Titlebook: James Hogg and British Romanticism; A Kaleidoscopic Art Meiko O’Halloran Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Jam

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悶熱

,Hogg’s Self-Positioning in , and the Literary Marketplace,e through his self-positioning as both a participant in, and a critical viewer of, the literary marketplace; he draws together and critiques some of the competing impulses and rival literary forms circulating in the Romantic period. I begin by situating his kaleidoscopic art at the cultural intersec

柔美流暢

,Hogg’s Eighteenth-Century Inheritance: ,, National Epic and Imagined Ancestries,ing connotations of death and aftermath, the antiquated meaning of the term ‘wake’ yields more positive implications — referring to the musical celebrations once used to commemorate the dedication of a church or the eve of a feast day. The subtitle ‘A Legendary Poem’ similarly plays on different mea

Mystic

Expertise

meretricious

變形

Conclusion: Expanding the Range of Romanticism,mes clear that recovering the work of a dramatically experimental, non-didactic and ‘marginal’ writer like Hogg has the effect of revealing the way in which canonical accounts of Romanticism have tended to favour writers with more clearly defined and articulated artistic ideas and principles. Other

Palate

oraries. Hogg creates a unique literary style which, the author argues, is best described as ‘kaleidoscopic‘ in view of its similarities with David Brewster‘s kaleidoscope, invented in 1816.978-1-137-55905-0

懶惰民族

Conclusion: Expanding the Range of Romanticism,re the full range of his writings in the Stirling/South Carolina edition of his ., those who are new to literature of the Romantic period might easily miss him altogether since he has been largely edited out of modern anthologies.

出生

The Editor(s) (if applicable) and The Author(s) 2016