Feeling British: Sympathy and National Identity in Scottish and English Writing, 1707-1832

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Bucknell University Press, 2007 - 274 páginas
Feeling British argues that the discourse of sympathy both encourages and problematizes a sense of shared national identity in eighteenth-century and Romantic British literature and culture. Although the 1707 Act of Union officially joined England and Scotland, government policy alone could not overcome centuries of feuding and ill will between these nations. Accordingly, the literary public sphere became a vital arena for the development and promotion of a new national identity, Britishness. Feeling British starts by examining the political implications of the Scottish Enlightenment's theorizations of sympathy the mechanism by which emotions are shared between people. From these philosophical beginnings, this study tracks how sympathetic discourse is deployed by a variety of authors - including Defoe, Smollett, Johnson, Wordsworth, and Scott - invested in constructing, but also in questioning, an inclusive sense of what it means to be British.

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Contenido

That Propensity We Have Sympathy National Identity and the Scottish Enlightenment
26
Fools of Prejudice Smollett and the Novelization of National Identity
61
We Are Now One People Boswell Johnson and the Renegotiation of AngloScottish Relations
99
Harp of the North Romantic Poetry and the Sympathetic Uses of Scotland
134
To be at once another and the same Scotts Waverley Novels and the Ends of Sympathetic Britishness
170
Imperfect Sympathies and the Devolution of Britishness
208
Notes
214
Bibliography
250
Index
268
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Página 33 - As we have no immediate experience of what other men feel, we can form no idea of the manner in which they are affected, but by conceiving what we ourselves should feel in the like situation.
Página 41 - I dine, I play a game of backgammon, I converse, and am merry with my friends ; and when, after three or four hours...
Página 146 - So that it will be the wish of the poet to bring his feelings near to those of the persons whose feelings he describes; nay, for short spaces of time, perhaps, to let himself slip into an entire delusion, and even confound and identify his own feelings with theirs...
Página 33 - By the imagination we place ourselves in his situation, we conceive ourselves enduring all the same torments, we enter as it were into his body, and become in some measure the same person with him, and thence form some idea of his sensations, and even feel something which, though weaker in degree, is not altogether unlike them.
Página 33 - How selfish soever man may be supposed, there are evidently some principles in his nature, which interest him in the fortune of others, and render their happiness necessary to him, though he derives nothing from it except the pleasure of seeing it.
Página 45 - When I endeavour to examine my own conduct, when I endeavour to pass sentence upon it, and either to approve or condemn it, it is evident that, in all such cases, I divide myself, as it were, into two persons ; and that I, the examiner and judge, represent a different character from that other I, the person whose conduct is examined into and judged of.
Página 45 - He who is subjected to a field of visibility, and who knows it, assumes responsibility for the constraints of power; he makes them play spontaneously upon himself; he inscribes in himself the power relation in which he simultaneously plays both roles; he becomes the principle of his own subjection.
Página 160 - With all a poet's ecstasy ! In varying cadence, soft or strong, He swept the sounding chords along: The present scene, the future lot, His toils, his wants, were all forgot: Cold diffidence, and age's frost, In the full tide of song were lost : Each blank, in faithless memory void, The poet's glowing thought supplied ; And, while his harp responsive rung, 'Twas thus the LATEST MINSTREL sung.

Acerca del autor (2007)

Evan Gottlieb is Assistant Professor in the Department of English at Oregon State University, where he teaches courses on eighteenth-century and Romantic British literature, and literary and critical theory.

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