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Explored Through the Revision of Place in Jackie Kay's Fiere, Kathleen Jamie's the Tree House A
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Repetition as Revision: Explored through the Revision of Place in Jackie Kay’s Fiere, Kathleen Jamie’s The Tree House, and Crane, a Creative Composition by Lynn Davidson A thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English at Massey University, Palmerston North, New Zealand Lynn Davidson 2015 Abstract This thesis examines anaphora, parallelism, and repetends, and asks if and how these techniques of repetition allow for negotiation among meanings, contexts and possibilities in contemporary poetry. The thesis is comprised of two sections, creative and critical, with a seventy percent creative and thirty percent critical split. The critical study is based on a close analysis of anaphora and parallelism in Jackie Kay’s Fiere (2010) and repetends in Kathleen Jamie’s The Tree House (2004), while repetition is explored creatively through Crane, an original collection of poetry shaped and informed by the critical research. Crane uses techniques of formal repetition to enquire into cultural and emotional links to place, and the impact of return journeys to significant places on a reimagining of place and self. There are five sections in Crane, each of which uses repetition slightly differently to engage with questions of movement between places. The collection uses repetition to explore how ‘going back’ can be a powerful part of the process of revising identity and integrating change. -
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. -
Immersion Education Outcomes and the Gaelic Community: Identities and Language Ideologies Among Gaelic Medium-Educated Adults in Scotland
Dunmore, S. S. (2017) Immersion education outcomes and the Gaelic community: identities and language ideologies among Gaelic medium-educated adults in Scotland. Journal of Multilingual and Multicultural Development, 38(8), pp. 726-741. 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/205747/ Deposited on: 16 December 2019 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Stuart S. Dunmore Journal of Multilingual and Multicultural Development 2016 Immersion education outcomes and the Gaelic community: Identities and language ideologies among Gaelic-medium educated adults in Scotland Abstract: Scholars have consistently theorised that language ideologies Keywords: can influence the ways in which bilingual speakers in minority language Bilingual settings identify and engage with the linguistic varieties available to them. education; Research conducted by the author examined the interplay of language use revitalisation; and ideologies among a purposive sample of adults who started in Gaelic- language medium education during the first years of its availability. Crucially, the ideologies; majority of participants’ Gaelic use today is limited, although notable cultural exceptions were found among individuals who were substantially identities socialised in the language at home during childhood, and a small number of new speakers. In this paper I draw attention to some of the language ideologies that interviewees conveyed when describing their cultural Article identifications with Gaelic. I argue that the ideologies that informants accepted: express seem to militate against their more frequent use of the language 12.10.2016 and their association with the wider Gaelic community. -
Hamish Henderson and Nelson Mandela: Notes for “Rivonia” Patrick G
Studies in Scottish Literature Volume 40 | Issue 1 Article 18 11-15-2014 Hamish Henderson and Nelson Mandela: Notes for “Rivonia” Patrick G. Scott University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the African History Commons, and the Literature in English, British Isles Commons Recommended Citation Scott, Patrick G. (2014) "Hamish Henderson and Nelson Mandela: Notes for “Rivonia”," Studies in Scottish Literature: Vol. 40: Iss. 1, 215–223. Available at: https://scholarcommons.sc.edu/ssl/vol40/iss1/18 This Notes/Documents 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]. Hamish Henderson and Nelson Mandela: Notes for “Rivonia” Cover Page Footnote Patrick Scott, "Hamish Henderson and Nelson Mandela: Notes for 'Rivonia'," Studies in Scottish Literature, 40 (2014): 215--223 This notes/documents is available in Studies in Scottish Literature: https://scholarcommons.sc.edu/ssl/vol40/iss1/18 HAMISH HENDERSON AND NELSON MANDELA: NOTES FOR “RIVONIA” Patrick Scott In this, the first volume of Studies in Scottish Literature since the death of President Nelson Mandela, it seems appropriate to include Hamish Henderson’s notes for his song “Rivonia,” written following the conviction of Mandela and seven co-defendants in the Rivonia trials of 1963-64. The notes are reproduced here by permission of the Estate of Hamish Henderson, both as documenting Henderson’s longtime commit- ment to international human rights and as a memorial to Mandela’s impact in Scotland. -
LAMENT the Fruits of Diverse Languages and Aesthetic Values, These Traditions Are Rooted in Strikingly Different Landscapes
Traditional Song and Music in Scotland MARGARET BENNETT 77 The traditional songs, poetry, and musiC of Scotland are as easy to recognize as they are difficult to define. Just as purple heather cannot describe the whole country, so with traditional arts: no simple description will fit. M A C C R I M M 0 N ' S LAMENT The fruits of diverse languages and aesthetic values, these traditions are rooted in strikingly different landscapes. Within this small country there are enormous Dh'iadh ceo nan stuc mu contrasts. Culturally as well as geographically, Scotland could be divided aodainn Chuillionn, Is sheinn a' bhean-shith a torman into several (imaginary) areas [see map on page 70], each reflecting a mulaid, distinct spirit of the Scottish people, their songs, poetry, and music. Gorm shuilean ciuin san Along with the Western Isles (the Outer Hebrides), the Highlands Dun a' sileadh Scotland's largest land mass and most sparsely populated area-is On thriall thu uainn 's nach till traditionally home to the Gaels, who make their living from "crofting" thu tuille. (working very small farms), fishing, weaving, whisky distilling, tourism, Cha till, cha till, cha till and, nowadays, computing. uciamar a tha thu'n diugh?" a neighbor MacCriomain, enquires, in Scottish Gaelic, "How are you today?" The songs and music An cogadh no s.ith cha till e have evolved through history, from as early as the first century C.E., when tuille; Scotland and Ireland shared traditions about their heroes. These traditions Le airgiod no ni cha till MacCriomain remember the hero Cu Culainn, whose warriors were trained to fight by Cha till e gu bdth gu La na a formidable woman on the Isle of Skye. -
Scotland Number Three Poetry Scotland 'Edited by MAURICE LINDSAY Third Collection - July 1946 PUBLISHED by WILLIAM MACLELLAN
Poetry Scotland Number Three Poetry Scotland 'Edited by MAURICE LINDSAY Third Collection - July 1946 PUBLISHED BY WILLIAM MACLELLAN. 240 HOPE STREET, GLASGOW Contents Editorial Letter • page 3 Introduction by ERIC LINKLATER - page 5 NORMAN McCAIG WILLIAM JEFFREY Quadrilles—Jig Time 11 To George Bannatyne 37 Albatross 12 Lark in the Air 12 STEWART C. HOOD Genetics 38 SYDNEY GOODSIR SMITH Love 38 Pompeii . 13 God's Mills Grind on Lethe 38 Loch Leven 13 (From the German of Erich Fried) Hamewith 13 KEITH DOUGLAS ADAM DRINAN Leukothea 39 To Fame 14 These Grasses, Ancient Enemies 40 Love Song 15 The Last Wolf 16 SEUMAS C. STEWART GEORGE BRTJCE The Salmon 41 A Man of Inconsequent Build 17 SYDNEY D. TREMAYNE ROBERT GARIOCH Comfort me now, my Love 41 A Ballad of Robbie Burns 19 G. S. FRASER McAlister 21 The Black Cherub 42 HUGH MACDIARMID WILLIAM J. TAIT Listening to a Skylark 22 Rondel 44 Nearer, My God, To Thee 23 (From the French of Villon.) Boon Companions 23 Of My First Love 23 SHAUN FITZSIMON Easter Bells 44 RUTHVEN TODD The Two Minutes Silence 45 Six Winters 24 Easter 1945 24 TOM SCOTT ALBERT MACKIE ToX 46 Weary Atlas 25 D. G. MACRAE She lauch'd and Skirled 25 From Fifth Century, A..D. 46 (From the German of Heine) EDWIN MUIR DOUGLAS YOUNG Song of Sorrow 47 To a Friend on a Campaign 26 The Window 47 For a Wife in Jizzen 27 Sodger's Sang i the Aist 27 HAMISH HENDERSON The Bairns' Slauchter o Bethlehem 28 Dialogue of the Angel and the v (Frae the German o Erich Fried) Dead Boy 48 (From the Italian of Corrado Govoni) W. -
Critical Study
Representing and Rejecting: Vernacular in Fiction with primary focus on James Kelman and Irvine Welsh 1993-94 A Critical Study Submitted by Leon A.C. Qualls for the MPhil in Writing University of South Wales Director of Studies: Rob Middlehurst Date submitted: November 2017 Contents 1. Introduction 1 2. Literature Review 2.1 Primary Texts 3 2.2 The Rejection of Standard English and Classical Realism 5 2.3 The Parochial Booker and Literary Separatism 9 3. Analysis 3.1 Putting the ‘fuck’ in Fiction—Kelman’s vernacular 12 3.2 It’s Cool to be a Cunt—The Trainspotting Phenomenon 23 3.3 Fight like You’re Painting the Forth Bridge 29 3.4 Vernacular in related Fiction and its Influence 32 4. Conclusion 40 5. Works Cited 46 Leon A.C. Qualls / 06026273 MPhil in Writing 1. Introduction The writing of my first novel, Hell Mend Me, has been a long, arduous task, involving more rewrites than I care to admit. No different from most authors, I dare say. The idea for the novel was first conceived whilst studying for my BA Creative and Professional Writing. Here was I, a Glaswegian in Wales, hoping to find my writing voice through the channel of standardised English. I was told to write about what I knew, and yet my eagerness to portray what I knew through a voice of insipidness was not entirely apparent until I was asked by a tutor to write a short story using Glaswegian vernacular.1 The response to my newly-found Glaswegian voice was overwhelmingly positive. -
Polygon New Titles 2020
POLYGON NEW TITLES 2020 | www.polygonbooks.co.uk SALES CONTACTS SCOTLAND ENGLAND and WALES IRELAND Seol Ltd Compass IPS Brookside Publishing Services West Newington House GW Business Centre 16 Priory Hall Office Park 10 Newington Road Great West House Stillorgan Edinburgh EH9 1QS Great West Road Co. Dublin Ireland Tel: +44 (0)131 668 1473 Brentford, Middlesex Phone (off): +353 (0)1 2784225 [email protected] TW8 9DF Phone (mob): +353 86 225 2380 Tel: +44 (0)20 8326 5696 [email protected] Polygon, an imprint of Birlinn Ltd, publishes new, vibrant fiction, poetry, music, current affairs and classic literature from world-renowned writers as well as strong, emerging voices. The list is AUSTRALIA UNITED STATES CANADA & NEW ZEALAND Casemate Georgetown Publications rooted in Scotland but publishes voices from and for the world’s stage. New South Books 2114 Darby Road 34 Armstrong Avenue c/o Alliance Dist. Services Havertown, Georgetown In Summer / Autumn 2020 Polygon will publish Denzil Meyrick’s eighth crime novel in the 9 Pioneer Avenue PA 19083 ON L7G 4R9 D.C.I series (more than 1 million books sold in this series so far) and a stand-alone novella, a Tuggerah NSW 2259 USA CANADA Australia Tel: (+1) 610 853 9131 Tel: (+1) 905 873 8498 stunning debut from Jenny Lecoat which has sold for a six-figure sum to HarperCollins US, the Tel: (+61) 2 4390 1391 [email protected] [email protected] first in a new mystery series from Sandra Ireland, a Highland-set thriller from Douglas Skelton [email protected] and a delightful new novel from Isla Dewar. -
Scottish Poetry, 1945-2010. In: Larrisy, E
Riach, A. (2016) Scottish poetry, 1945-2010. In: Larrisy, E. (ed.) The Cambridge Companion to British Poetry, 1945-2010. Series: Cambridge companions to literature. Cambridge University Press: Cambridge, pp. 148- 162. ISBN 9781107462847 (doi:10.1017/CCO9781316111314.011) 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/117644/ Deposited on: 27 January 2017 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk ‘Scottish Poetry 1945-2010’ Alan Riach, from British Literature since 1945, ed. Edward Larrissey (Cambridge University Press, 2016) After the Second World War, poetry in Scotland required regeneration. The Scottish Renaissance of the 1920s and 1930s had been a major force of revitalisation, led by Hugh MacDiarmid (C.M. Grieve, 1892-1978), aligning poetry, literature and all the arts in Scotland with renewed political ambition for an independent nation. After the war, MacDiarmid was still a major force among the new generation of poets, but the younger men and women would not follow his lead in any direct sense, and in any case, MacDiarmid had nothing but disdain for disciples. The prevailing imperative among the major poets who began publishing in the late 1940s, 1950s and 1960s was not one of nationalism but of individual voice, language and, crucially, location. Each had their own favoured terrain in different parts of Scotland, a geography of the imagination that made singular use of co-ordinate points drawn from their places of birth or upbringing, their societies and languages. -
Ucdscholarcast Series 4: (Spring 2010)
Peter MacKay, Scottish and Irish Second World War Poetry UCDscholarcast Series 4: (Spring 2010) Reconceiving the British Isles: The Literature of the Archipelago Series Editor: John Brannigan General Editor: P.J. Mathews © UCDscholarcast 1 Peter MacKay, Scottish and Irish Second World War Poetry Scottish and Irish Second World War Poetry In 1938, looking to the war that was to come, Louis MacNeice wrote: And now, and last, in London Poised on the edge of absence I ask for a moment’s mention Of days the days will cancel, Though the long run may also Bring what we ask for.1 For MacNeice, being on the cusp of war is being at the edge of absence, looking at a future which promises cancellation, annulment, negation. Balanced against this absence is the poet’s representative pleading – the repeated ‘I ask for ... we ask for’ – and his desire for the briefest utterance, the ‘moment’s mention’. Today I will be looking at Scottish and Irish war (and wartime) poetry, and in particular at images of absence, cancellation, annulment and denial (and where these leave poetry). The yoking of Scottish and Irish here is very much to the point, as notions of the nation, and the relationship between the poetic and the national are crucial to how war poetry is perceived and interpreted (especially given the fraught nature of the relationship between the state and the nation in Scotland, Northern Ireland and the Republic of Ireland, as it would come to be known). War poetry tends away from a focus on artifice and artistry and towards practise and experience. -
The Genesis of Serge Hovey's the Robert Burns Song Book Esther Hovey
Studies in Scottish Literature Volume 30 | Issue 1 Article 29 1998 The Genesis of Serge Hovey's The Robert Burns Song Book Esther Hovey Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Hovey, Esther (1998) "The Genesis of Serge Hovey's The Robert Burns Song Book," Studies in Scottish Literature: Vol. 30: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol30/iss1/29 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]. Esther Hovey The Genesis of Serge Hovey's The Robert Burns Song Book The question is often asked: Why would a twentieth-century American composer become so involved with the songs of Robert Bums? Serge Hovey (b. 1920, New York; d. 1989, Los Angeles) was an accom plished composer who studied under Arnold Schoenberg and Hanns Eisler. He was the musical director for the American premiere of Bertolt Brecht's Galileo in Hollywood in 1948. His ballet music Fable was performed by The Philadel phia Orchestra in 1949 and Hovey was well on his way to being accepted into the "serious" musical establishment of that time. But then he became inter ested in what he called "the cultural roots of American music." He became imbued with the notion that American music is comprised of the sounds and rhythms of the people who came to this land. -
Hamish Henderson and the 'Folk-Song Flyting' Corey Gibson
The Folkniks in the Kailyard: Hamish Henderson and the ‘Folk-song Flyting’ Corey Gibson This chapter is an examination of the ‘Folk-song Flyting’ between Hamish Henderson and Hugh MacDiarmid, which raged in the pages of the Scotsman throughout 1964. It uncovers some of the connections between the folk revivalists’ agenda, as represented in Henderson’s work, and contemporary debates among Scottish writers, particularly those among Edwin Morgan and a new generation of writers who sought to distance themselves from MacDiarmid’s coterie. The ‘Flyting’ is situated as a dramatic, condensed account of Scotland’s literary landscape in the 1960s. Keywords: folk revival, Literary Renaissance, Hamish Henderson, Hugh MacDiarmid, politics, poetry. In March 1964 the literary historian David Craig wrote to the Scotsman lambasting the Scottish Home Service for their part in the underrepresentation of Scottish folk-song in popular cultural life. Craig was also reacting to what he saw as a growing problem: the depreciation of this traditional oral idiom by Scotland’s well-known poets. He singled out Norman MacCaig for criticism, reporting that the poet had recently proclaimed: ‘folksongs might be good enough for berry-pickers and steel mill workers, but not for him – he had read Homer.1 Responding to the poet’s snobbery, Craig insisted that, at their best, Scotland’s ballads were equal ‘in quality, in beauty and truth if not in scale’ to the great European epics.2 A few days later Hugh MacDiarmid countered Craig’s letter with his own contribution to the ‘Points of View’ column in the Scotsman. He described folk- song as inherently antithetical to the demands of modern literature, and in doing so he lit the touch-paper of a vigorous, drawn-out public dispute that lasted into the summer of that year.