth, he was a symbol of Scottish nationality and sociability abroad. In more recent times he has been seen as a poet of universal brotherhood and sisterhood. It takes a great poet to be all things to all people, and to be interpreted so variously worldwide. One of the extraordinary things about Burns is that while his books were sold globally, while he remains the second most translated Scottish author of all time, and when even the USSR issued a stamp in his honor, the postwar academic world turned away from a poet whom it had previously recognized as a major figure. Burns disappeared from accounts of Romanticism, and such meager helpings of critical attention as he received were often directed towards his supposed status as a laboring class or dialect poet, a status which is completely at odds with Burns' sophisticated control of register. Robert Burns in Global Culture is an ambitious book. Drawing on the work of leading experts from Scotland, England, North America, France, Germany and Spain, it analyses the reasons for Burns' critical decline, examines the phenomenon of Burns' global influence on areas from Italian politics to American identity, and places Burns' influence, reputation and unique qualities as a poet within a framework of reference which blends rigorous intellectual inquiry into the poet and his poetry with analyses of popular culture.