Secrecy, Surveillance and Counterintelligence in the Prose Fiction of Walter Scott and Robert Louis Stevenson

我的博士研究了斯科特和史蒂文森如何利用国内和社会形式的秘密来参与苏格兰历史主义。我证明了国内保密是用来探索遗产，文化和身份的当代问题在19世纪的苏格兰历史小说。我追溯了作者在1814年至1894年间的散文小说中秘密的作用，以突出它与整个世纪苏格兰历史主义不断变化的景观之间的微妙关系。通过将19世纪苏格兰历史主义研究与秘密社会学结合起来，我提供了一个新的学术视角来重新评估斯科特和史蒂文森之间的关系。斯科特和史蒂文森描述的不同形式的保密是什么？把斯科特和史蒂文森放在一起读如何说明19世纪历史体裁的变化？国内保密与历史保密之间的关系是什么？通过国内秘密的镜头审视历史，如何揭示19世纪苏格兰历史主义的变化？史考特和史蒂文森的散文小说充满了秘密活动：从私奔到海盗，从化装舞会到谋杀。它反映了19世纪对秘密的迷恋，这种迷恋促进了哥特小说、社会批判小说、感觉小说以及最终的侦探小说的发展。我的论文探讨了家庭和社会秘密是如何被斯科特和史蒂文森用来从事苏格兰历史主义（理解历史及其组成）。这种方法在1814年至1894年之间的历史小说中追溯了一条特定的、连贯的秘密之路。从乔治·齐美尔（Georg Simmel）的《秘密与秘密社团的社会学》（1906）开始，我用社会学来追踪秘密作为一种有意识的压抑状态，是如何不断地连接个人与社会的。我将此应用于场景、人物和叙事模式，以展示个人秘密与社会结构的相互关系。通过选择两位发展了历史小说的作家，我展示了他们不同形式的历史主义如何展示了19世纪的社会和一般变化。我采用互文的方法，以促进主题，而不是按时间顺序，描述文本。史考特的历史小说常被视为该类型小说的原型。我的方法消除了这种偏见，准确地描绘了秘密与19世纪苏格兰历史主义之间的关系。通过将斯科特和史蒂文森的小说按主题配对，每一章都聚焦于一种特定类型的秘密：金融、家庭、司法、身体和历史。

Abstract My PhD examines how Scott and Stevenson use domestic and social forms of secrecy to engage in Scottish historicism. I demonstrate that domestic secrecy is used to explore contemporary issues of heritage, culture and identity within the nineteenth-century Scottish historical novel. I trace the role of secrecy within the authors' prose fiction between 1814 and 1894 to highlight its nuanced relationship with the changing landscape of Scottish historicism throughout the century. By uniting the studies of nineteenth-century Scottish historicism with the sociology of secrecy, I offer a new academic perspective to reassess the relationship between Scott and Stevenson. Research Questions What are the different forms of secrecy portrayed by Scott and Stevenson? How does reading Scott and Stevenson together illustrate changes to the historical genre in the nineteenth century? What is the relationship between domestic and historical secrecy? How does examining history through the lens of domestic secrecy reveal changes in nineteenth-century Scottish historicism? Rationale, Methods and Sources The prose fiction of Scott and Stevenson is full of secret activities: from elopement to piracy, masquerade and murder. It reflects the nineteenth-century fascination with secrecy which fostered the development of gothic fiction, social critique novels, sensation fiction and, ultimately, the detective genre. My thesis explores how domestic and social secrecy is used by Scott and Stevenson to engage in Scottish historicism (understanding history and its composition). This approach traces a specific, coherent path for secrecy within the historical novel between 1814 and 1894. Beginning with Georg Simmel's 'The Sociology of Secrecy and of Secret Societies' (1906), I use sociology to trace how secrecy, as a state of conscious suppression, constantly bridges the individual and social. I apply this to scenes, characters and narrative modes to demonstrate the interrelation of personal secrets with social structures. By choosing two writers who developed the historical novel, I show how their differing forms of historicism demonstrate social and generic change in the nineteenth century. I adopt an intertextual method to facilitate a thematic, rather than chronological, delineation of the texts. Scott's historical novels are often used as the genre's archetype. My approach removes this bias and accurately maps the relationship between secrecy and nineteenth-century Scottish historicism. By thematically pairing Scott and Stevenson novels, each chapter focuses on a specific type of secrecy: financial, familial, judicial, bodily and historic.