By Nicola J. Watson (eds.)
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Extra info for Literary Tourism and Nineteenth- Century Culture
I want to use this presence/absence figure to think through the literally rare but symbolically ubiquitous phenomenon of graffito at the grave, the signing of the visitor’s name on or close to the poet’s monument. Derrida’s account of the ‘enigmatic originality’ of signature suggests the aura typically attributed to autograph in the nineteenth century: [A] written signature implies the actual or empirical nonpresence of the signer. But, it will be said, it also marks and retains his havingbeen-present in a past now, which will remain a future now, and therefore ...
Hill’s volumes are notable for newly extending ‘The Land of Burns’ out of Ayrshire into wider Scotland, and most notably, into the Highlands. Several of Hill’s scenes are set in the Highlands and tacitly reflect the widely-held idea that Burns’s romantic sensibility made him heir to the third-century Gaelic bard Ossian. During his lifetime, the notion of Burns as an uncultivated ‘national’ poet was widely propagated in the wake of the success of James Macpherson’s Ossianic poems,10 all of which were warmly received by Edinburgh literary society.
19. Olivier Nora, “La visite au grand écrivain” in Les lieux de mémoire, ed. Pierre Nora, 2nd edn (Paris: Gallimard, 1997), vol. II, 2131–55. 20. On the cult surrounding Goethe’s houses in Frankfurt, Rome and Weimar, see my ‘Philologie, materielle Kultur und Authentizität. Das Dichterhaus zwischen Dokumentation und Imagination’, in Die Herkulesarbeiten der 24 Literary Tourism and Nineteenth-Century Culture Philologie, ed. Sophie Berto and Bodo Plachta (Berlin: Weidler, 2008), 211–31. 21. The definition is taken from Julian Barnes’ description of his own literary pilgrimage to Flaubert’s house in Croisset.
Literary Tourism and Nineteenth- Century Culture by Nicola J. Watson (eds.)