DOCSLIB.ORG

Scottish Clothing and Textile Cultures in the Long Eighteenth Century

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Scottish Clothing and Textile Cultures in the Long Eighteenth Century This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Weaving the Nation: Scottish Clothing and Textile Cultures in the Long Eighteenth Century Sally J.S. Tuckett Doctor of Philosophy University of Edinburgh 2010 Declaration I confirm that the following thesis has been composed by me, and is completely my own work. None of the information has been submitted for any other degree or professional qualification. Sections of Chapter 1 have been published in Textile History, 40:2 (2009). Sally J.S. Tuckett 20 th December 2010 Abstract Clothing and textiles are an important means of communication, providing nuanced signals of economic and social status, occupation, and political affiliation. Consequently the study of clothing and textiles is a valuable approach to the investigation of a past society. Building on current methodological approaches associated with clothing and textile history and the study of material culture, this thesis will investigate how the clothing and textiles of the Scottish population in the long eighteenth century can be interpreted as symbols of wider cultural, social and economic practices. Studies of tartan and Highland dress have dominated the literature on historical Scottish dress and textiles, a result of these items’ intimate connection with modern Scottish identity. This thesis seeks to redress the balance by examining clothing and textiles in both the Highland and Lowland regions, in rural and urban areas, and in the experiences of the elite and non-elite sections of the population. This will be done using multiple and varied sources, including surviving artefacts, portraits, inventories, and contemporary literature. By incorporating quantifiable analysis and qualitative interpretation, this approach complements and adds to existing knowledge of Scottish clothing and textiles. The thesis begins with an examination of the clothing culture, looking at everyday clothing and its use in national, occupational, and political identities. Examination of the textile culture scrutinizes the use of textiles in literature, the economic and ideological approaches to the textile industry, and the practical motivations behind tartan manufacture. The role of ‘fashion’ in Scottish clothing and textile cultures is studied, looking at how outside fashions were received within Scotland, and how Scotland in turn influenced wider fashions. The thesis provides an overview of Scottish dress and textiles in the long eighteenth century demonstrating the importance such investigation can have on the comprehension of the wider social and economic practices of a nation. Contents Acknowledgements ii List of Figures iii List of Abbreviations v Introduction 1 Section I: Clothing Cultures 26 1. Nationalism and Tradition in Scottish Dress 28 2. Regional Wardrobes 56 3. Occupational Identities: Professional and Working Dress 88 4. Seditious and Respectable Dress: Political Clothing 120 Section II: Textile Cultures 141 5. Reading Cloth: Textiles in Scottish Poetry and Literature 143 6. The Improvers and the Woollen Industry 168 7. “The Tartan Way”: William Wilson and Son of Bannockburn 190 Section III: Scotland and Fashion 215 8. Fashionable Dress in Scotland 217 9. Tartan as a Fashionable Material c.1790-1830 237 Conclusion 257 Appendix: Inventories Used in Chapter 2 262 Bibliography 270 i Acknowledgements I should like to thank first, and foremost, my supervisors who have provided unstinting support throughout this project. I owe an immense debt to Dr. Stana Nenadic who initially opened my mind to the history of material culture, and whose constant guidance and support has been central to the completion of this project. Dr. Alexander Murdoch and Dr. David Caldwell have both provided me with innumerable sources of information and leads to follow up, as well as the occasional motivational speech when it felt like the end was never going to be in sight. Members of staff, both past and present, of the department of Scotland and Europe in the National Museums Scotland have been incredibly patient with my many questions regarding objects and pictures over the years. I would particularly like to thank Fiona Anderson, John Burnett, Hugh Cheape, Lyndsay McGill, Georgina Ripley, Kristina Stankovski, and Naomi Tarrant. I would also like to thank Stuart Allan at the National War Museum Scotland. All have devoted their time and energy to varied aspects of this project, for which I am very grateful. The project was generously funded through the AHRC Collaborative Doctoral Award Scheme, in partnership with the National Museums Scotland. Thanks are due to both for this funding. Elements of Chapter 1 were presented at a Pasold Workshop at the University of Leeds in 2007. This paper became an article, ‘National Dress, Gender and Scotland: 1745-1822’, Textile History, 40:2 (2009). I am grateful to the participants at the workshop, and the editors and reviewers of this article for their helpful comments and feedback in developing this work. Research for the project has called upon the services of many institutions in Edinburgh and further afield. I am grateful to the staff at the National Library of Scotland, the National Archives of Scotland, the National Galleries of Scotland, the University of Edinburgh Special Collections, the Scottish Catholic Archives, the Stirling City Archives, the Fashion Museum at Bath, and the Victoria and Albert Museum, London. Special thanks go to Imogen Gibbon at the National Portrait Gallery of Scotland, Alison Rosie at the National Archives of Scotland, Peter MacDonald of the Scottish Tartans Authority, Denise Brace at the Edinburgh City Museums, Rebecca Quinton at the Burrell Collection, Glasgow, Iain Milne of the Sibbald Library at the Royal College of Physicians, Edinburgh, and George A. Dixon. To my fellow postgraduates, knowing that there are others going through similar experiences has been the best support possible. Debts are due to so many of you who, in your own ways, have helped me get to the end of this project. To my family and friends, who quickly learned not to ask how the work was going, and who encouraged me or told me to just get on with it (both equally useful) – I will always be grateful. Claire, Sarah, and Lindsay, your support in particular - and reminders that there is a world beyond the books - has helped get me through. My mum and Sam have, more than most, borne the brunt of my mood swings and general grumpiness with a patience, grace, and understanding that I almost certainly did not deserve. No-one else could have done more. Thank you. ii List of Figures 1.1 White cockade of cambric, c.1745 33 1.2 Portrait of a Jacobite Lady by Cosmo Alexander, 1740s 33 1.3 Cream silk dress, c.1740 34 1.4 Embroidered rose on silk dress, c.1740 34 1.5 Tartan suit worn by William Blackhall, 1822 40 1.6 Piper’s uniform worn by Malcolm McCallum, 1822 41 1.7 A Thousand Warm Receptions in the North , 1822 45 1.8 Blue bonnet, 1746-1820 46 1.9 Prince Charles Edward Stuart (1720-1788), artist unknown 47 1.10 City porter in Edinburgh by David Allan, 1780s 48 1.11 Gravestone of John Craig, 1742 48 1.12 Cotton handkerchief printed with scenes from Allan Ramsay’s ‘The Gentle Shepherd’, eighteenth/nineteenth century 49 1.13 Highland soldiers from Francis Grose’s Military Antiquities 51 1.14 Engraving of a Highland lady by James Basire 52 1.15 James Hogg (1770-1835) by Sir John Watson Gordon 54 2.2 Sketch of a Scotch maid by David Allan 70 2.3 Women Waulking the Wool produced for Thomas Pennant’s voyage to the Hebrides in 1772 73 2.5 Sir James MacDonald (1742-1766) and Sir Alexander MacDonald (1745-1795) as boys, attributed to William Mosman 79 3.1 Henry Hamilton by Sir John de Medina, c.1700 91 3.2 James Hamilton, by Sir John de Medina, c.1700 91 3.3 Alexander Monro primus (1697-1767) attributed to Allan Ramsay 93 3.4 Alexander Monro secundus (1733-1817) by John T. Seton 94 3.5 Alexander Monro tertius (1773-1859) by Kenneth Macleay 94 3.6 Alexander Wood (1726-1807) by John Kay, 1784 95 3.7 Alexander Wood by George Watson 95 3.8 James Graham (1745-1794) and Miss Dunbar by John Kay, 1785 97 3.9 James Graham lecturing in Edinburgh by John Kay, 1785 97 3.10 Neil Fergusson and Count Joseph Boruwlaski by John Kay, 1802 102 3.11 Sir Hew Dalrymple (1652-1737), Lord President of the Court of Session, early eighteenth century 104 3.12 James Boswell (1740-1795) by Sir Joshua Reynolds, 1785 104 3.13 Twelve Advocates with Wigs by John Kay, 1810 105 3.14 Twelve Advocates without Wigs by John Kay, 1811 105 3.15 Adam Cockburn of Ormiston (c.1656-1735) attributed to William Aikman 106 3.16 Patrick Grant, Lord Elchies (1690-1754) by Allan Ramsay 106 3.17 Hew Dalrymple, Lord Drummore (1690-1755) by Allan Ramsay, 1754 108 3.18 City porter
Load more

Recommended publications
  • The Rhetoric of the Saints in Middle English Bibiical Drama by Chester N. Scoville a Thesis Submitted in Conformity with The
    The Rhetoric of the Saints in Middle English BibIical Drama by Chester N. Scoville A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto O Copyright by Chester N. Scoville (2000) National Library Bibiiotheque nationale l*l ,,na& du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rwW~gtm OttawaON KlAûîU4 OtÈewaûN K1AW canada canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otheMrise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract of Thesis for the Degree of Doctor of Philosophy 2000 Department of English, University of Toronto The Rhetoric of the Saints in Middle English Biblical Dnma by Chester N. Scovilie Much past criticism of character in Middle English drarna has fallen into one of two rougtily defined positions: either that early drama was to be valued as an example of burgeoning realism as dernonstrated by its villains and rascals, or that it was didactic and stylized, meant primarily to teach doctrine to the faithfùl.
    [Show full text]
  • Tartan As a Popular Commodity, C.1770-1830. Scottish Historical Review, 95(2), Pp
    Tuckett, S. (2016) Reassessing the romance: tartan as a popular commodity, c.1770-1830. Scottish Historical Review, 95(2), pp. 182-202. (doi:10.3366/shr.2016.0295) This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/112412/ Deposited on: 22 September 2016 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk SALLY TUCKETT Reassessing the Romance: Tartan as a Popular Commodity, c.1770-1830 ABSTRACT Through examining the surviving records of tartan manufacturers, William Wilson & Son of Bannockburn, this article looks at the production and use of tartan in the late eighteenth and early nineteenth centuries. While it does not deny the importance of the various meanings and interpretations attached to tartan since the mid-eighteenth century, this article contends that more practical reasons for tartan’s popularity—primarily its functional and aesthetic qualities—merit greater attention. Along with evidence from contemporary newspapers and fashion manuals, this article focuses on evidence from the production and popular consumption of tartan at the turn of the nineteenth century, including its incorporation into fashionable dress and its use beyond the social elite. This article seeks to demonstrate the contemporary understanding of tartan as an attractive and useful commodity. Since the mid-eighteenth century tartan has been subjected to many varied and often confusing interpretations: it has been used as a symbol of loyalty and rebellion, as representing a fading Highland culture and heritage, as a visual reminder of the might of the British Empire, as a marker of social status, and even as a means of highlighting racial difference.
    [Show full text]
  • Modh-Textiles-Scotland-Issue-4.Pdf
    A TEXTILES SCOTLAND PUBLICATION JANUARY 2013 AN ENCHANTING ESCAPE IN SCOTLAND FABULOUS FABRIC AND DETAILED DESIGN FASHION FOUNDRY NURTURING SCOTTISH TALENT contents Editor’s Note Setting the Scene 3 Welcome from Stewart Roxburgh 21 Make a statement in any room with inspired wallpaper Ten Must-Haves for this Season An Enchanting Escape 4 Some of the cutest products on offer this season 23 A fashionable stay in Scotland Fabulous Fabric Fashion Foundry 6 Uncovering the wealth of quality fabric in Scotland 32 Inspirational hub for a new generation Fashion with Passion Devil is in the Detail 12 Guest contributor Eric Musgrave shares his 38 Dedicated craftsmanship from start to fi nish thoughts on Scottish textiles Our World of Interiors Find us 18 Guest contributor Ronda Carman on why Scotland 44 Why not get in touch – you know you want to! has the interiors market fi rmly sewn up FRONT COVER Helena wears: Jacquard Woven Plaid with Herringbone 100% Merino Wool Fabric in Hair by Calzeat; Poppy Soft Cupsilk Bra by Iona Crawford and contributors Lucynda Lace in Ivory by MYB Textiles. Thanks to: Our fi rst ever guest contributors – Eric Musgrave and Ronda Carman. Read Eric’s thoughts on the Scottish textiles industry on page 12 and Ronda’s insights on Scottish interiors on page 18. And our main photoshoot team – photographer Anna Isola Crolla and assistant Solen; creative director/stylist Chris Hunt and assistant Emma Jackson; hair-stylist Gary Lees using tecni.art by L’Oreal Professionnel and the ‘O’ and irons by Cloud Nine, and make-up artist Ana Cruzalegui using WE ARE FAUX and Nars products.
    [Show full text]
  • Fulled Wool Scarves Multiple Projects on the Same Threading
    Fulled Wool Scarves multiple projects on the same threading MADELYN VAN DER HOOGT Choose from a fabulous array of colors and make lots of scarves for quick and easy holiday gifts. Change weft colors for different looks on the same warp—or change the colors of the warp, too! Simply tie a new warp onto the one you’ve just finished. The setts of both the warp and the weft in this project are very open to allow maximum fulling to take place during wet finishing. The result is a wonderfully soft, thick, cuddly, warm winter scarf. hese two scarves were woven on dif- secure them in front of the reed. ferent warps, both of Harrisville Then, taking the first end of the old T Shetland, one in Garnet, the other warp and the first end of the new warp on in Peacock. Both yarns are somewhat one side (right side if you are right hand- “heathered” (flecks of other colors are spun ed, left side if you are left-handed), tie into the yarn), a quality that makes them them together in an overhand knot. Re- work well with a variety of weft colors. peat with the next end from each warp and You can choose to weave many scarves on continue until all ends are tied. The knots one very long warp or even tie on new do not have to be exactly at the same point warps to change scarf colors completely. for every tie. Especially with wool, small Whatever you choose, you’ll find the tension differences between the threads weaving easy and fun.
    [Show full text]
  • Scottish Eccentrics
    SCOTTISH ECCENTRICS by HUGH MacDIARMID SCOTTISH ECCENTRICS The distinguished Scottish poet and literary critic who writes this book recalls how Bernard Shaw in On The Rocks ironically declares that the massacres after the Battle of Culloden were not "mur- der" but simply "liquidation," since the slain Scots in question were "incompatible with British civilization." He then surveys the whole field of Scottish biography, and shows how true this has proved of an amazing number of distinguished Scots, no matter how successfully the bulk of the Scottish people have been assim- ilated to English standards since the Union. The facts are irresist- ible and bring out the "eccen- tricity" of Scottish genius in an extraordinary fashion. The author gives full-length studies often outstanding Scottish eccentrics, including Lord George Gordon of the "Gordon Riots"; Sir Thomas Urquhart, the trans- lator of Rabelais', "Christopher North"; "Ossian" (James Mac- pherson, M.P.); James Hogg, the Ettrick Shepherd; and William McGonagall, perhaps the world's best "bad poet". But he supports these leading cases with apt material drawn from the lives of hundreds of Scots of every period in history and every walk of life, and in this way builds up a bril- liant panoramic picture of Scottish psychology through the ages, singularly at variance with all generally accepted views of the national character. 15 S. net By the Same Author Poetry Sangschaw Penny Wheep To Circumjack Cencrastus First Hymn to Lenin, and other Poems A Drunk Man looks at the Thistle Stony Limits, and other Poems Fiction Annals of the Five Senses Translations The Handmaid of the Lord (novel, from the Spanish of Ramon Maria de Tenreiro) Birlinn Chlann-Rhagnaill (poem, from the Scots Gaelic of Alasdair Mac- Mhaighstir Alasdair) Criticism Contemporary Scottish Studies Albyn: or Scotland and the Future Scottish Scene (in collaboration with Lewis Grassic Gibbon) At the Sign of the Thistle etc.
    [Show full text]
  • Barred Blanket Initialled CY and Dated 1726
    Barred Blanket initialled CY and dated 1726 Introduction The collection of The Scottish Tartans Authority (STA) includes a number of specimens of predominately white based tartan material typical of what is often referred to as an arisaid pattern1. Amongst these is a complete joined specimen initialled CY and dated 1726 (Plate 1). This magnificent piece is the oldest and largest complete example of a joined Highland plaid/blanket known. It was purchased in 19662 from John Telfer Dunbar, collector and author of the seminal work The History of Highland Dressi. Unfortunately, Dunbar’s records are far from complete and in this instance, he gives no clue as to where he acquired the piece. Plate 1. Detail of the blanket showing the initials, date and join. Photo: E. F. Williams. The use of the term ‘arisaid’ to describe this type of pattern resulted in this piece being used in a display in the manner described by Martin Martinii (Plate 2). However, rather than being intended for use as an arisaid, this piece is an example of a Highland domestic plaid3 of a type often referred to as a ‘Barred Blanket’ because of the striped selvedge pattern. This is supported by the family tradition that the plaid was woven by CY to commemorate her marriage (to Capt Arbuthnott) and was used on special occasions to decorate the table. 1 The term refers to the form of over-plaid worn by women until the early 18th century and is discussed further in the companion paper Musings on the Arisaid and other female dress.
    [Show full text]
  • Weaving Twill Damask Fabric Using ‘Section- Scale- Stitch’ Harnessing
    Indian Journal of Fibre & Textile Research Vol. 40, December 2015, pp. 356-362 Weaving twill damask fabric using ‘section- scale- stitch’ harnessing R G Panneerselvam 1, a, L Rathakrishnan2 & H L Vijayakumar3 1Department of Weaving, Indian Institute of Handloom Technology, Chowkaghat, Varanasi 221 002, India 2Rural Industries and Management, Gandhigram Rural Institute, Gandhigram 624 302, India 3Army Institute of Fashion and Design, Bangalore 560 016, India Received 6 June 2014; revised received and accepted 30 July 2014 The possibility of weaving figured twill damask using the combination of ‘sectional-scaled- stitched’ (SSS) harnessing systems has been explored. Setting of sectional, pressure harness systems used in jacquard have been studied. The arrangements of weave marks of twill damask using the warp face and weft face twills of 4 threads have been analyzed. The different characteristics of the weave have been identified. The methodology of setting the jacquard harness along with healds has been derived corresponding to the weave analysis. It involves in making the harness / ends in two sections; one section is to increase the figuring capacity by scaling the harness and combining it with other section of simple stitching harnessing of ends. Hence, the new harness methodology has been named as ‘section-scale-stitch’ harnessing. The advantages of new SSS harnessing to weave figured twill damask have been recorded. It is observed that the new harnessing methodology has got the advantages like increased figuring capacity with the given jacquard, less strain on the ends and versatility to produce all range of products of twill damask. It is also found that the new harnessing is suitable to weave figured double cloth using interchanging double equal plain cloth, extra warp and extra weft weaving.
    [Show full text]
  • A Manual of Electricity, Magnetism, and Meteorology
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com NYPL RESEARCH LIBRARIES | 34.33 ||||| O691091 – ！！ ！！ ！！ ！！ ！ 2 _- - * - _º º 4.WN iſ A. N. U A ſ, _-_ — of -- … – ( Z.Z.º. cºlºſ Cſºlº, Ayſal & AyA.T.ſ. 5 ºf – ~ - an or sº w - -- > __ anº's ( // E *ſ'. E. O.A.: O I, O & Y. - - º Az _º_*zº, _{Z ~4–. _4% • *. %2. zz & C//4///:3' W. W.4/, /ſ/.../º, SºCſ. ET4/ºr 7, 17//, //, //7/2/, //, 5, , , ,77. //, /wo ºrºzzes *A ºl. II. - - - - - - - - - - - - - - - - - - - - - - - - - - - - --- - Tonoon: . * ~ * - - - - - - - - - - - ------ - -> --> * > *.*.*.*, *, * * x - M.A is . .” - P. i. i* - lº Hº -- - - - - - - -- - - - - * ~ * - - - - 2. - THE NEW YORK PUBLIC UIBRARY Astor, ‘f Nox TIL CEN FOUND A TY ONº. *- **º----- ADVERTISEMENT, IN presenting this volume to the public, it is only just to the publishers for me to state, that the long interval which has elapsed between the appearance of the first and the second volumes has arisen from causes over which they had no control. Circum stances having rendered it necessary for them to seek assistance to complete the volume, I was in duced, at their request, to undertake it: and all that Dr. Lardner had contributed was forthwith placed in my hands. It is unnecessary for me to state the difficulties which an author must encounter in attempting to complete a work commenced by another. I must, however, mention that, after a careful examination of the materials placed at my disposal, I have en deavoured to carry out Dr.
    [Show full text]
  • Sheila Never Go As Fast As You Would Wish!) Don’T Worry – We Will Let You Know When You Can Open That Present!
    Bear in Mind An electronic newsletter from Bear Threads Ltd. Volume 4 – Issue 1 January 2012 From The Editor – I hope you will enjoy this newsletter. In it there is lots of information that I think you will find helpful for the 2012! coming months and beyond. And I am looking forward to showing you all that is new at the Creative Sewing Market in Birmingham. Remember the dates are January 15‐16. Seems only yesterday we were turning the calendar to the new millennium of 2000! Indeed this is a new year and an Till Birmingham, Happy Stitching – exciting one as well, for Bear Threads. * We will soon be inaugurating a new website (things Sheila never go as fast as you would wish!) Don’t worry – we will let you know when you can open that present! *I will begin teaching again with several informative as well as fun lectures and projects. There are classes for beginner to advanced, as well as shop owners, too. BIRMINGHAM CREATIVE SEWING Please call for more information. MARKET *We have many new fabrics to entice your spring sewing. Sunday and Monday Honestly there are too many new fabrics to list here, but January 15 and 16, 2012 for teasers, we have brought back the beautiful Ecru in the Marriot Hotel – Hwy. 280 just south of I‐459 Bearissima. AND we have brought back the TRUE LAWN, in white, pink and blue. *We have a new price list that is easier to read and it lists Be sure to see Bear Threads, Ltd. first.
    [Show full text]
  • I Ffirsu^R^S3w!EVI J
    *w" r1 .4 Wvww W** «►•» -’W* rV'rVt> .7, B. Hymer’* Famous “Fast 7s West" don. The mentmn of the tjtle I* svn- Happy Surprise and with tn abundance of lee cream Next Week al Lakewood Theatre onimous in the theatrical world with •he evening was p:.*- to the highest success in the biggest sense of the vociai enjoyment sitle for a fam- JSVmn As Samuel F. Emerson was meditat- po Cprai “East Is written by John B. word. ily to anil all parting with the West,” ing on his good fortune in reaching enjoy Hvmer and Samuel Shipman, one of earnest wish that many more like | Among the characters in the play, his elghty-s»eond birthday on the of dramatic work anniversaries be the greatest pieces now famous le world over, are Ming evening of i!. anil finding him- birthday may repeat- The one hundred-fifty ticket en- August that any American author has ever ed in the future. to he at Toy. the little Chinese girl about self in rood health and et> ovine life, dorsers are hereby notified attraction next produced will he the whom the i« woven; lien- court rooms Thursday | story Hilly not suspecting any demonstration of the Municipal Week at Lakewood theatre. Mr. Hy- ^ son, the American boy who falls in event from an auto- at 7..10 to their Chautau- this any source, evening get mer is intimately known to already love with lo r and Charlie Yadig, an mobile drove up to the door of hi qua tickets. Somerset thru his sum- County people Americanized Chinamen and one of home with one of tTTe children a- I Dr.
    [Show full text]
  • Edit Summer 2007
    60282_Edit_Summer07 2/5/07 02:01 Page 1 The University of Edinburgh INCLUDING BILLET & GENERAL COUNCIL PAPERS SUMMER 07 Zhong Nanshan honoured Zhong Nanshan, who first identified SARS, received an honorary degree at a ceremony celebrating Edinburgh’s Chinese links ALSO INSIDE Edinburgh is to play host to the first British centre for human and avian flu research, while the Reid Concert Hall Museum will house a unique clarinet collection 60282_Edit_Summer07 2/5/07 02:01 Page 2 60282_Edit_Summer07 2/5/07 09:35 Page 3 Contents 16xx Foreword Welcome to the Summer 2007 edition of Edit, and many thanks to everyone who contacted us with such positive feedback about our new design. A recent ceremony in Beijing celebrated the University’s links with China and saw Professor 18 Zhong Nanshan receiving an honorary degree; Edit takes a closer look at our connections – historical and present-day – to that country (page 14). The discovery of H5N1 on a turkey farm in Norfolk earlier this year meant avian flu once 14 20 again became headline news. Robert Tomlinson reports on plans to establish a cutting-edge centre at the University to research the virus Features (page 16). The focus of our third feature is the Shackleton 14 Past, Present and Future Bequest, an amazing collection of clarinets Developing links between China and Edinburgh. recently bequeathed to the University that will be housed in the Reid Concert Hall Museum 16 From Headline to Laboratory (page 20). Edinburgh takes lead in Britain’s fight against avian flu. Anne Borthwick 20 Art meets Science Editor The remarkable musical legacy of the paleoclimatologist Editor who championed the clarinet.
    [Show full text]
  • The Womanly Physician in Doctor Zay and Mona Maclean, Medical Student
    25 영어영문학연구 제45권 제3호 Studies in English Language & Literature (2019) 가을 25－40 http://dx.doi.org/10.21559/aellk.2019.45.3.002 The Womanly Physician in Doctor Zay and Mona Maclean, Medical Student Ji-Eun Kim (Yonsei University) Kim, Ji-Eun. “The Womanly Physician in Doctor Zay and Mona Maclean, Medical Student.” Studies in English Language & Literature 45.3 (2019): 25-40. This paper investigates the representation of women physicians in two novels - an American novel titled Elizabeth Stuart Phelps’s Doctor Zay (1882), and a British novel, Dr. Margaret Todd’s Mona Maclean, Medical Student (1892). While also looking at differences these individual novels have, this paper aims to look at how these transatlantic nineteenth century novels have common threads of linking women doctors with the followings: the constant referral to “womanliness,” the question of class affiliations, marriage, and medical modernity. While the two doctor novels end with the conventional marriage plot, these novels fundamentally questioned the assumption that women doctors could only cure women and children. These texts also tried to bend existing gender roles and portrayed women doctors who were deemed as “womanly.” (Yonsei University) Key Words: Doctor Zay, Mona Maclean Medical Student, woman doctors, womanliness, nineteenth-century I. Introduction What common ground do Dr. Quinn of “Dr. Quinn, Medicine Woman” (1993-98), Dana Scully in “The X-Files” (1993-2002), Meredith Gray, Miranda Bailey and Christina Yang in “Grey’s Anatomy” (since 2005) have? These prime-time U.S. TV dramas depict impressive women physicians successively juggling their medical 26 Ji-Eun Kim careers, tough responsibilities and hectic personal lives.
    [Show full text]