A HISTORY of the SCOTTISH PEOPLE 5 ENLIGHTENMENT AND
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Hunterian Impact Report 2012
Impact Report 2012 Introduction 2012 has been a year of quite considerable The pace of this programme of activity and achievement for The Hunterian in terms of its academic development is relentless but hugely rewarding. and public engagement. Amongst our triumphs we Perhaps most significantly, our University has should mention the renewal and expanded hang recognised The Hunterian as being not only core of the Hunterian Art Gallery and the opening of our business in respect of its contribution to the University’s special exhibition Rembrandt and the Passion, both lead objectives for excellence in research, an to widespread critical acclaim; the publication of the excellent student experience and for helping to extend Antonine Wall Hunterian Treasures volume and of our institution’s global reach and reputation, but it Director’s Choice: The Hunterian; the strengthening of also points to the role of The Hunterian in our collections through a series of major new strengthening the University of Glasgow’s ability to acquisitions; the development of our international transform Scotland through its research, teaching, partnerships through collections exchange and joint outreach and cultural activities in the publication research activity; the launch of a new Hunterian brand University of Glasgow: Enriching Scotland. identity and significantly enhanced investment in Hunterian street presence; and the further expansion I would argue that the progress we have made in of our highly popular student engagement developing our strategy as a leading UK academic programme including the showcasing of the work of museum service, in the new campus-wide partnerships our first cohort of post-graduate Hunterian we have created, in our improved student offer and Associates, to name but a few. -
CHERRYBURN TIMES the Journal of the Bewick Society
Volume 5 Number 6 Summer 2009 CHERRYBURN TIMES The Journal of The Bewick Society Thomas Bewick in Scotland by Peter Quinn Alexander Nasmyth: Edinburgh seen from Calton Hill, 1825. Bewick visited Scotland on two occasions: 1776 and 1823. to a life spent mainly on Tyneside. However, these visits It is often assumed that the early visit gave Bewick a life-long introduce us to a world and set of concerns which Bewick enthusiasm for Scotland and all things Scottish and that in shared with Scots throughout his life, pre-dating even his first later years he made a sentimental journey northwards. Later great walk northwards. biographers have often thought the 1776 trip insignificant. In 1776 Bewick was 23 years old; in 1823 he arrived in David Croal Thomson, for instance: Edinburgh on his 70th birthday. He provides accounts of It is not necessary to follow Bewick in this excursion, which each trip in the Memoir: Chapter 6 dealing with 1776 was he details in his writings as the experience gained by it in an composed during his spell of writing confined at home with artistic way is inconsiderable. an attack of the gout: 29 May–24 June 1823. He visited Edin- Occurring at the beginning and end of Bewick’s career there burgh in August 1823, writing an account of the trip during is a temptation to simply contrast the two visits, emphasis- his last writing effort between 1824 and January 1827. ing the change that time, circumstance and fame had brought. We left Edinburgh on the 23rd of Augt 1823 & I think I shall The visits have been seen as two great Caledonian book ends see Scotland no more… ‘The Cadger’s Trot’: Thomas Bewick’s only lithograph, drawn on the stone in Edinburgh in 1823. -
Duncan Macmillan James Macpherson's Fragments of Ancient
Duncan Macmillan: Introduction 5 INTRODUCT I ON Duncan Macmillan James MacPherson’s Fragments of Ancient Poetry was published in 1760. Within the year, we learn from Howard Gaskill, it was translated into French by Diderot himself.1 In the two and a half centuries that have passed since then, the work has been translated into practically every literary language under the sun and it is likely that, somewhere, it has always been in print. That would be a remarkable bibliographic history for any book, but for a work whose exact nature was a matter of controversy from the day it was published and which has been routinely debunked as a fraud, it is truly extraordinary; nor does Ossian’s topicality seem to be fading even now in this post-modern era. On the contrary, the occasion for the conference whose transactions are recorded in this volume was the exhibition at the UNESCO building in Paris of Calum Colvin’s remarkable series of images, Ossian, Fragments of Ancient Poetry. It is a title which invokes MacPherson directly and the work itself is a striking witness to his enduring topicality. Among the essays below, the artist has contributed an illuminating commentary on his own work, backed by Tom Normand’s contribution which further examines it in the context of the photographic image and its role in the preservation, generation and perhaps even the creation of memory. Ossian, too, is in part at least a created memory. That analogy with an art form not invented till forty years after MacPherson’s death is typical of the way in which, for all that it is deliberately archaic, Ossian appears paradoxically also to be precociously modern. -
University of Dundee Ossian and Visual Art Macdonald, Murdo
University of Dundee Ossian and Visual Art Macdonald, Murdo Published in: Journal for Eighteenth-Century Studies DOI: 10.1111/1754-0208.12391 Publication date: 2016 Licence: Other Document Version Peer reviewed version Link to publication in Discovery Research Portal Citation for published version (APA): Macdonald, M. (2016). Ossian and Visual Art: Mislaid and Rediscovered. Journal for Eighteenth-Century Studies, 39(2), 235-248. [12391]. https://doi.org/10.1111/1754-0208.12391 General rights Copyright and moral rights for the publications made accessible in Discovery Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from Discovery Research Portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain. • You may freely distribute the URL identifying the publication in the public portal. Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 This is the peer reviewed version of the following article: Macdonald, M. (2016) Ossian and Visual Art: Mislaid and Rediscovered. Journal for Eighteenth- Century Studies, 39: 235–248, which has been published in final form at http://dx.doi.org/10.1111/1754-0208.12391. This article may be used for non- commercial purposes in accordance with Wiley Terms and Conditions for Self- Archiving. -
Journal of Irish and Scottish Studies Cultural Exchange: from Medieval
Journal of Irish and Scottish Studies Volume 1: Issue 1 Cultural Exchange: from Medieval to Modernity AHRC Centre for Irish and Scottish Studies JOURNAL OF IRISH AND SCOTTISH STUDIES Volume 1, Issue 1 Cultural Exchange: Medieval to Modern Published by the AHRC Centre for Irish and Scottish Studies at the University of Aberdeen in association with The universities of the The Irish-Scottish Academic Initiative and The Stout Research Centre Irish-Scottish Studies Programme Victoria University of Wellington ISSN 1753-2396 Journal of Irish and Scottish Studies Issue Editor: Cairns Craig Associate Editors: Stephen Dornan, Michael Gardiner, Rosalyn Trigger Editorial Advisory Board: Fran Brearton, Queen’s University, Belfast Eleanor Bell, University of Strathclyde Michael Brown, University of Aberdeen Ewen Cameron, University of Edinburgh Sean Connolly, Queen’s University, Belfast Patrick Crotty, University of Aberdeen David Dickson, Trinity College, Dublin T. M. Devine, University of Edinburgh David Dumville, University of Aberdeen Aaron Kelly, University of Edinburgh Edna Longley, Queen’s University, Belfast Peter Mackay, Queen’s University, Belfast Shane Alcobia-Murphy, University of Aberdeen Brad Patterson, Victoria University of Wellington Ian Campbell Ross, Trinity College, Dublin The Journal of Irish and Scottish Studies is a peer reviewed journal, published twice yearly in September and March, by the AHRC Centre for Irish and Scottish Studies at the University of Aberdeen. An electronic reviews section is available on the AHRC Centre’s website: http://www.abdn.ac.uk/riiss/ahrc- centre.shtml Editorial correspondence, including manuscripts for submission, should be addressed to The Editors,Journal of Irish and Scottish Studies, AHRC Centre for Irish and Scottish Studies, Humanity Manse, 19 College Bounds, University of Aberdeen, AB24 3UG or emailed to [email protected] Subscriptions and business correspondence should be address to The Administrator. -
Poems and Songs
THE GLEN COLLECTION OF SCOTTISH MUSIC Presented by Lady Dorothea Ruggles- Brise to the National Library of Scotland, in memory of her brother, Major Lord George Stewart Murray, Black Watch, killed in action in France in 1914. 2Wi Jarnmni 1927. m cd"^£'l Digitized by the Internet Archive in 2010 with funding from National Library of Scotland http://www.archive.org/details/poemssongsOOgall POEMS AND SONGS, BY THE LATE RICHARD GALL. ! ; POEMS AND SONGS, BY THE LATE RICHARD GALL. A MEMOIR OF THE AUTHOR. I saw him faint ! I saw him sink to rest Like one ordain'd to gwell the vulgar throng As though the Virtues had not warm'd his breast. As though the Muses not inspired his tongue. SHENSTONE. EDINBURGH: Fvorn the Press of OLIVER AND BOYD, HIGH-STREET : Sold also by , AND W. B, WHITTAKER, LONDON; W. TURNBULL, GLASGOW : AND JOHNSTON AND DEAS, DUBLIN. MDCCCXIX, liNBURt^i^ MEMOIR RICHARD GALL. Ever since the uuion of Eng-land and Scotland, the languag^e of our fathers, no longer the language of a court, has been verging fast to oblivion ; and has been too generally regarded, even by Scotsmen; as the appropriate dialect of the vulgar and illite- rate. Yet they who had been accustomed to ad- mire, in the works of some of our early poets, the energies of their native tongue, could not fail to regi'et, that though scarcely inferior to any lan- guage, and certainly far superior to that by which it has been superseded^ in richness and iu melody, a : VI MEMOIR OF RICHARD GALL. -
NGA | 2017 Annual Report
N A TIO NAL G ALL E R Y O F A R T 2017 ANNUAL REPORT ART & EDUCATION W. Russell G. Byers Jr. Board of Trustees COMMITTEE Buffy Cafritz (as of September 30, 2017) Frederick W. Beinecke Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Louisa Duemling Mitchell P. Rales Aaron Fleischman Sharon P. Rockefeller Juliet C. Folger David M. Rubenstein Marina Kellen French Andrew M. Saul Whitney Ganz Sarah M. Gewirz FINANCE COMMITTEE Lenore Greenberg Mitchell P. Rales Rose Ellen Greene Chairman Andrew S. Gundlach Steven T. Mnuchin Secretary of the Treasury Jane M. Hamilton Richard C. Hedreen Frederick W. Beinecke Sharon P. Rockefeller Frederick W. Beinecke Sharon P. Rockefeller Helen Lee Henderson Chairman President David M. Rubenstein Kasper Andrew M. Saul Mark J. Kington Kyle J. Krause David W. Laughlin AUDIT COMMITTEE Reid V. MacDonald Andrew M. Saul Chairman Jacqueline B. Mars Frederick W. Beinecke Robert B. Menschel Mitchell P. Rales Constance J. Milstein Sharon P. Rockefeller John G. Pappajohn Sally Engelhard Pingree David M. Rubenstein Mitchell P. Rales David M. Rubenstein Tony Podesta William A. Prezant TRUSTEES EMERITI Diana C. Prince Julian Ganz, Jr. Robert M. Rosenthal Alexander M. Laughlin Hilary Geary Ross David O. Maxwell Roger W. Sant Victoria P. Sant B. Francis Saul II John Wilmerding Thomas A. Saunders III Fern M. Schad EXECUTIVE OFFICERS Leonard L. Silverstein Frederick W. Beinecke Albert H. Small President Andrew M. Saul John G. Roberts Jr. Michelle Smith Chief Justice of the Earl A. Powell III United States Director Benjamin F. Stapleton III Franklin Kelly Luther M. -
Obstacles and Opportunities: Labour Emigration to the 'British World' In
Obstacles and Opportunities: Labour Emigration to the ‘British World’ in the Nineteenth Century In the century after the Napoleonic Wars ended it is estimated that between 44 and 52 million people from Europe emigrated overseas.1 Of that number, about 10 million came from Britain and 6 million from Ireland, and their destinations were primarily the United States, followed by the settler colonies of Canada, Australia and New Zealand.2 They came from all walks of life, and followed a wide variety of occupations. Concerns surrounding their employment, including recruitment strategies, wages, and working conditions, clearly preoccupied emigrants who went to the so-called British world, as well as to Europe, and it is on a selection of such globe-trotting settlers and sojourners that this essay is focused. The first part of the study analyses the historiography of labour migration from Victorian Britain. As well as highlighting different interpretations, it considers whether the existing literature adequately depicts the attitudes of trade unions, employers and governments towards overseas relocation as a strategy for relieving unemployment and poverty. Was it a vehicle for defusing, exporting or igniting radicalism? Did perceptions, policies and practices remain static or evolve during the nineteenth century, and what determined continuities and changes? The spotlight then shifts to a handful of empirical studies, in which primary sources are deployed to illustrate and humanise the theoretical issues raised in the evaluation of the secondary literature. While the examples cannot reflect the full character of labour migration, they have been selected from different locations, occupations and periods, and constitute the main part of the paper. -
Nicholas Brooke Phd Thesis
THE DOGS THAT DIDN'T BARK: POLITICAL VIOLENCE AND NATIONALISM IN SCOTLAND, WALES AND ENGLAND Nicholas Brooke A Thesis Submitted for the Degree of PhD at the University of St Andrews 2016 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/8079 This item is protected by original copyright The Dogs That Didn't Bark: Political Violence and Nationalism in Scotland, Wales and England Nicholas Brooke This thesis is submitted in partial fulfilment for the degree of PhD at the University of St Andrews 30th June 2015 1 Abstract The literature on terrorism and political violence covers in depth the reasons why some national minorities, such as the Irish, Basques and Tamils, have adopted violent methods as a means of achieving their political goals, but the study of why similar groups (such as the Scots and Welsh) remained non-violent, has been largely neglected. In isolation it is difficult to adequately assess the key variables behind why something did not happen, but when compared to a similar violent case, this form of academic exercise can be greatly beneficial. This thesis demonstrates what we can learn from studying ‘negative cases’ - nationalist movements that abstain from political violence - particularly with regards to how the state should respond to minimise the likelihood of violent activity, as well as the interplay of societal factors in the initiation of violent revolt. This is achieved by considering the cases of Wales, England and Scotland, the latter of which recently underwent a referendum on independence from the United Kingdom (accomplished without the use of political violence) and comparing them with the national movement in Ireland, looking at both violent and non-violent manifestations of nationalism in both territories. -
William Blake Henry Fuseli Auckland City Art Gallery
WILLIAM BLAKE ILLUSTRATIONS OF THE BOOK OF JOB HENRY FUSELI THE THREE WITCHES OF MACBETH AND ASSOCIATED WORKS AUCKLAND CITY ART GALLERY AUGUST 8 - OCTOBER 2 1980 WILLIAM BLAKE (1757-1827) As poet, watercolourist and engraver, Blake was the creator of an idiosyncratic mythology. Born of a lower middle class merchant family, Blake had no academic training, but attended Henry Par's preparatory drawing school from 1767 until his apprenticeship in 1772 to James Basire, engraver to the Society of Antiquaries. At Westminster Abbey,Blake made drawings for Gough's Sepulchral Monuments in Great Britain (1786), thereby immersing himself in the mediaeval tradition, with which he found a spiritual affinity. In 1782 Blake married and moved to Leicester Fields in London, where he completed and published in 1783 his first work, Poetical Sketches. In these early years he developed lasting friendships with the painters Barry, Fuseli and Flaxman, and for a while shared Flaxman's preoccupation with classical art. For his next major publication, Songs of Innocence, completed in 1789, Blake invented a new engraving technique whereby lyrics and linear design could be reproduced simultaneously in several stages in the copper plate. The resulting prints were then hand-coloured. This complete fusion of tint and illustration recalls mediaeval illuminated manuscripts, from which Blake derived obvious inspiration. From 1790 until 1800 Blake lived in Lambeth and produced books, thematically characterised by energetic protest against eighteenth century morality (The Marriage of Heaven and Hell, 1790-3) and against political authority (Ammca 1793, and The French Revolution, 1791). These works corroborate Blake's radicalism, which was demonstrated by his sympathy with Swedenborg in religion, with Mary Wollstonecaft in education, and with the Jacobins during the French Revolution. -
DISCOVERDISCOVER | SPRING 2020 Large Protest Meetings Were Held, Mainly in Weaving Areas in the Central Belt
CURATOR’S CHOICE WORDS: Graham Hogg Rare Books Curator Two centuries after impoverished weavers were manipulated into rising up, we look back on… SCOTLAND’S RADICAL WAR years ago, the system had been circulating in British coordinate nationwide action for the last armed society since the late 1700s, inspired by formation of a Scottish republic. However, uprising on the French Revolution. From 1815, unrest government spies and provocateurs had British soil took had grown in England, culminating in infiltrated the radicals' meetings. The 200place, led by radical reformers in Scotland. 1819’s Peterloo Massacre in Manchester committee convened in a tavern in The events of April 1820, and their and the Cato Street conspiracy. Glasgow’s Gallowgate on 21 March, only aftermath, are not widely known today, Scotland had also been swept up in to be arrested and detained in secret. but profoundly influenced the political the movement for reform. Large protest With the committee out of the way, history of Scotland in the 19th century. meetings were held, mainly in weaving Government agents decided to entice The years leading up to the Radical areas in the Central Belt. A rally in Paisley the radicals out into the open by printing War of 1820 were grim for the Scottish in September 1819 led to a week of a proclamation, supposedly from the working classes. The Napoleonic Wars rioting, and cavalry was used to control committee, calling for an uprising. The had exhausted Britain's finances. Food about 5,000 radicals. With the country proclamation, dated Glasgow 1 April 1820, was short due to poor harvests, and the seemingly on the brink of a revolution, urged workers to withdraw their labour Corn Laws prevented imports of cheap members of the Scottish establishment, and recover their rights: "Liberty or foreign wheat. -
Songlines: the Road to Bonnymuir
SONGLINES: THE ROAD TO BONNYMUIR AN ANTHOLOGY OF TH TH LATE 18 /EARLY 19 CENTURY POLITICAL SONG SONGS IN SCOTS AND ENGLISH WITH SONGWRITER BIOGRAPHIES AND USEFUL NOTES ON EACH SONG Compiled, arranged & edited by Alan Dickson ROWTH PUBLISHING SONGLINES: THE ROAD TO BONNYMUIR An Anthology of Late 18 th /Early 19 th Century Political Song COMPILED, ARRANGED AND EDITED BY ALAN DICKSON ROWTH rave on rhyme ACKNOWLEDGEMENTS I owe thanks to the Third Age Trust and the Alastair Hulett Memorial Trust for providing funding towards the cost of this publication. Also I wish to thank the Janey Buchan Political Song Collection at Glasgow University, particularly John Powles and Kate Lynch; Carole McCallum from Special Archives at Glasgow Caledonian University, and members of Glasgow West-End and Paisley and District’s University of the Third Age (U3A), 1820 Research Group, particularly Irene Scullion, Helen Glassford and John Revie, which has helped to inform this anthology. Thanks also to Susan Kirkwood (Dunfermline U3A) for suggesting ‘The Reformer.’ This anthology is part of Glasgow West-End and Paisley and District U3As joint local history research project. Thanks also for permission to Freddie Anderson’s family to include ‘Glasgow’s Radical Rising of 1820.’ Other sources are acknowledged in the notes section. I also found Shaun Kavanagh’s essay (from www.academia.edu) ‘Scottish Society and the Radical War of 1820’ and Gordon Pentland’s essay ‘Radical Returns in an Age of Revolutions’ particularly valuable. Images of the Radical Road on inside front cover (from The Hawes end) and inside back cover (from St Margaret’s Well end) are by Auld Angus.