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Dani Napton

Counter-revolutionary or wary progressive? Critical apologist for the Stuart and Hanoverian dynasties? What are the political and cultural significances of place when Scott represents the instabilities generated by the Union? Scott's Novels and the Counter-Revolutionary Politics of Place analyses Scott’s sophisticated, counter-revolutionary interpretation of Britain's past and present in relation to those questions.

Exploring the diversity within Scott’s life and writings, as historian and political commentator, conservative committed to progress, Scotsman and Briton, lawyer and philosopher, this monograph focuses on how Scott portrays and analyses the evolution of the state through notions of place and landscape. It especially considers Scott’s response to revolution and rebellion, and his geopolitical perspective on the transition from Stuart to Hanoverian sovereignty.


Edited by Rossitsa Terzieva-Artemis

For the centenary of Ford Madox Ford’s The Good Soldier (1915), this volume originally re-examines some well-known issues surrounding the text and its “mad about writing” author: the Conrad-Ford friendship and literary collaboration; Modernist agenda(s) and Impressionist techniques; genre innovations and philosophical questions. The dialogue between established and young Ford scholars produces a challenging kaleidoscope of insights into the work of this controversial English writer and his perennial novel.

Contributors are:
Asunción López-Varela Azcárate, Marc Ouellette, Lucie Boukalova, Allan Pero, Dean Bowers, Aimee L. Pozorski, Chris Forster, J. Fitzpatrick Smith, Edward Lobb, Timothy Sutton, Gabrielle Moyer, Joseph Wiesenfarth.


Edward Lobb

Discussion of Ford’s most famous novel has tended to focus on technique and the depiction of the characters’ psychology rather than on the novel’s larger historical and contemporary themes. The Good Soldier is extraordinary, however, precisely in its detailed anatomy of the principal features of modernity, and its analysis of how these features are related. Beginning with Dowell’s professed ignorance of the meaning of the story he tells, Ford shows how the narrator’s incomprehension is shared by the other characters and how it reflects a general modern sense of fragmentation and formlessness.