華特•史考特的小說「威佛利」將蘇格蘭描寫成擁有風景如畫(the picturesque)的理想國度，透過浪漫的在地記憶與特色，像是蘇格蘭的自然風貌、英勇的高地詹姆斯黨人、吟遊詩人傳統與當地蓋爾文化，塑造出蘇格蘭的獨特風景。史考特透過如畫美學所呈現的浪漫的蘇格蘭(a romantic Scotland)其實是運用兩種全然不同的元素加以想像而成，在敘事中加入歷史(history)與羅曼史(romance)，讓如畫的蘇格蘭得以一方面提供蘇格蘭人(Scots)屬於他們的國家想像，可也讓蘇格蘭人和英國人能共同將這美麗風景當成是兩地合併後大不列顛聯合王國(Great Britain)所迎來的新的一頁（當然這背後是充滿了矛盾和相異的價值觀），另外，更將蘇格蘭變成遊客找尋如畫美景的勝地。本論文的第一章將討論與定義「如畫」一詞與其在美學觀點上的發展與改變，前者主要以十八世紀的英國為主，後半部分將討論十九世紀的蘇格蘭與如畫美學。第二章則會專注在史考特是如何在本小說中使用和呈現如畫美學與其所呈現的理想風景中的國家想像，搖擺於國家到底指得是大不列顛還是蘇格蘭。第三章將討論小說中被浪漫化的(romanticizing)蘇格蘭風景、傳統蓋爾文化和其中激發的蘇格蘭浪漫國族主義與想像(Romantic nationalism),這些和現代化的大不列顛完全不同的蘇格蘭樣貌變成了蘇格蘭式的如畫和觀光客所找尋的美景，加上小說插圖本(illustrated edition)的流行，小說成功的把地圖上畫的「蘇格蘭」再現成了「史考特的蘇格蘭」(Scott-land)，投射了作者本身的浪漫想像和情懷。

Walter's Scott's novel Waverley depicts Scotland as a picturesque country, which produces a distinctive and romantic picture with incorporating the local elements: Scottish natural landscape, the heroic Jacobites, the bardic tradition and Gaelic culture. Scott’s picturesque representation of a romantic Scotland, built upon the mixture of romance and history, achieves two goals: it offers the Scots an idealized Scottish nation while making Scotland’s participation in the Union with England palatable to both the Scots and the English, giving the Scots an authentic image of their own country and the English a tourist destination of picturesque beauty. Chapter one defines the term “picturesque,” discusses its changing meanings as an aesthetic category, and introduces the general picturesque experience of Scotland. Chapter two discusses Scott’s use of the picturesque in Waverley and its concomitant paradoxes in Scott’s idealization of a British nation. Chapter three focuses on the romanticizing of the Scottish landscape as well as on how the image supported Romantic nationalism. That romantic picture of a Gaelic Scotland then turned into the set picturesque view that tourists had of Scotland, even before they actually traveled there. The illustrated editions of Scott’s novels played a major role in turning Scotland into “Scott-land,” a country made up of a novelist’s ambition and imagination.

論文審定書 I
ACKNOWLEDGEMENT II
摘要 III
ABSTRACT IV
INTRODUCTION 1
CHAPTER ONE THE PICTURESQUE AND NINETEENTH-CENTURY SCOTLAND 14
CHAPTER TWO PICTURESQUE SCOTLAND IN WAVERLEY 48
CHAPTER THREE ROMANTIC SCOTLAND 76
CONCLUSION 104
WORKS CITED 109
LIST OF ILLUSTRATIONS 116

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List of Illustrations
Figure 1. Turner, Joseph Mallord William. Edinburgh March of the Highlanders. 1836. Illustrating Scott: A Database of Printed Illustrations to the Waverley Novels, 1814-1901. Edinburgh. Web.
Figure 2. Lizars, William Home. Edinburgh Castle. 1819. Picturing Scotland Through the Waverley Novels: Walter Scott and the Origins of the Victorian Illustrated Novel. Ed. Richard Hill. Burlington: Ashgate, 2010. Print.
Figure 3. Nasmyth Alexander. Craigcrook; an equivalent of Tully-Veolan.1821. Illustrating Scott: A Database of Printed Illustrations to the Waverley Novels, 1814-1901. Edinburgh. Web.
Figure 4. Leslie, Charles Robert. Flora in the Glen of Glennaquoich. 1832. Illustrating Scott: A Database of Printed Illustrations to the Waverley Novels, 1814-1901. Edinburgh. Web.
Figure 5. Clennell, L. Traquair Castle. Peebleshire. 1815. ScotlandsPlaces. Edinburgh. Web.