LANGUAGE, POLITICS and POWER Janet Paisley
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620 Httpswwwopeneduopenlearncreate Cmid146877 2020-01-09 13-57-50 Rs6288 1..30
OpenLearn Works Unit 13: Storytelling, comedy and popular culture by Donald Smith Copyright © 2019 The Open University 2 of 30 http://www.open.edu/openlearncreate/course/view.php?id=2705 Thursday 9 January 2020 Contents Introduction 4 13. Introductory handsel 5 13.1 The resilience of oral storytelling 8 13.2 Humorous folk tales in Scots 13 13.3. Music halls and the dominance of English 17 13.4 From Leonard to Bissett 21 13.5 What I have learned 28 Further Research 29 References 29 Acknowledgements 29 3 of 30 http://www.open.edu/openlearncreate/course/view.php?id=2705 Thursday 9 January 2020 Introduction Introduction Storytelling belongs first of all to an oral culture, which is not written down, remaining fluid, and relatively uncontrolled. When something is written down in a manuscript or a book, there is a standard against which other versions can be compared or corrected. Since the emergence of writing, political, social and religious institutions have privileged written records over oral memory and tradition. This has had a huge influence on the survival and evolution of the Scots language. Having lost its role as a contemporary written language in the 17th century, Scots continued to thrive as a spoken tung. This led to Scots often being associated with aspects of culture that were not sanctioned by authority, or explicitly dissident. To gie tung or ‘raise your voice’ could be seen as anti-authority, an expression of cultural resistance and human freedom. Consequently, people were told to curb or haud their tungs. And the forms of punishment administered by local courts included restraining the tongue, as for example with a Scold’s Bridle. -
Ayrshire & the Isles of Arran & Cumbrae
2017-18 EXPLORE ayrshire & the isles of arran & cumbrae visitscotland.com WELCOME TO ayrshire & the isles of arran and cumbrae 1 Welcome to… Contents 2 Ayrshire and ayrshire island treasures & the isles of 4 Rich history 6 Outdoor wonders arran & 8 Cultural hotspots 10 Great days out cumbrae 12 Local flavours 14 Year of History, Heritage and Archaeology 2017 16 What’s on 18 Travel tips 20 VisitScotland iCentres 21 Quality assurance 22 Practical information 24 Places to visit listings 48 Display adverts 32 Leisure activities listings 36 Shopping listings Lochranza Castle, Isle of Arran 55 Display adverts 37 Food & drink listings Step into Ayrshire & the Isles of Arran and Cumbrae and you will take a 56 Display adverts magical ride into a region with all things that make Scotland so special. 40 Tours listings History springs to life round every corner, ancient castles cling to spectacular cliffs, and the rugged islands of Arran and Cumbrae 41 Transport listings promise unforgettable adventure. Tee off 57 Display adverts on some of the most renowned courses 41 Family fun listings in the world, sample delicious local food 42 Accommodation listings and drink, and don’t miss out on throwing 59 Display adverts yourself into our many exciting festivals. Events & festivals This is the birthplace of one of the world’s 58 Display adverts most beloved poets, Robert Burns. Come and breathe the same air, and walk over 64 Regional map the same glorious landscapes that inspired his beautiful poetry. What’s more, in 2017 we are celebrating our Year of History, Heritage and Archaeology, making this the perfect time to come and get a real feel for the characters, events, and traditions that Cover: Culzean Castle & Country Park, made this land so remarkable. -
Professor RDS Jack MA, Phd, Dlitt, FRSE
Professor R.D.S. Jack MA, PhD, DLitt, F.R.S.E., F.E.A.: Publications “Scottish Sonneteer and Welsh Metaphysical” in Studies in Scottish Literature 3 (1966): 240–7. “James VI and Renaissance Poetic Theory” in English 16 (1967): 208–11. “Montgomerie and the Pirates” in Studies in Scottish Literature 5 (1967): 133–36. “Drummond of Hawthornden: The Major Scottish Sources” in Studies in Scottish Literature 6 (1968): 36–46. “Imitation in the Scottish Sonnet” in Comparative Literature 20 (1968): 313–28. “The Lyrics of Alexander Montgomerie” in Review of English Studies 20 (1969): 168–81. “The Poetry of Alexander Craig” in Forum for Modern Language Studies 5 (1969): 377–84. With Ian Campbell (eds). Jamie the Saxt: A Historical Comedy; by Robert McLellan. London: Calder and Boyars, 1970. “William Fowler and Italian Literature” in Modern Language Review 65 (1970): 481– 92. “Sir William Mure and the Covenant” in Records of Scottish Church History Society 17 (1970): 1–14. “Dunbar and Lydgate” in Studies in Scottish Literature 8 (1971): 215–27. The Italian Influence on Scottish Literature. Edinburgh: Edinburgh University Press, 1972. Scottish Prose 1550–1700. London: Calder and Boyars, 1972. “Scott and Italy” in Bell, Alan (ed.) Scott, Bicentenary Essays. Edinburgh: Scottish Academic Press, 1973. 283–99. “The French Influence on Scottish Literature at the Court of King James VI” in Scottish Studies 2 (1974): 44–55. “Arthur’s Pilgrimage: A Study of Golagros and Gawane” in Studies in Scottish Literature 12 (1974): 1–20. “The Thre Prestis of Peblis and the Growth of Humanism in Scotland” in Review of English Studies 26 (1975): 257–70. -
Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 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 13818929 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 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre. -
Inventory Acc.13182 Edith Macarthur
Acc.13182 October 2010 Inventory Acc.13182 Edith Macarthur National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-466 2812 Fax: 0131-466 2811 E-mail: [email protected] © Trustees of the National Library of Scotland Papers, circa 1942-2006, of Edith Macarthur, actor (b.1926). The collection includes scripts, photographs, press cuttings and other items of theatre and television memorabilia. Edith Macarthur’s stage career has taken her to most major producing theatres in Scotland, and to many in England. The variety of her range is demonstrated in the collection, from her early days with respected amateur company, the Ardrossan and Saltcoats Players, to acclaim with prestigious companies such as the Royal Lyceum, Citizens’, Gateway, Bristol Old Vic, Pitlochry Festival, Traverse and Royal Shakespeare. Leading roles in the canon of major plays by Arthur Miller, James Bridie, Anton Chekhov, Eugene O’Neill, Noel Coward and their like, and various acclaimed productions of ‘The Thrie Estaites’, established her stage reputation. Alongside runs a vein of comedy and variety, from the ‘Five Past Eight Shows’ of the 1950s at the Citizens’, to regularly playing Cinderella’s Fairy Godmother in pantomime during the 1980s and 1990s. There is also a considerable body of television work, from early series such as ‘The Borderers’ and ‘Sutherland’s Law’, and the renowned 1970s adaptation of ‘Sunset Song’, to the long-running Scottish Television soap, ‘High Road’. A milestone was the 1993 film ‘The Long Roads’ by John McGrath. At about this time Miss Macarthur was coming to the attention of less mainstream theatre-producers in Scotland. -
ABBIE James Lockhart ADAM James ADAMS Joseph B. Burntisland 13.11.1919 D. Cupar 1953 B. Larkhall Crossgates Primrose Hibernian
ABBIE James Lockhart ADAM James ADAMS Joseph b. Burntisland 13.11.1919 d. Cupar 1953 b. Larkhall Crossgates Primrose Hibernian 12/13 4 1 Petershill Partick T 36/37 3 13/14 5 1 Cowdenbeath 32/33 25 37/38 Abercorn 13/14 D2 Queen of the South 33/34 38/39 Coleraine T 33/34 IL Alloa A 46/47 D2 ADAM William Shelbourne 33/34 LI b. Paisley ABBOTT James St Mirren 22/23 2 1 ADAMS Nathaniel J & P Coats 23/24 23 13 ASL b. Belfast 29.9.1891 Inverkeithing U 24/25 34 3 ASL Distillery 10/11 IL Raith R 15/16 14 1 25/26 30 18 ASL 11/12 IL 16/17 21 5 26/27 18 7 ASL 12/13 IL 17/18 27/28 43 7 ASL 13/14 IL Heart of Midlothian 18/19 6 28/29 30 ASL 14/15 IL Raith R 19/20 3 Pawtucket Rangers 29A 18 4 ASL Cliftonville 15/16 IL 29/30 23 3 ASL 16/17 IL ABBOTT Joseph 30A 27 2 ASL 17/18 IL 31S 1 ASL Motherwell 18/19 1 Third Lanark 95/96 1 Cliftonville 19/20 IL Galston 95/96 ADAMS Andrew 20/21 IL 96/97 21/22 IL 97/98 Rutherglen Glencairn 22/23 IL 98/99 Arbroath 35/36 21 1 23/24 IL 99/00 36/37 36 2 24/25 IL 00/01 37/38 38 1 Portadown 25/26 IL 38/39 38 10 ABERCROMBIE ADAMS Peter M ADAMS David Robertson b. -
National Qualifications Curriculum Support
NATIONAL QUALIFICATIONS CURRICULUM SUPPORT English and Communication Using Scottish Texts Support Notes and Bibliographies [MULTI-LEVEL] Edited by David Menzies INTRODUCTION First published 1999 Electronic version 2001 © Scottish Consultative Council on the Curriculum 1999 This publication may be reproduced in whole or in part for educational purposes by educational establishments in Scotland provided that no profit accrues at any stage. Acknowledgement Learning and Teaching Scotland gratefully acknowledge this contribution to the Higher Still support programme for English. The help of Gordon Liddell is acknowledged in the early stages of this project. Permission to quote the following texts is acknowledged with thanks: ‘Burns Supper’ by Jackie Kay, from Two’s Company (Blackie, 1992), is reproduced by permission of Penguin Books Ltd; ‘War Grave’ by Mary Stewart, from Frost on the Window (Hodder, 1990), is reproduced by permission of Hodder & Stoughton Ltd; ‘Stealing’, from Selling Manhattan by Carol Ann Duffy, published by Anvil Press Poetry in 1987; ‘Ophelia’, from Ophelia and Other Poems by Elizabeth Burns, published by Polygon in 1991. ISBN 1 85955 823 2 Learning and Teaching Scotland Gardyne Road Dundee DD5 1NY www.LTScotland.com HISTORY 3 CONTENTS Section 1: Introduction (David Menzies) 1 Section 2: General works and background reading (David Menzies) 4 Section 3: Dramatic works (David Menzies) 7 Section 4: Prose fiction (Beth Dickson) 30 Section 5: Non-fictional prose (Andrew Noble) 59 Section 6: Poetry (Anne Gifford) 64 Section 7: Media texts (Margaret Hubbard) 85 Section 8: Gaelic texts in translation (Donald John MacLeod) 94 Section 9: Scots language texts (Liz Niven) 102 Section 10: Support for teachers (David Menzies) 122 ENGLISH III INTRODUCTION HISTORY 5 INTRODUCTION SECTION 1 Introduction One of the significant features of the provision for English in the Higher Still Arrangements is the prominence given to the study of Scottish language and literature. -
Let Have a Look Saint Fhaolain
MacLellan / mac Gille Faelan / son of the Servant of little Wolf Return to Page 1 1 2 3 4 5 6 7 8 9 10 Right click on Url’s, left click open in “new tab”. But not on Return to Page numbers. Let have a look Saint Fhaolain. Of Mac/Mc/M/. Male Meaning Anglicized Wife Daughter Mac son (of) Mac/Mc/M’ Mhic Nic O/Ua grandson (of) O' Uí Ni Fillan, son of Feriach and St. Kentigerna, was also Fhaolain who became a Saint, he would be Naomh Fhaolain, "remembering he was not a saint when he was living", and he died 9th January 777, (Julian Calendar); which is the 20th of January (Gregorian Calendar). (here a story of Naomh Faolan told in Gaidhlig) If he had a son, he would be, mac Fhaolain, his wife would be mich’Fhaolain and his daughter would be nic’Fhaolain. If Saint Fhaolain had servants/followers, they would be Gille Fhaolain or Maol Fhaolain If this devotee had a son, he would be mac’Gille Fhaolain or mac'ill Fhaolain His wife would be called mhic'ill'Fhaolain, and the daughter would be nic'ill'Fhaolain What would the son of mac'ill'Fhaolain be called? The cults of St Fillan served an important function far beyond the significance of the man himself. Perhaps, because of his association with King Robert the Bruce, although it is understood that he had united, through religion the two great power centers of Scotland, the Scots and the Picts, and he was therefore of central importance to the establishment of Scotland as a nation. -
The Use of Obsolete Scots Vocabulary in Modern Scottish Plays Katja
The Use of Obsolete Scots Vocabulary in Modern Scottish Plays Katja Lenz University of Cologne The revival of old vocabulary in order to enrich the Scots language has a long tradition. Internal borrowing from sources like the literary canon, dictionaries and even dialectological treatises is a well-known strategy of the Scottish Literary Renaissance of the 20th century, but by no means their invention. The present paper examines a corpus of modern Scottish theatre plays to study how, if at all, this tradition is continued in more recent examples. The use of archaic Scots lexis varies from play to play and it is the aim of this paper both to show up these quantitative differences and to attempt an interpretation of the literary effects achieved. The terms archaic and obsolete need to be used with caution: ‘usage’ of a linguistic item is not the same as passive ‘knowledge’ of it, the latter often applying to a much wider range of items. Macafee1 shows that even in Glasgow - where dialect erosion is held to have advanced much further than in other dialect regions of Lowland Scotland - a fairly large number of old dialect words are still known, though hardly used.2 Others may still be used in speech but not in writing and thereby escape registration in dictionaries. The difficulties in determining degrees of obsolescence and setting up a typology that does justice to the gradational scale between full currency of a word and total obsolescence is described in Görlach.3 The present study, for lack of other sources, has to rely on the dating provided by the Concise Scottish Dictionary (CSD, supported by the Scottish National Dictionary (SND) and the OED). -
THE CURRENT STATE of SCOTS Scots In
THE CURRENT STATE OF SCOTS Scots in Education Ever since the Treaty of Union of 1707, generations of Scots have had to come to terms with a situation in which they had been taught English at school and where the way of speech natural to them was officially regarded as wrong by definition. This created a situation in which many Scots felt that the way they spoke was unacceptable, or something to be ashamed of, so that the sooner they rid themselves of their Scottish characteristics the better. A case is on record of a school in Fife where a five-year-old girl complained to her teacher: ‘Please Miss, yon laddie hut me’. When the teacher enquired which boy she was talking about, the girl informed her, ‘It wes John Potato.’ The infant mistress was puzzled by this, since there was nobody with that name in the class, but it suddenly dawned on her that there was a boy by the name of John Totty. The little girl had translated the boy’s name into ‘English’ for the teacher’s benefit. The educationist, John Low (1974), cited the case of a schoolboy who was asked to compose a sentence containing the word, ‘bell’ and offered the following: The skuil bell skunnert ma lug. Since this imaginative sentence, involving relevant social commentary, was dismissed as unacceptable, the boy’s feelings appear to have been fully justified. To a significant extent, what we have had in Scotland, in place of education over many generations, is a process of deracination---a process of separating children from their linguistic roots—the opposite of education. -
Burns Chronicle 1960
Robert BurnsLimited World Federation Limited www.rbwf.org.uk 1960 The digital conversion of this Burns Chronicle was sponsored by Alison Tait , RBWF Chief Executive 2011-2015 The digital conversion service was provided by DDSR Document Scanning by permission of the Robert Burns World Federation Limited to whom all Copyright title belongs. www.DDSR.com ROBERT BURNS CHRONICLE THE BURNS FEDERATION KILMARNOCK Price Ss. (Paper bound), 7s. 6d, (Cloth bound) "BURNS CHllONICLE" ADVEllTISEll ~· Drambuie THE PRINCE OF LIQ.UEURS 45 THE LIQ.UEUR OF PRINCE CHARLES EDWARD TBB DRAMBVIE LIQ.VEVR CO LTD EDINBURGH '/• "BURNS CHRONICLE" ADVERTISER BURNS A Study of the Poems and Songs THOMAS CRAWFORD This brilliant book is probably the best critical study of Robert Burns' poetical works as such that has yet been written. No previous critic of Burns' poetry has made such full use of modern critical methods. All serious students of literature will find this an indispensable book. 316 pages, 30s. ROBERT BURNS Some Poems, Songs and Epistles Edited by JOHN McVIE Illustrated by MACKAY "Humou.r is the essence_ of what Is surely the most attractive of all modern treasuries on our National Bard." Aberdeen Press and Journal "Here you have a hand picked collection, printed in fine large type, cleverly Illustrated, which emphasises the genius of Burn~. and gives us- a wonderful picture of the ordinary everyday life of his time. Every student of Burns ought to possess a copy." Scots Year Book 212 pages, 74 line drawings, IOs. 6d. OLIVE_R AND BOYD Tweeddale Court, Edinburgh, I a "BURNS CHRONICLE" ADVERTISER AYR is the natural centre for the world's finest HAGGIS and the makers are naturally MITCHELL'S of AYR ESTABLISHED 1848 *WALTER MITCHELL & SONS LTD welcome orders for delivery to any part of the world to maintain its vital work at Home and Overseas For instance HOME FOR TRAINING THE YOUNG DlSABLED SERVICE HOSPITALS WELFARE RELIEF OVERSEAS HOSPITAL UBRARIES and - TROLLEY SHOPS CHIROPODY SERVICE FOR THE ELDERLY - (In 24 Scottish Counties). -
Glasgow Unity Theatre and the Significance of Robert Mitchell's Scottish Adaptation of the Lower Depths
'By Policy a Native Theatre': Glasgow Unity Theatre and the Significance of Robert Mitchell's Scottish Adaptation of The Lower Depths Bill Findlay Glasgow Unity Theatre was established in 1940 and staged its first production in January 1941. It was formed through the amalgamation of a number of left-wing amateur companies in the city: the Workers' Theatre Group, the Clarion Players, the Glasgow (formerly Scottish Labour College) Players, the Transport Players, and the Jewish Institute Players.1 For the first few years Unity functioned as an amateur company but at the end of the war in 1945 it decided to form a professional company as London Unity had done. Thereafter there were two Unity companies, one amateur, whose productions were mainly directed by Donald MacBean formerly of the Transport Players and one professional under the directorship of Robert Mitchell of the Glasgow Players.2 In keeping with its roots in socialist amateur theatre groups with a strong working-class base, such as those from which MacBean and Mitchell came, Unity's personnel were, as stated in the company's magazine Scots Theatre, 'drawn from the ranks of ordinary working people, whose background and everyday life is identical with the masses who form its audience'.3 Robert Macauley Mitchell exemplified this, being an electrician by trade, 'and during the war a [trade union] convenor in one of Scotland's largest factories'.4 Mitchell has been credited with leading Glasgow Unity to turn professional and, through his appointment as full-time director of the professional wing of the company, with winning for it 'an outstanding reputation that surpassed momentarily the standing of its London counterpart'.5 The first production in the début professional season at the Athenaeum Theatre in Glasgow in April 1945 was Maxim Gorki's The Lower Depths, adapted and directed by Mitchell.