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Negotiating nationalism: Scottish d...

Stapleton, Anne McKee.

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Negotiating nationalism: Scottish dance in post-Culloden literature.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Negotiating nationalism: Scottish dance in post-Culloden literature./
作者:	Stapleton, Anne McKee.
面頁冊數:	282 p.
附註:	Source: Dissertation Abstracts International, Volume: 62-03, Section: A, page: 1036.
Contained By:	Dissertation Abstracts International62-03A.
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3009643
ISBN:	0493192743

Negotiating nationalism: Scottish dance in post-Culloden literature.
Stapleton, Anne McKee.

Negotiating nationalism: Scottish dance in post-Culloden literature. - 282 p.

Source: Dissertation Abstracts International, Volume: 62-03, Section: A, page: 1036.

Thesis (Ph.D.)--The University of Iowa, 2001.

“Negotiating Nationalism” traces the ephemeral art of dance and the diverse literary forms in which it appeared in the decades following the Battle of Culloden. The Hanoverian defeat of Prince Charles Stuart and his Scottish supporters eradicated the Jacobite party forever and provoked draconian measures designed to obliterate Highland culture. However, the failure to paralyze Scottish culture and national expression became evident as hundreds of Scottish dances and tunes burgeoned forth, transcending oppression and linguistical differences within the “United Kingdom.” Late eighteenth- and early nineteenth-century literary works reveal the complicated role of Scottish social dancing as an outwardly conforming, covertly subversive, expression of Scottish nationalism.

ISBN: 0493192743Subjects--Topical Terms:

610547
Dance.

Negotiating nationalism: Scottish dance in post-Culloden literature.
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502 $a Thesis (Ph.D.)--The University of Iowa, 2001.
520 $a “Negotiating Nationalism” traces the ephemeral art of dance and the diverse literary forms in which it appeared in the decades following the Battle of Culloden. The Hanoverian defeat of Prince Charles Stuart and his Scottish supporters eradicated the Jacobite party forever and provoked draconian measures designed to obliterate Highland culture. However, the failure to paralyze Scottish culture and national expression became evident as hundreds of Scottish dances and tunes burgeoned forth, transcending oppression and linguistical differences within the “United Kingdom.” Late eighteenth- and early nineteenth-century literary works reveal the complicated role of Scottish social dancing as an outwardly conforming, covertly subversive, expression of Scottish nationalism.
520 $a Drawing connections among theories of nationalism, literary analysis, and dance performance, I examine the intertextual relationships between dance and literature. Chapter One first explores the Tullochgorum as a pivotal example of the strathspey—a Scottish musical and dance form which became a malleable literary device and flexible trope of Scottish expression. I then analyze the strathspey in poems by eighteenth-century poets including Robert Burns, Robert Fergusson, Caroline Nairne, Anne Grant, and Alexander Campbell. Turning to social dance as a lively cultural practice, Chapter Two scrutinizes rhetorical strategies employed and ideologies implicit in the codification of Scottish dance in early nineteenth-century dance manuals. Because they theorize and control the individual dancing body and collective social body, manuals provide intriguing subtexts of British nationalist rhetoric.
520 $a Chapters Three and Four examine the rise and fall of “Scotch novels” as dance becomes a site of narrative transformation and character study of regional differences. While women novelists such as Christian Isobel Johnstone, Amelia Beauclerc, Rosalia St. Clair, and Susan Ferrier add a feminized dimension to nationalist debates, male novelists such as Walter Scott, David Carey, and Felix M'Donogh uphold a more traditional view. As Sarah Green's novelistic satire and contemporary reviews reveal, however, anxiety over national identification in “Scotch novels” eventually counterbalanced their popularity. By 1830, “Scotch novels” had become subsumed into a broader British rubric. The imbrication of popular Scottish genres ultimately discloses that dance and the literary works in which it appeared significantly influenced discussions of Scottish identity.
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