“…If We Care to Preserve Even That” Scots and the Question of Language Revitalization
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The Culture of Literature and Language in Medieval and Renaissance Scotland
The Culture of Literature and Language in Medieval and Renaissance Scotland 15th International Conference on Medieval and Renaissance Scottish Literature and Language (ICMRSLL) University of Glasgow, Scotland, 25-28 July 2017 Draft list of speakers and abstracts Plenary Lectures: Prof. Alessandra Petrina (Università degli Studi di Padova), ‘From the Margins’ Prof. John J. McGavin (University of Southampton), ‘“Things Indifferent”? Performativity and Calderwood’s History of the Kirk’ Plenary Debate: ‘Literary Culture in Medieval and Renaissance Scotland: Perspectives and Patterns’ Speakers: Prof. Sally Mapstone (Principal and Vice-Chancellor of the University of St Andrews) and Prof. Roger Mason (University of St Andrews and President of the Scottish History Society) Plenary abstracts: Prof. Alessandra Petrina: ‘From the margins’ Sixteenth-century Scottish literature suffers from the superimposition of a European periodization that sorts ill with its historical circumstances, and from the centripetal force of the neighbouring Tudor culture. Thus, in the perception of literary historians, it is often reduced to a marginal phenomenon, that draws its force solely from its powers of receptivity and imitation. Yet, as Philip Sidney writes in his Apology for Poetry, imitation can be transformed into creative appropriation: ‘the diligent imitators of Tully and Demosthenes (most worthy to be imitated) did not so much keep Nizolian paper-books of their figures and phrases, as by attentive translation (as it were) devour them whole, and made them wholly theirs’. The often lamented marginal position of Scottish early modern literature was also the key to its insatiable exploration of continental models and its development of forms that had long exhausted their vitality in Italy or France. -
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. -
Gavin Douglas's Aeneados: Caxton's English and 'Our Scottis Langage' Jacquelyn Hendricks Santa Clara University
Studies in Scottish Literature Volume 43 | Issue 2 Article 21 12-15-2017 Gavin Douglas's Aeneados: Caxton's English and 'Our Scottis Langage' Jacquelyn Hendricks Santa Clara University Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the Literature in English, British Isles Commons, Medieval Studies Commons, and the Other Classics Commons Recommended Citation Hendricks, Jacquelyn (2017) "Gavin Douglas's Aeneados: Caxton's English and 'Our Scottis Langage'," Studies in Scottish Literature: Vol. 43: Iss. 2, 220–236. Available at: https://scholarcommons.sc.edu/ssl/vol43/iss2/21 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. GAVIN DOUGLAS’S AENEADOS: CAXTON’S ENGLISH AND "OUR SCOTTIS LANGAGE" Jacquelyn Hendricks In his 1513 translation of Virgil’s Aeneid, titled Eneados, Gavin Douglas begins with a prologue in which he explicitly attacks William Caxton’s 1490 Eneydos. Douglas exclaims that Caxton’s work has “na thing ado” with Virgil’s poem, but rather Caxton “schamefully that story dyd pervert” (I Prologue 142-145).1 Many scholars have discussed Douglas’s reaction to Caxton via the text’s relationship to the rapidly spreading humanist movement and its significance as the first vernacular version of Virgil’s celebrated epic available to Scottish and English readers that was translated directly from the original Latin.2 This attack on Caxton has been viewed by 1 All Gavin Douglas quotations and parentheical citations (section and line number) are from D.F.C. -
The Home-Ly Kailyard Nation: Nineteenth-Century Narratives of the Highland and the Myth of Merrie Auld Scotland Author(S): Richard Cook Source: ELH, Vol
The Home-Ly Kailyard Nation: Nineteenth-Century Narratives of the Highland and the Myth of Merrie Auld Scotland Author(s): Richard Cook Source: ELH, Vol. 66, No. 4, The Nineteenth Century (Winter, 1999), pp. 1053-1073 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/30032108 . Accessed: 27/05/2013 15:30 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to ELH. http://www.jstor.org This content downloaded from 143.107.8.10 on Mon, 27 May 2013 15:30:09 PM All use subject to JSTOR Terms and Conditions THE HOME-LY KAILYARD NATION: NINETEENTH- CENTURY NARRATIVES OF THE HIGHLAND AND THE MYTH OF MERRIE AULD SCOTLAND BY RICHARD COOK In his broad survey, Modern Scottish Literature, Alan Bold warns against quick dismissals of the popular late nineteenth-century "Kailyard School" of fiction: "we should be wary of categorizing the kailyarders as sentimental fools; they were men who had a shrewd judgment for public taste and the public responded by adoring the intellectually undemand- ing entertainment the kailyarders produced." Bold's evaluation of the Kailyard (literally, cabbage patch) and its unavoidable presence in Scottish literary and cultural history illustrate the tension between "public taste" and high art, "entertainment" and serious intellect, that still gathers around these national tales. -
6Landscapes of Eden and Hell in the Modem Scottish Novel’
UNIVERSITY OF GLASGOW DEPARTMENT OF SCOTTISH LITERATURE A thesis submitted for the degree of Master of Philosonhv 6Landscapes of Eden and Hell in the Modem Scottish Novel’ LEAH N. RANKIN JUNE 2002 SUPERVISED BY DR GERARD CARRUTHERS ProQuest Number: 13818809 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818809 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 \1S&1 g o p H \ Landscapes of Eden and Hell in the Modern Scottish Novel CONTENTS Abstract i Acknowledgements ii 1 Introduction: ‘Landscapes of Eden and Hell: The Kailyard and the Real Scotland’ 1 -2 4 2 George Douglas Brown: ‘From Idylls to Nightmares: Uprooting the Kailyard’ 25 - 45 3 Catherine Carswell: ‘Closed Doors and Caged Birds: False Edens in Scotland and Beyond’ 46 - 69 4 Willa Muir: ‘Hell-fire and Water: Examining the Elements of Calderwick’ 70 - 95 5 J.M. Barrie: ‘The Purgatory of Scotland: A Final Farewell to the Kailyard’ 96 - 123 6 Robin Jenkins: ‘The Regeneration of Good and Evil: The Garden of Eden Stripped Bare’ 124 - 142 Conclusion 143 - 146 Bibliography 147 - 155 Landscapes of Eden and Hell in the Modern Scottish Novel ABSTRACT The following thesis examines the portrayal in a number of modem Scottish novels of Edenic and hellish landscapes, these depictions being primarily connected with the effect of Calvinism on the Scottish mentality. -
The Sigma Tau Delta Review
The Sigma Tau Delta Review Journal of Critical Writing Sigma Tau Delta International English Honor Society Volume 11, 2014 Editor of Publications: Karlyn Crowley Associate Editors: Rachel Gintner Kacie Grossmeier Anna Miller Production Editor: Rachel Gintner St. Norbert College De Pere, Wisconsin Honor Members of Sigma Tau Delta Chris Abani Katja Esson Erin McGraw Kim Addonizio Mari Evans Marion Montgomery Edward Albee Anne Fadiman Kyoko Mori Julia Alvarez Philip José Farmer Scott Morris Rudolfo A. Anaya Robert Flynn Azar Nafisi Saul Bellow Shelby Foote Howard Nemerov John Berendt H.E. Francis Naomi Shihab Nye Robert Bly Alexandra Fuller Sharon Olds Vance Bourjaily Neil Gaiman Walter J. Ong, S.J. Cleanth Brooks Charles Ghigna Suzan-Lori Parks Gwendolyn Brooks Nikki Giovanni Laurence Perrine Lorene Cary Donald Hall Michael Perry Judith Ortiz Cofer Robert Hass David Rakoff Henri Cole Frank Herbert Henry Regnery Billy Collins Peter Hessler Richard Rodriguez Pat Conroy Andrew Hudgins Kay Ryan Bernard Cooper William Bradford Huie Mark Salzman Judith Crist E. Nelson James Sir Stephen Spender Jim Daniels X.J. Kennedy William Stafford James Dickey Jamaica Kincaid Lucien Stryk Mark Doty Ted Kooser Amy Tan Ellen Douglas Ursula K. Le Guin Sarah Vowell Richard Eberhart Li-Young Lee Eudora Welty Timothy Egan Valerie Martin Jessamyn West Dave Eggers David McCullough Jacqueline Woodson Delta Award Recipients Richard Cloyed Elizabeth Holtze Elva Bell McLin Sue Yost Beth DeMeo Elaine Hughes Isabel Sparks Bob Halli E. Nelson James Kevin Stemmler Copyright © 2014 by Sigma Tau Delta All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Sigma Tau Delta, Inc., the International English Honor Society, William C. -
'Like Pushkin, I': Hugh Macdiarmid and Russia Patrick Crotty University of Aberdeen
Studies in Scottish Literature Volume 44 Article 7 Issue 1 Scottish-Russian Literary Relations Since 1900 12-1-2018 'Like Pushkin, I': Hugh MacDiarmid and Russia Patrick Crotty University of Aberdeen Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the Literature in English, British Isles Commons, and the Russian Literature Commons Recommended Citation Crotty, Patrick (2019) "'Like Pushkin, I': Hugh MacDiarmid and Russia," Studies in Scottish Literature: Vol. 44: Iss. 1, 47–89. Available at: https://scholarcommons.sc.edu/ssl/vol44/iss1/7 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. “LIKE PUSHKIN, I”: HUGH MACDIARMID AND RUSSIA Patrick Crotty . I’m a poet (And you c’ud mak allowances for that!) “Second Hymn to Lenin” (1932)1 Hugh MacDiarmid has never enjoyed the canonical status his acolytes consider his due. Those acolytes have dwindled in number since the 1970s and ’80s, and, as the end of the second decade of the twenty-first century approaches, there is scant evidence of live interest in the poet’s achievement anywhere in the world, least of all his native Scotland. One reason for this is that MacDiarmid, as Seamus Heaney ruefully remarked, “gave his detractors plenty to work with”;2 quite apart from indulging in cultural and political opining sufficiently provocative for the public at large to dismiss him as a crank, he published a dismaying amount of slipshod and even banal verse, mainly in his later years. -
Bright Discontinuities: Peter Manson and Contemporary Scottish Poetry
Article How to Cite: Sanderson, S. 2019. Bright Discontinuities: Peter Manson and Contemporary Scottish Poetry. Journal of British and Irish Innovative Poetry, 11(1): 12, pp. 1–27. DOI: https://doi.org/10.16995/bip.754 Published: 05 July 2019 Peer Review: This article has been peer reviewed through the double-blind process of Journal of British and Irish Innovative Poetry, which is a journal published by the Open Library of Humanities. Copyright: © 2019 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and repro- duction in any medium, provided the original author and source are credited. See http://creativecommons. org/licenses/by/4.0/. Open Access: Journal of British and Irish Innovative Poetry is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. The Open Library of Humanities is an open access non-profit publisher of scholarly articles and monographs. Stewart Sanderson, ‘Bright Discontinuities: Peter Manson and Contemporary Scottish Poetry.’ (2019) 11(1): 12 Journal of British and Irish Innovative Poetry. DOI: https://doi.org/10.16995/bip.754 ARTICLE Bright Discontinuities: Peter Manson and Contemporary Scottish Poetry Stewart Sanderson University of Glasgow, UK [email protected] Critical responses to Peter Manson’s work often refer to him as a Scottish or Glasgow-based poet. In a review of Manson’s 2017 pamphlet Factitious Airs, Alice Tarbuck proposes that one of the key things differentiating Manson from his avant-garde contemporaries is his attentiveness to place and particularly “to Scottish speech rhythms and cultural ideas.” Nonetheless, most critical writing on Manson has sought to read his work primarily in terms of international movements in experimental poetics. -
A Preliminary Approach to Linguistic Itemisation and Repertoire of Scots in 19Th
Tissens !1 ! FACULTAD DE FILOLOGÍA UNIVERSIDAD DE SALAMANCA FACULTAD DE FILOLOGÍA GRADO EN ESTUDIOS INGLESES Trabajo de Fin de Grado THE THISTLE ENREGISTERED A Preliminary Approach to Linguistic Itemisation and Repertoire of Scots in 19th- Century British Literature René Pérez Tissens Fco. Javier Ruano García Salamanca, 2018 Tissens !2 ! FACULTAD DE FILOLOGÍA UNIVERSIDAD DE SALAMANCA FACULTAD DE FILOLOGÍA GRADO EN ESTUDIOS INGLESES Trabajo de Fin de Grado THE THISTLE ENREGISTERED A Preliminary Approach to Linguistic Itemisation and Repertoire of Scots in 19th- Century British Literature This thesis is submitted for the degree of English Studies Date: July, 2018 Tutor: Fco. Javier Ruano García Vº Bº Signature Tissens !3 TABLE OF CONTENTS I. Introduction…………………………………………………………………6 II. Enregisterment: Non-standard English and Scotland | Oral-transcribed Discourse, Production of Energy, Grammatical Repertoire — Sociological Conceptualisation of Scots…………………………………………………7 III. History and Scots: a Proemial Memoir on Marginalisation………………10 IV. Varieties of Scots in Literature: Coincidences and Divergences — Linguistic-branding in Dialogue and the Creation of Pathos:…………….12 A. Lallans Represented: “Gaen Doon the Brae”………………………….13 1. J. M. Barrie’s A Window in Thrums (1889): a) Lexical items (1) noted Scots terminology b) Phonetic design (1) the descried pattern c) Idiomatic particles (1) Barrie’s reminiscent stock B. Highland Ruminations: Rural Perthshire virtualised…………………..17 1. Ian Maclaren’s Beside the Bonnie Brier Bush (1894): a) Lexical items (1) noted concurrences b) Phonetic design (1) parallelisms and deviations c) Idiomatic particles C. From Similarities to the Construction of Methodic Scots-dialogue Writing…………………………………………………………………20 V. Conclusion: Linguistic Scottishness — an Evolutive Continuum Settled..21 Tissens !4 ABSTRACT Standardisation of linguistic varieties implies a making of choices. -
A Wee Bit Different: Socio-Cultural Influences on Scottish Marketing
Published in: Christiane Eisenberg, Rita Gerlach and Christian Handke (eds.). Cultural Industries: The British Experience in International Perspective. 2006. Online. Humboldt University Berlin, Edoc- Server. Available: http://edoc.hu-berlin.de. ISBN 978-3-86004-203-8. A Wee Bit Different: Socio-Cultural Influences on Scottish Marketing Annika Wingbermühle Faculty of Art, University of Passau [email protected] Has the world become the ultimate marketplace? Not really, because resurging nationalism in many European countries indicates that globalisation has still failed to create complete cultural homogeneity. The convergence thesis in cross-cultural marketing therefore appears to be wrong because consumers remain highly susceptible to stimuli that fit their cultural expectations (De Mooij). However, culture as a “whole way of life” (Williams 122) offers predictable social interactions in a post-modern world. Scotland and its quest for an independent identity in particular is a perfect exhibit for this observation. In this country conventional sociological and economic categories turn out to be too wieldy. Therefore, culture is particularly promising as an analytical approach. This paper analyses how cultural differences influence the way the creative industries work. The analysis is based on various works of David McCrone (“Being British”; Understanding Scotland), McCrone et al. (“Who Are We?”), Murray Pittock (Scottish Nationality) and Gerry Hassan (“Anatomy”; “Tales”). Main players in Scottish marketing were interviewed about their views in March 2005. The Scottish trade magazine The Drum offered further insights into the industry. Finally, campaigns were analysed to find out whether or not a ‘Scottish approach’ in marketing exists. All samples are reproduced with kind permission and copyrights remain with the designers. -
My Nation's Soul
Ghent University Faculty of Arts and Philosophy ―MAIR THAN MY AIN SOUL – MY NATION‘S SOUL‖ CULTURAL IDENTITY IN DAVID JONES‘S IN PARENTHESIS AND HUGH MACDIARMID‘S A DRUNK MAN LOOKS AT THE THISTLE August 2014 Paper submitted in partial Supervisor: fulfilment of the requirements for prof. dr. Koenraad the degree of ―Master in de Taal- Claes en Letterkunde: Nederlands - Engels‖ by Simon De Craemer 1 Contents 1. Introduction......................................................................................................................... 2 2. Cultural Identity.................................................................................................................. 3 3. Hugh MacDiarmid‘s A Drunk Man Looks at the Thistle.................................................... 6 3.1 MacDiarmid and the Scottish Renaissance ................................................................. 6 3.2 The Celtic element and the Caledonian antisyzygy..................................................... 8 3.3 Synthetic Scots and Scottish diversity....................................................................... 12 3.4 Analysis of A Drunk Man Looks at the Thistle ......................................................... 16 4. David Jones‘ In Parenthesis .............................................................................................. 29 4.1 Cultural identity in Wales.......................................................................................... 29 4.2 Jones‘ identity........................................................................................................... -
Don't Take the High Road: Tartanry and Its Critics David Goldie If You W
Don’t take the High Road: Tartanry and its Critics David Goldie If you were of a religious persuasion and had a sense of humour you might think tartan to be one of God’s better jokes. To match up this gaudy, artificial, eye- strainingly irrational fabric with a countryside characterised by its mists and rains and a correspondingly rather dour people known throughout the world for canniness, pragmatism, and rationality, seems a rather sublime piece of audacity and one that can hardly be explained by the normal historical means. It’s true that there may be material historical reasons for tartan, that an impoverished people might weave a kind of textile bricolage from whatever stray fibres might come to hand, for example, and it’s also plausible that muted tartans might have a practical role as an effective camouflage. But this is still quite far from explaining how a piece of such abstract and unwarranted extravagance as ‘Ye principal clovris of ye clanne Stewart tartan’ might have come into being.1 In a similar vein it’s entirely credible to argue that the heady collision of Sir Walter Scott, King George IV, and European Romanticism in Edinburgh in 1822 explains much about tartanry’s sentimental vulgarity and its weird mixture of ostentation and supplication. But what remains seemingly beyond the range of explication (and what Scott already sensed in his fiction) is the fundamental, almost ridiculous mismatch between this impractical concoction and its symbolic importance to a nation seeking to build an international reputation on its hard practical skills in engineering, industrial chemistry, and finance.