Scottish and Irish Romanticism

“苏格兰和爱尔兰浪漫主义”是一个长达一本书的项目，它回顾了为什么苏格兰和爱尔兰曾经在浪漫主义研究中很重要，为什么它们不再如此，为什么尽管我们对浪漫主义的理解最近发生了许多变化，但它们没有恢复其早期的突出地位。它既展示了浪漫主义研究的当前范式如何为重新解释非英国浪漫主义提供了机会，也挑战了这些范式的局限性，继续提供一种新的方式来看待它们提出的问题，这些问题有助于重新定义苏格兰和爱尔兰浪漫主义的语言，文化和主题中的一些关键问题。这本书首先回顾了评论界的过去和现在，并对罗伯特·伯恩斯（Robert Burns）进行了接受性研究。尽管伯恩斯在世界范围内的影响力明显持续，但自1945年以来，他对评论界的兴趣却全面崩溃。然后，该研究继续建立了一个理论框架，该框架考虑了浪漫主义研究的最新发展，并提供了将苏格兰和爱尔兰浪漫主义（及其文化鲜明特征）纳入其中的连贯描述的方法：这是第1章，“浪漫主义的湖岛”，分为三个部分，总计15000字。下面的讨论前景主题，其中包括许多作者的实践，同时也提供空间，以检查个别作者的实践长度。其目的是提供阅读熟悉或知名作家的新方法，并展示这些人物在苏格兰和爱尔兰文化表现中的独特实践的广度，这些文化在文学史中仍然缺席。在对艾伦·拉姆齐的“非殖民化流派”的语言使用、语体和与盖尔文化的关系（第二章）的考察之后，接着是“雅各宾主义、浪漫主义和对历史的盗窃”（第三章），这几章着眼于由统一的英国史学和礼貌语言标准为文学提出的问题，“伊奥利亚吟诗人、爱斯林和重新演奏的竖琴”（重点是麦克弗森、卡洛兰、波特和联合爱尔兰诗歌）。“弗格森和他同时代的人”和“伯恩斯”（第4,5和6章）。第七章是“谁不敢说九八年”。接着是“爱国主义”（苏格兰和爱尔兰与帝国的关系：博斯韦尔、拜伦、摩尔和谢里丹）、“斯科特与旅游”和“苏格兰和爱尔兰哥特式的体例和性别”（霍格、马图林和其他作家）（第8章、第9章和第1章）。当前对该领域的兴趣程度（研究背景）和迄今为止对该项目进行的传播（出版和传播）都表明了对该研究主题的学术深度和更广泛的兴趣（参见支持案例）。

'Scottish and Irish Romanticism' is a book-length project which provides a review of why Scotland and Ireland used to be important in Romantic studies, why they ceased to be so, and why despite many recent changes in our understanding of Romanticism they have not recovered their earlier prominence. It shows both how the current paradigms in Romantic studies offer opportunities for a reinterpretation of non-English Romanticism, and also challenges the limitations of these paradigms, going on to provide a new way of looking at the questions they raise which serve to redefine some of the crucial issues in the languages, cultures and themes of Scottish and Irish Romanticism. The book begins with a review of the critical past and present and a reception study of Robert Burns, who despite having a manifestly continuing worldwide influence has experienced a comprehensive collapse of critical interest since 1945. The study then goes on to set out a theoretical framework which takes account of recent developments in the study of Romanticism, and offers ways of Incorporating a coherent account of Scottish and Irish Romanticism (and their culturally distinct features) within them: this is Chapter 1, 'The Lake Isle of Romanticism', which is in three sections, totaling 15 000 words. The discussion which follows foregrounds themes which incorporate, the practice of many authors, while also providing space for examining the practice of individual authors at length. The aims are to provide new ways of reading familiar or established authors and to demonstrate the breadth of distinctive practices in the performance of Scottish and Irish culture on which these figures drew, and which continues to be absent from literary histories. An examination of Allan Ramsay's 'decolonization of genre' in his use of language, register and relation to Gaelic culture (Chapter 2) is followed by chapters on 'Jacobinism, Romance and the Theft of History' (Chapter 3), which looks at the issues raised for literature by a unitary British historiography and standard of polite language, 'The Aeolian Minstrel, the Aisling and the Harp Re-Strung' (focusing on Macpherson, Carolan, Porter and United Irish poetry), 'Fergusson and his Contemporaries' and 'Burns' (Chapters 4, 5 and 6). Chapter 7 is "'Who Fears to Speak of 'Ninety-Eight''. English and its absence in the national talc' (Edgeworth, Ferrier, Owenson, Scott), which is followed by 'Fratriotism' (Scottish and Irish relations to Empire: Boswell, Byron, Moore and Sheridan), 'Scott and Tourism' and 'Genre and Gender in Scottish and Irish Gothic' (Hogg, Maturin and other writers) (Chapters 8, 9 and I 0). Both the extent of current interest in the field (Research Context) and the dissemination carried out on the project to date (Publication and Dissemination) indicate the depth of academic and more general interest in the topic of the research in question (sec Case for Support).