Artymiuk, Anne
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Iain Crichton Smith 1928 - 1998
Iain Crichton Smith 1928 - 1998 Contents: Biography.................................................................................................................................................................Page 1 Two Old Women .....................................................................................................................................Pages 2 - 6 The End of An Auld Sang ....................................................................................................................Pages 6 - 8 The Beginning of a New Song....................................................................................................................Page 8 Further Reading / Contacts.............................................................................................................Pages 9 - 12 Biography: Iain Crichton Smith (1928 - 1998) (his gaelic name was Iain Mac a ‘Ghobhainn’) was born in Glasgow in 1928, Smith grew up from the age of two on the island of Lewis. The language of his upbringing was Gaelic; he learned English as his second language when he went to school at the Nicolson Institute in Stornoway. Later, he took a degree in English at the University of Aberdeen. From there he became a school teacher in Clydebank then Oban, where he could con- template his island upbringing at close range, but with a necessary degree of detachment. He retired early from teaching in 1977 to concentrate on his writing. Smith won various literary awards and was made an OBE in 1980. He published work in Gaelic under the -
Angeletti, Gioia (1997) Scottish Eccentrics: the Tradition of Otherness in Scottish Poetry from Hogg to Macdiarmid
Angeletti, Gioia (1997) Scottish eccentrics: the tradition of otherness in Scottish poetry from Hogg to MacDiarmid. PhD thesis. http://theses.gla.ac.uk/2552/ Copyright and moral rights for this thesis are retained by the author 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 Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] SCOTTISH ECCENTRICS: THE TRADITION OF OTHERNESS IN SCOTTISH POETRY FROM HOGG TO MACDIARMID by Gioia Angeletti 2 VOLUMES VOLUME I Thesis submitted for the degreeof PhD Department of Scottish Literature Facultyof Arts, Universityof Glasgow,October 1997 ý'i ý'"'ý# '; iý "ý ý'; ý y' ý': ' i ý., ý, Fý ABSTRACT This study attempts to modify the received opinion that Scottish poetry of the nineteenth-centuryfailed to build on the achievementsof the century (and centuries) before. Rather it suggeststhat a number of significant poets emerged in the period who represent an ongoing clearly Scottish tradition, characterised by protean identities and eccentricity, which leads on to MacDiarmid and the `Scottish Renaissance'of the twentieth century. The work of the poets in question is thus seen as marked by recurring linguistic, stylistic and thematic eccentricities which are often radical and subversive. -
Full Bibliography (PDF)
SOMHAIRLE MACGILL-EAIN BIBLIOGRAPHY POETICAL WORKS 1940 MacLean, S. and Garioch, Robert. 17 Poems for 6d. Edinburgh: Chalmers Press, 1940. MacLean, S. and Garioch, Robert. Seventeen Poems for Sixpence [second issue with corrections]. Edinburgh: Chalmers Press, 1940. 1943 MacLean, S. Dàin do Eimhir agus Dàin Eile. Glasgow: William MacLellan, 1943. 1971 MacLean, S. Poems to Eimhir, translated from the Gaelic by Iain Crichton Smith. London: Victor Gollancz, 1971. MacLean, S. Poems to Eimhir, translated from the Gaelic by Iain Crichton Smith. (Northern House Pamphlet Poets, 15). Newcastle upon Tyne: Northern House, 1971. 1977 MacLean, S. Reothairt is Contraigh: Taghadh de Dhàin 1932-72 /Spring tide and Neap tide: Selected Poems 1932-72. Edinburgh: Canongate, 1977. 1987 MacLean, S. Poems 1932-82. Philadelphia: Iona Foundation, 1987. 1989 MacLean, S. O Choille gu Bearradh / From Wood to Ridge: Collected Poems in Gaelic and English. Manchester: Carcanet, 1989. 1991 MacLean, S. O Choille gu Bearradh/ From Wood to Ridge: Collected Poems in Gaelic and English. London: Vintage, 1991. 1999 MacLean, S. Eimhir. Stornoway: Acair, 1999. MacLean, S. O Choille gu Bearradh/From Wood to Ridge: Collected Poems in Gaelic and in English translation. Manchester and Edinburgh: Carcanet/Birlinn, 1999. 2002 MacLean, S. Dàin do Eimhir/Poems to Eimhir, ed. Christopher Whyte. Glasgow: Association of Scottish Literary Studies, 2002. MacLean, S. Hallaig, translated by Seamus Heaney. Sleat: Urras Shomhairle, 2002. PROSE WRITINGS 1 1945 MacLean, S. ‘Bliain Shearlais – 1745’, Comar (Nollaig 1945). 1947 MacLean, S. ‘Aspects of Gaelic Poetry’ in Scottish Art and Letters, No. 3 (1947), 37. 1953 MacLean, S. ‘Am misgear agus an cluaran: A Drunk Man looks at the Thistle, by Hugh MacDiarmid’ in Gairm 6 (Winter 1953), 148. -
Representations of Scotland in Edwin Morgan's Poetry
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2002 Representations of Scotland in Edwin Morgan's poetry Theresa Fernandez Mendoza-Kovich Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Literature in English, British Isles Commons Recommended Citation Mendoza-Kovich, Theresa Fernandez, "Representations of Scotland in Edwin Morgan's poetry" (2002). Theses Digitization Project. 2157. https://scholarworks.lib.csusb.edu/etd-project/2157 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. REPRESENTATIONS OF SCOTLAND IN EDWIN MORGAN'S POETRY A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition by Theresa Fernandez Mendoza-Kovich September 2002 REPRESENTATIONS OF SCOTLAND IN EDWIN MORGAN'S POETRY A Thesis Presented to the Faculty of California State University, San Bernardino by Theresa Fernandez Mendoza-Kovich September 2002 Approved by: Renee PrqSon, Chair, English Date Margarep Doane Cyrrchia Cotter ABSTRACT This thesis is an examination of the poetry of Edwin Morgan. It is a cultural analysis of Morgan's poetry as representation of the Scottish people. ' Morgan's poetry represents the Scottish people as determined and persistent in dealing with life's adversities while maintaining hope in a better future This hope, according to Morgan, is largely associated with the advent of technology and the more modern landscape of his native Glasgow. -
Contemporary Gaelic Language and Culture: an Introduction (SCQF Level 5)
National Unit specification: general information Unit title: Contemporary Gaelic Language and Culture: An Introduction (SCQF level 5) Unit code: FN44 11 Superclass: FK Publication date: July 2011 Source: Scottish Qualifications Authority Version: 01 Summary The purpose of this Unit is to provide candidates with the knowledge and skills to enable them to understand development issues relating to the Gaelic language; understand contemporary Gaelic media, performing arts and literature; and provide the opportunity to enhance the four language skills of speaking, listening, reading and writing. This is a mandatory Unit within the National Progression Award in Contemporary Gaelic Songwriting and Production but can also be taken as a free-standing Unit. This Unit is suitable both for candidates who are fluent Gaelic speakers or Gaelic learners who have beginner level skills in written and spoken Gaelic. It can be delivered to a wide range of learners who have an academic, vocational or personal interest in the application of Gaelic in the arts and media. It is envisaged that candidates successfully completing this Unit will be able to progress to further study in Gaelic arts. Outcomes 1 Describe key factors contributing to Gaelic language and cultural development. 2 Describe key elements of the contemporary Gaelic arts and media world. 3 Apply Gaelic language skills in a range of contemporary arts and media contexts. Recommended entry While entry is at the discretion of the centre, candidates are expected to have, as a minimum, basic language skills in Gaelic. This may be evidenced by the attainment of Intermediate 1 Gaelic (Learners) or equivalent ability in the four skills of listening, speaking, reading and writing. -
"Dae Scotsmen Dream O 'Lectric Leids?" Robert Crawford's Cyborg Scotland
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 "Dae Scotsmen Dream o 'lectric Leids?" Robert Crawford's Cyborg Scotland Alexander Burke Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the English Language and Literature Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3272 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. i © Alexander P. Burke 2013 All Rights Reserved i “Dae Scotsmen Dream o ‘lectric Leids?” Robert Crawford’s Cyborg Scotland A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English at Virginia Commonwealth University By Alexander Powell Burke Bachelor of Arts in English, Virginia Commonwealth University May 2011 Director: Dr. David Latané Associate Chair, Department of English Virginia Commonwealth University Richmond, Virginia December, 2013 ii Acknowledgment I am forever indebted to the VCU English Department for providing me with a challenging and engaging education, and its faculty for making that experience enjoyable. It is difficult to single out only several among my professors, but I would like to acknowledge David Wojahn and Dr. Marcel Cornis-Pope for not only sitting on my thesis committee and giving me wonderful advice that I probably could have followed more closely, but for their role years prior of inspiring me to further pursue poetry and theory, respectively. -
Hugh Macdiarmid and Sorley Maclean: Modern Makars, Men of Letters
Hugh MacDiarmid and Sorley MacLean: Modern Makars, Men of Letters by Susan Ruth Wilson B.A., University of Toronto, 1986 M.A., University of Victoria, 1994 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the Department of English © Susan Ruth Wilson, 2007 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photo-copying or other means, without the permission of the author. ii Supervisory Committee Dr. Iain Higgins_(English)__________________________________________ _ Supervisor Dr. Tom Cleary_(English)____________________________________________ Departmental Member Dr. Eric Miller__(English)__________________________________________ __ Departmental Member Dr. Paul Wood_ (History)________________________________________ ____ Outside Member Dr. Ann Dooley_ (Celtic Studies) __________________________________ External Examiner ABSTRACT This dissertation, Hugh MacDiarmid and Sorley MacLean: Modern Makars, Men of Letters, transcribes and annotates 76 letters (65 hitherto unpublished), between MacDiarmid and MacLean. Four additional letters written by MacDiarmid’s second wife, Valda Grieve, to Sorley MacLean have also been included as they shed further light on the relationship which evolved between the two poets over the course of almost fifty years of friendship. These letters from Valda were archived with the unpublished correspondence from MacDiarmid which the Gaelic poet preserved. The critical introduction to the letters examines the significance of these poets’ literary collaboration in relation to the Scottish Renaissance and the Gaelic Literary Revival in Scotland, both movements following Ezra Pound’s Modernist maxim, “Make it new.” The first chapter, “Forging a Friendship”, situates the development of the men’s relationship in iii terms of each writer’s literary career, MacDiarmid already having achieved fame through his early lyrics and with the 1926 publication of A Drunk Man Looks at the Thistle when they first met. -
Eadar Canaan Is Garrabost (Between Canaan and Garrabost): Religion in Derick Thomson's Lewis Poetry
Studies in Scottish Literature Volume 46 Issue 1 Article 14 8-2020 Eadar Canaan is Garrabost (Between Canaan and Garrabost): Religion in Derick Thomson’s Lewis Poetry Petra Johana Poncarová Charles University, Prague Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the Celtic Studies Commons, and the Christian Denominations and Sects Commons Recommended Citation Poncarová, Petra Johana (2020) "Eadar Canaan is Garrabost (Between Canaan and Garrabost): Religion in Derick Thomson’s Lewis Poetry," Studies in Scottish Literature: Vol. 46: Iss. 1, 130–142. Available at: https://scholarcommons.sc.edu/ssl/vol46/iss1/14 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]. EADAR CANAAN IS GARRABOST (BETWEEN CANAAN AND GARRABOST): RELIGION IN DERICK THOMSON’S LEWIS POETRY Petra Johana Poncarová Since the Scottish Reformation of the sixteenth-century, the Protestant, Calvinist forms of Christianity have affected Scottish life and have become, in some attitudes, one of the “marks of Scottishness,” a “means of interpreting cultural and social realities in Scotland.”1 However treacherous and limiting such an assertion of Calvinism as an essential component of Scottish national character may be, the experience with radical Presbyterian Christianity has undoubtedly been one of the important features of life in the -
Location and Destination in Alasdair Mac Mhaigshstir Alasdair's 'The
Riach, A. (2019) Location and destination in Alasdair mac Mhaigshstir Alasdair’s ‘The Birlinn of Clanranald’. In: Szuba, M. and Wolfreys, J. (eds.) The Poetics of Space and Place in Scottish Literature. Series: Geocriticism and spatial literary studies. Palgrave Macmillan: Cham, pp. 17-30. ISBN 9783030126445. 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/188312/ Deposited on: 13 June 2019 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Location and Destination in Alasdair mac Mhaigshstir Alasdair’s ‘The Birlinn of Clanranald’ Alan Riach FROM THE POETICS OF SPACE AND PLACE IN SCOTTISH LITERATURE, MONIKA SZUBA AND JULIEN WOLFREYS, EDS., (CHAM, SWITZERLAND: PALGRAVE MACMILLAN, 2019), PP.17-30 ‘THE BIRLINN OF CLANRANALD’ is a poem which describes a working ship, a birlinn or galley, its component parts, mast, sail, tiller, rudder, oars and the cabes (or oar-clasps, wooden pommels secured to the gunwale) they rest in, the ropes that connect sail to cleats or belaying pins, and so on, and the sixteen crewmen, each with their appointed role and place; and it describes their mutual working together, rowing, and then sailing out to sea, from the Hebrides in the west of Scotland, from South Uist to the Sound of Islay, then over to Carrickfergus in Ireland. The last third of the poem is an astonishing, terrifying, exhilarating description of the men and the ship in a terrible storm that blows up, threatening to destroy them, and which they pass through, only just making it to safe harbour, mooring and shelter. -
Download Northwords Now to an E-Reader
The FREE literary magazine of the North Northwords Now Issue 29, Spring 2015 What Do We Think We Are? Robert Davidson on Writing, Territory and Identity New fiction and poetry including Robin Fulton Macpherson, Regi Claire, Pàdraig MacAoidh, Lesley Harrison and Hugh McMillan Interviews and Reviews including Christopher Brookmyre, Ian Stephen and Michel Faber EDITORIAL Contents Changing Times 3 The Morning After: Interview with Christopher Brookmyre his is the last issue of Northwords Now in its current form. At the time of writing this editorial I am waiting to hear from 4 Poems by Eileen Carney Hulme, William Bonar, Catherine Wylie, Tour principal financial partners, Creative Scotland and Bòrd na Anna Danskin, Stuart A. Paterson, & Kate Hendry Gàidhlig, about applications for funding for 2015/16. I am confident the news will be good but even if our applications are successful some 5 Marta’s Last Wish – Short Story by Regi Claire changes need to be made. Northwords Now will now be published just twice a year - in March 5 Poems by Stephen Keeler and September. This means that, at a time of acute financial pressure, we can save money on printing and distribution costs. However the 6 What Do You Think You Are? – Essay by Robert Davidson impact on writers and readers will not, I hope, be felt too keenly. The magazine will grow in size from 24 to 32 pages per issue. In other words 8 Imprint – Short Story by Mairi Sutherland we will publish almost the same amount of fiction, poetry, articles and reviews. Importantly, Northwords Now, will also remain free to its readers, 9 Poems by Andy Allan, Frances Robson, Coinneach Lindsay, whether online or on good, old fashioned paper. -
Edwin Morgan's Early Concrete Poetry
ELEANOR BELL Experimenting with the Verbivocovisual: Edwin Morgan's Early Concrete Poetry In The Order of Things: An Anthology of Scottish Sound, Pattern and Goncrete Poems, Ken Cockburn and Alec Finlay suggest that with the advent of con- crete poetry, 'Scotland connected to an international avant-garde movement in a manner barely conceivable today'. The 'classic phase' of concrete poetry in Scotiand, they note, begins around 1962, and, referencing Stephen Scobie, they point out that it should probably be regarded as an experiment in late modernism in its concerns with 'self-refiexiveness, juxtaposition and simultanism'.^ Some of the chief concerns of concrete poetry were therefore to expand upon the conceptual possibilities of poetry itself, instüling it with a new energy which could then radiate off the page, or the alternative medium on which it was presented. Both Edwin Morgan and Ian Hamilton Finlay were instantly drawn to these contrasts between the word, its verbal utterance and its overaU visual impact (or, as termed in Joyce's Finnegans Wake, its 'verbivocovisual presentements', which the Brazüian Noigandres later picked up on). Although going on to become the form's main pro- ponents within Scotiand, Morgan and Finlay recognised from early on that its Scottish reception most likely be frosty (with Hugh MacDiarmid famously asserting that 'these spatial arrangements of isolated letters and geo- metricaüy placed phrases, etc. have nothing whatever to do with poetry — any more than mud pies can be caüed architecture').^ Both poets none- theless entered into correspondence with key pioneering practitioners across the globe, and were united in their defence of the potential and legitimacy of the form. -
Red Or Dead: States of Poetry in Depression America
Red or Dead: States of Poetry in Depression America by Sarah Elizabeth Ehlers A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2012 Doctoral Committee: Professor Alan M. Wald, Chair Professor Howard Brick Professor June M. Howard Professor Yopie Prins Associate Professor Joshua L. Miller ACKNOWLEDGMENTS The same year I began my Ph.D. work at the University of Michigan, my father lost the coal-mining job he had worked for over twenty years. That particular confluence of events had a profound effect on me, and I would be remiss if I didn’t acknowledge the ways in which my personal feelings of anger and frustration—my sense of being somehow out-of-place—influenced my thinking and this project. Certainly, it was one of the catalysts for my deep interest in the U.S. literary Left. Like so many others, I am indebted to Alan Wald for my understanding of Left literature and culture. Alan has been, probably more than he knows, an example of the kind of scholar I hope to be—even, I admit, an ideal ego of sorts. I continue to be as awed by his deep knowledge as I am by his humility and generosity. Yopie Prins taught me how to read poetry when I already thought I knew how, and my conversations with her over the past five years have shaped my thinking in remarkable ways. From my first days in Ann Arbor, June Howard has been a source of intellectual guidance, and her insights on my work and the profession have been a sustaining influence.