DOCSLIB.ORG

Negotiating Identity in Contemporary Playwriting

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Negotiating Identity in Contemporary Playwriting Negotiating Identity in Contemporary Playwriting Morven Crombie Hamilton Ph.D. University of York Department of Theatre, Film and Television January 2014 Abstract In this dissertation, I discuss the process of playwriting in Scottish dialect: why Scottish writers choose not to write in Standard English; how and why they choose their specific dialect; what problems lie in the writing of dialect plays; and what problems may arise in performance and production. Following on from that, I also investigate why Scottish playwrights often find themselves excluded from English theatres - particularly from the London stage - and what cultural stereotypes seem to fuel this problem. I have examined Scottish dialect plays and playwrights’ accounts from the 1940s onwards, as well as considering the critical response to these plays. In the light of this contextual background, I also analyse my own personal experience as a playwright over the course of my PhD by Practice at the University of York, and my experience as a Glaswegian playwright at an English university in a traditional English town. My dissertation begins by discussing why Scottish playwrights choose Scottish dialects, focussing in particular on the idea of language survival and resistance to English hegemony. I examine the merits and effects of urban and rural dialects, investigating why rural dialects are now largely neglected and why urban dialects are vital to representations of class and city life in modern Scotland. I scrutinise the problems of writing dialect, and the lack of official spelling and prevalence of profanity in urban dialects, which present particular problems. Audience reception will also be considered, examining the idea that non-Scottish audiences struggle to understand the dialect, and subsequently struggle to understand its humour. Finally, I consider audience responses towards Scottish dialect. 2 List of Contents Acknowledgements...................................................................................................... p4 Dedication......................................................................................................................... p5 Author’s Declaration................................................................................................... p6 Dissertation: I. Introduction..................................................................................................... p7 II. Defining the term ‘Scottish playwright’............................................. p13 II. Why choose to write in a Scots dialect?............................................. p16 i. An instinctive choice?.................................................................... p16 ii. The decline of written Scots...................................................... p18 iii. The playwright’s response....................................................... p22 iv. Peer Pressure.................................................................................. p26 III. The selection of particular Scots dialects......................................... p27 i. Writing in rural dialects............................................................... p29 ii. Writing in urban dialects........................................................... p34 a) Urban as Authentically Scottish............................... p34 b) Urban dialect as a Class Issue................................... p35 c) Urban dialect and Specifically Urban Issues...... p37 IV. Problems with Scottish Dialect Plays in Writing.......................... p39 i. Unified Spelling................................................................................ p40 ii. Profanity............................................................................................ p46 V. Problems with Scottish Dialect Plays in Reception....................... p49 i. Understanding the Play................................................................ p50 a) Dialect.................................................................................. p50 b) Humour............................................................................... p52 VI. The exclusion of Scottish plays from English theatres............... p55 i. Stereotyping Scotland as Parochial Highlands................... p58 ii. Scots Playwrights and Insularity............................................. p61 iii. Incomprehensibility and Scottish plays............................................ p63 iv. Portraying Scottish Plays as Urban Nightmares............................ p67 VII. The national frame and wider applications................................... p72 i. Applying Scotland’s case further afield................................. p72 ii. Discussing Scots playwrights within a national frame.. p74 VII. Conclusion.................................................................................................... p79 VIII. References.................................................................................................. p86 Portfolio.............................................................................................................................. p101 Supporting Evidence for Portfolio....................................................................... p116 Play: Filthy Little Explosions.................................................................................. p201 Play: Lorenzo Amoruso was a Catholic Too................................................... p269 Play: Fox’s Children...................................................................................................... p333 3 Acknowledgements This Ph.D. could not have been written without Professor Mary Luckhurst: her guidance in both playwriting and academia in my time in the Theatre, Film and Television Department has been invaluable. Thanks must also go to Professor Duncan Petrie, for his invaluable knowledge of Scottish film, and to Neil McPherson, for graciously and speedily answering any and all questions I could have asked about Scots playwriting at the Finborough Theatre. 4 Dedication This Ph.D. would have been absolutely nowhere without the love and support of Linda Hamilton, Archie Hamilton, and Tom Bruggenwirth. Even Dad’s Big Book of Clichés can’t describe how much I love you all. 5 Author’s Declaration I declare that this thesis is my own work: the dissertation and accompanying portfolio and plays are the result of my research and playwriting practice over the course of the three years of my Ph.D at the University of York. I have not submitted this work for any other degree at the University of York, or at any other institution. 6 I. Introduction As far back as the 1600s, good Scottish playwriting has been unfairly labelled as the needle in the proverbial haystack. Former Glasgow Herald editor Christopher Small, for instance, once likened finding modern Scottish playwrights to finding ‘snakes in the history of Iceland’ (1977, p.iii). This idea stems largely from a misguided yet often repeated view of the Scottish Reformation, which argues that the Calvinists and the Church of Scotland completely suffocated Scottish playwriting during the Scottish Reformation, resulting in a three hundred year silence in Scotland.1 We can look, for example, at Dawson Scott who suggests that the Scottish Reformation ‘deliberately squeezed theatre out of public life for more than 300 years’, and left us ‘with no theatrical heritage to speak of’ (2008, p40). I do not deny that Calvinism had some impact on Scottish theatrical output, but this particular view of the Reformation substantially exaggerates the problem. As Reid says, it is a ‘seductively simple’ narrative, which leaves us with the absurd suggestion that Scottish playwriting somehow miraculously sprouted out of the ground ‘fully formed’ in the 1930s (2013, p4). In fact, the history of Scottish playwriting is much more complex. For a start, this version of history fails to take into account the fact that playwriting and theatrical performance still existed even during the Reformation, as documented by Findlay (1998) and McGavin (2007). Even if we did acknowledge that some suppression occurred, however, it would still be a serious misjudgement to say that Scottish playwriting somehow spontaneously reappeared midway through the Twentieth Century. There is a variety of easily identified Victorian-era Scottish playwrights, for a start. The most obvious of these is J.M. Barrie (1860-1937), an unquestionably successful Scottish playwright, who Hutchison rightly points out is unfairly overlooked by British theatre historians, on entirely ‘dubious textual grounds’, for lacking a sense of purpose in his writing (1998, p214). In disproving this supposed three-century 1 For more on the construction of this somewhat artificial version of history, see Reid (2013, p4) and Carruthers and MacDonald (2013, p143) 2 See Scullion, 1998, p81. 3 See Findlay (1998), Scullion (1998) and Bell (1998) for thorough coverage of Scottish 7 silence, we might also name David Crawford, a popular writer of comedies in the Eighteenth Century2, or William Clark in the Seventeenth Century, whose successful play Marciano; or, The Discovery was performed to great success at Holyrood House (Findlay, 1998, p63). Like many Scottish playwrights and performers from the 1600s through to the 1930s and 40s, these dramatists seem to have fallen under the radar.3 From the early Twentieth Century onwards, however, Scottish playwriting is better documented. Scottish dramatists have always been present in some form or other, but in
Load more

Recommended publications
  • New Caledonia 1698-1700: Scotland's Twice-Lost Colony
    71 “New Caledonia 1698-1700: Scotland’s Twice-Lost Colony” Ignacio Gallup-Díaz, Bryn Mawr College “Lost Colonies” Conference, March 26-27, 2004 (Please do not cite, quote, or circulate without written permission from the author) This paper explores the manner in which the troubled relationship between Scotland and England played itself out in the arena of imperial expansion in the Americas. How did Scotland, a nation-state attempting to free itself from its problematic relationship with a mightier southern neighbor, act upon the colonial stage it had chosen in the Darién region of eastern Panamá? How did a nation-state that occupied the subject position in a colonial relationship itself perform as a colonizer? Informed by David Armitage’s persuasive description of the elements that differentiated the Scottish vision of empire from English expansionist thinking,1 the paper sets out to discover whether Scottish sailors, soldiers and settlers-- the individuals acting on the front lines of the nation’s expansionist effort-- interacted with the Darién’s Tule2 people in a manner that also distinguished them from their English competitors. 1. D. Armitage, “The Scottish Vision of Empire: Intellectual Origins of the Darién Venture,” in John Robertson, ed., A Union for Empire: Political Thought and the Union of 1707, (Cambridge University Press, 1995), pp. 97-121; see also his Ideological Origins of the British Empire, (Cambridge UP, 2000), pp. 158-162. 2. The San Blas Kuna Indians, the descendants of the early modern indigenous peoples of Panamá, use the word “Tule” to describe themselves, and this is the term that I shall use for the actors in this paper.
    [Show full text]
  • No. 122 November 2012
    No. 122 November 2012 THE RED HACKLE RAF A4 JULY 2012_Layout 1 01/08/2012 10:06 Page 1 their future starts here Boarding Boys & Girls aged 9 to 18 Scholarship Dates: Sixth Form Saturday 17th November 2012 Junior (P5-S1) Saturday 26th January 2013 Senior (Year 9/S2) Monday 25th – Wednesday 27th February 2013 Forces Discount and Bursaries Available For more information or to register please contact Felicity Legge T: 01738 812546 E: [email protected] www.strathallan.co.uk Forgandenny Perthshire PH2 9EG Strathallan is a Scottish Charity dedicated to education. Charity number SC008903 No. 122 42nd 73rd November 2012 THE RED HACKLE The Chronicle of The Black Watch (Royal Highland Regiment), its successor The Black Watch, 3rd Battalion The Royal Regiment of Scotland, The Affiliated Regiments and The Black Watch Association The Old Colours of the 1st Battalion The Black Watch and 1st Battalion 51st Highland Volunteers were Laid Up in Perth on 23 June 2012. This was the final military act in the life of both Regiments. NOVEMBER 2012 THE RED HACKLE 1 Contents Editorial ..................................................................................................... 3 Regimental and Battalion News .............................................................. 4 Perth and Kinross The Black Watch Heritage Appeal, The Regimental Museum and Friends of the Black Watch ...................................................................... 8 is proud to be Correspondence .....................................................................................
    [Show full text]
  • ROBERT BURNS and PASTORAL This Page Intentionally Left Blank Robert Burns and Pastoral
    ROBERT BURNS AND PASTORAL This page intentionally left blank Robert Burns and Pastoral Poetry and Improvement in Late Eighteenth-Century Scotland NIGEL LEASK 1 3 Great Clarendon Street, Oxford OX26DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York # Nigel Leask 2010 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2010 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available Typeset by SPI Publisher Services, Pondicherry, India Printed in Great Britain on acid-free paper by MPG Books Group, Bodmin and King’s Lynn ISBN 978–0–19–957261–8 13579108642 In Memory of Joseph Macleod (1903–84), poet and broadcaster This page intentionally left blank Acknowledgements This book has been of long gestation.
    [Show full text]
  • The Black Watch Museum and Home Headquarters
    No. 102 November 2010 THE RED HACKLE Perth and Kinross is proud to be home to the Black Watch Museum and Home Headquarters Delivering Quality to the Heart of Scotland don’t lOSE YOUR VOICE - REGISTER TO VOTE In order to vote you must be registered as an elector. If you are not on the register your views and opinions will count for nothing at election time. You can and should register to vote if you are not already registered. If you have changed your name, please let us know. Members of HM Forces and their spouses or civil partners can register either by means of a service declaration or choose to be registered as an ordinary elector instead. Remember, 16 and 17 year olds who register are entitled to vote as soon as they turn 18. P.S. Did you know that registering to vote can do more than protect your democratic rights? It can also help you open a bank account or get a mortgage, loan or mobile phone. For information on registering to vote: Phone the Freefone Helpline on 0800 393783 e-mail: [email protected] or write to the Electoral Registration Officer, Moray House, 16-18 Bank Street, Inverness IV1 1QY HAVE YOUR SAY No. 102 42nd 73rd November 2010 THE RED HACKLE The Chronicle of The Black Watch (Royal Highland Regiment), its successor The Black Watch, 3rd Battalion The Royal Regiment of Scotland, The Affiliated Regiments and The Black Watch Association Private Sam Morgan receives his Afghanistan campaign medal during the visit or the Royal Colonel to Balhousie Castle on 1 June 2010.
    [Show full text]
  • RANGERS FC RANGERS FC in the in the 1980S
    in the The Players’ Stories The Players’ 1980s ALISTAIR AIRD ALISTAIR RANGERS FC ALISTAIR AIRD RANGERS FC in the 1980s Contents Acknowledgements 9 Introduction 11 Safe Hands: The Goalkeepers Jim Stewart (1981–1984) 21 Nicky Walker (1983–1989) 31 Case For The Defence: The Defenders Hugh Burns (1980–1987) 47 Ally Dawson (1975–1987) 62 Jimmy Nicholl (1983–1984, 1986–1989) 73 Stuart Munro (1984–1991) 87 Dave MacKinnon (1982–1986) 100 Stuart Beattie (1985–1986) 112 Colin Miller (1985–1986) 123 Richard Gough (1987–1998) 134 Dave McPherson (1977–1987, 1992–1994) 151 The Engine Room: The Midfielders Bobby Russell (1977–1987) 169 Derek Ferguson (1982–1990) 178 Ian Durrant (1982 -1998) 196 Ian Ferguson (1988–2000) 216 David Kirkwood (1987–1989) 237 Up Front: The Forwards John MacDonald (1978–1986) 249 Gordon Dalziel (1978–1984) 261 Derek Johnstone (1970–1983, 1985-1986) 271 Iain Ferguson (1984–1986) 286 Mark Walters (1987–1991) 296 Statistics 306 Index 319 SAFE HANDS THE GOALKEEPERS 19 Just Jim Jim Stewart (1981–1984) James Garvin Stewart’s football career was stuck in a rut in March 1981 Aged 27 he was languishing in the Middlesbrough reserve team, his two caps for Scotland in 1977 and 1979 a seemingly distant memory Enter John Greig The Rangers manager was looking for a goalkeeper to provide competition for the timeless Peter McCloy and he looked to Teesside to find one ‘I got a phone call from Davie Provan, who was on the coaching staff at Ibrox at the time, to ask me if I’d be interested in signing for Rangers,’ said Stewart ‘There was no question
    [Show full text]
  • Sample Download
    David Stuart & RobertScotland: Club, Marshall Country & Collectables Club, Country & Collectables 1 Scotland Club, Country & Collectables David Stuart & Robert Marshall Pitch Publishing Ltd A2 Yeoman Gate Yeoman Way Durrington BN13 3QZ Email: [email protected] Web: www.pitchpublishing.co.uk First published by Pitch Publishing 2019 Text © 2019 Robert Marshall and David Stuart Robert Marshall and David Stuart have asserted their rights in accordance with the Copyright, Designs and Patents Act 1988 to be identified as the authors of this work. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission in writing of the publisher and the copyright owners, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the terms stated here should be sent to the publishers at the UK address printed on this page. The publisher makes no representation, express or implied, with regard to the accuracy of the information contained in this book and cannot accept any legal responsibility for any errors or omissions that may be made. A CIP catalogue record for this book is available from the British Library. 13-digit ISBN: 9781785315419 Design and typesetting by Olner Pro Sport Media. Printed in India by Replika Press Scotland: Club, Country & Collectables INTRODUCTION Just when you thought it was safe again to and Don Hutchison, the match go back inside a quality bookshop, along badges (stinking or otherwise), comes another offbeat soccer hardback (or the Caribbean postage stamps football annual for grown-ups) from David ‘deifying’ Scotland World Cup Stuart and Robert Marshall, Scottish football squads and the replica strips which writing’s answer to Ernest Hemingway and just defy belief! There’s no limit Mary Shelley.
    [Show full text]
  • Poor Relief and the Church in Scotland, 1560−1650
    George Mackay Brown and the Scottish Catholic Imagination Scottish Religious Cultures Historical Perspectives An innovative study of George Mackay Brown as a Scottish Catholic writer with a truly international reach This lively new study is the very first book to offer an absorbing history of the uncharted territory that is Scottish Catholic fiction. For Scottish Catholic writers of the twentieth century, faith was the key influence on both their artistic process and creative vision. By focusing on one of the best known of Scotland’s literary converts, George Mackay Brown, this book explores both the Scottish Catholic modernist movement of the twentieth century and the particularities of Brown’s writing which have been routinely overlooked by previous studies. The book provides sustained and illuminating close readings of key texts in Brown’s corpus and includes detailed comparisons between Brown’s writing and an established canon of Catholic writers, including Graham Greene, Muriel Spark and Flannery O’Connor. This timely book reveals that Brown’s Catholic imagination extended far beyond the ‘small green world’ of Orkney and ultimately embraced a universal human experience. Linden Bicket is a Teaching Fellow in the School of Divinity in New College, at the University of Edinburgh. She has published widely on George Mackay Brown Linden Bicket and her research focuses on patterns of faith and scepticism in the fictive worlds of story, film and theatre. Poor Relief and the Cover image: George Mackay Brown (left of crucifix) at the Italian Church in Scotland, Chapel, Orkney © Orkney Library & Archive Cover design: www.hayesdesign.co.uk 1560−1650 ISBN 978-1-4744-1165-3 edinburghuniversitypress.com John McCallum POOR RELIEF AND THE CHURCH IN SCOTLAND, 1560–1650 Scottish Religious Cultures Historical Perspectives Series Editors: Scott R.
    [Show full text]
  • Journal of Irish and Scottish Studies Migrating Minds
    Journal of Irish and Scottish Studies Volume 5: Issue 1 Migrating Minds AHRC Centre for Irish and Scottish Studies, University of Aberdeen JOURNAL OF IRISH AND SCOTTISH STUDIES Volume 5, Issue 1 Autumn 2011 Migrating Minds Published by the AHRC Centre for Irish and Scottish Studies at the University of Aberdeen in association with The universities of the The Irish-Scottish Academic Initiative ISSN 1753-2396 Printed and bound in Great Britain by CPI Antony Rowe, Chippenham and Eastbourne Journal of Irish and Scottish Studies General Editor: Cairns Craig Issue Editor: Paul Shanks Associate Editor: Michael Brown Editorial Advisory Board: Fran Brearton, Queen’s University, Belfast Eleanor Bell, University of Strathclyde Ewen Cameron, University of Edinburgh Sean Connolly, Queen’s University, Belfast Patrick Crotty, University of Aberdeen David Dickson, Trinity College, Dublin T. M. Devine, University of Edinburgh David Dumville, University of Aberdeen Aaron Kelly, University of Edinburgh Edna Longley, Queen’s University, Belfast Peter Mackay, Queen’s University, Belfast Shane Alcobia-Murphy, University of Aberdeen Ian Campbell Ross, Trinity College, Dublin Graham Walker, Queen’s University, Belfast International Advisory Board: Don Akenson, Queen’s University, Kingston Tom Brooking, University of Otago Keith Dixon, Université Lumière Lyon 2 Marjorie Howes, Boston College H. Gustav Klaus, University of Rostock Peter Kuch, University of Otago Graeme Morton, University of Guelph Brad Patterson, Victoria University, Wellington Matthew Wickman, Brigham Young David Wilson, University of Toronto The Journal of Irish and Scottish Studies is a peer reviewed journal published twice yearly in autumn and spring by the AHRC Centre for Irish and Scottish Studies at the University of Aberdeen.
    [Show full text]
  • The Black Watch
    m rT-^ LIBRA RY OF THE U N IVER5ITY or ILLINOIS P58b v.l ^//h^ypf^^^/f /.>.///. y?/uf/r//fy/r y)fTi/ <: yfrcA,f^^r/ff ,'7ffttr/f the Return this book on or before Latest Date stamped below. University of Illinois Library Mr^' „^o uv 5-a Li6i_H4l Digitized by the Internet Archive in 2009 with funding from University of Illinois Urbana-Chary|aign http://www.archive.org/details/blackwatch01pick tf THE BLACK WATCH. BY THE AUTHOR OF THE DOMINIE'S LEGACY IMy heart's in the Highlands wherever I go. Scots Song. IN THREE VOLUMES. VOL. I. LONDON, RICHARD BENTLEY, NEW BURLINGTON STREET. (successor to henry colburn.) 1834. LONDON: IE0T8OM ANT) PALMER, PRINTIRS, SAVOy STV.FF.T, !^ I nANIL ?^3 Pss-^•f. TO SIR CHARLES FORBES, BART. &c. &c. &c. Sir; It was the intention of my late father to dedicate to you the following Tale, illustrative of the martial character of the Highlands of Scotland. But death has withheld him from indulging in this wish. May, I therefore, his son, presume to fulfil the design which my father entertained, and inscribe with your name this, his last, Work ? <k I have the honour to be, Sir, With great respect, ^ Your most obedient Servant, JOHN COXON PICKEN. : ! THE BLACK WATCH, CHAPTEH I. To Nature and to Holy Writ Alone did God the boy commit Where flash'd and roar'd the torrent^ oft His soul found wings^ and soar'd aloft Coleridge. The first peep of daylight was just beginning to streak the sky on the seaward side of the old town of Inverness, in the north of Scotland, when a t^l Highland youth, dressed in bonnet and trews, stole cautiously forth from the straggling outskirts, and with his face turned southerly, set hastily forward on some boyish VOL.
    [Show full text]
  • Trish Reid, Theatre & Scotland (Houndmills
    Ian Brown, editor, The Edinburgh Companion to Scottish Drama (Edinburgh: Edinburgh University Press, 2011); Trish Reid, Theatre & Scotland (Houndmills: Palgrave Macmillan, 2013) Alan Riach What might be described as the conventional wisdom about Scottish drama is summed up in the first two sentences of chapter 10 of Marshall Walker’s book, Scottish Literature since 1707 (1996): ‘There is no paucity of Scottish theatrical heritage, but there is a shortage of durable Scottish plays. Drama is the genre in which Scottish writers have shown least distinction.’ It is a judgement that has been perpetuated over generations but only relatively recently has the necessary scholarship and engagement been advanced, by both academics and theatre practitioners, to interrogate the assumptions that lie behind it. Walker refers to ‘the circumstances of theatrical history’ and questions of suppression and censorship, the Reformation, the removal of the court to London in 1603, the Licensing Act of 1737, and concludes his introduction to the chapter by saying that despite familiar references to Allan Ramsay, John Home, Joanna Baillie, and the vitality of folk, music-hall and variety theatre, nothing much happens between Sir David Lyndsay in the sixteenth century and the ‘return’ of Scottish drama in the twentieth century. Most of his chapter then goes on to discuss incisively and refreshingly the achievements of J.M. Barrie, James Bridie and John McGrath but the context he sketches out is barren. As a summary, there is some brutal truth in this, but as an appraisal of the whole complex story, there is much more to be said, and much more has been discovered and made public in the decades since Walker’s book appeared.
    [Show full text]
  • Barrow-In-Furness, Cumbria
    BBC VOICES RECORDINGS http://sounds.bl.uk Title: Barrow-in-Furness, Cumbria Shelfmark: C1190/11/01 Recording date: 2005 Speakers: Airaksinen, Ben, b. 1987 Helsinki; male; sixth-form student (father b. Finland, research scientist; mother b. Barrow-in-Furness) France, Jane, b. 1954 Barrow-in-Furness; female; unemployed (father b. Knotty Ash, shoemaker; mother b. Bootle, housewife) Andy, b. 1988 Barrow-in-Furness; male; sixth-form student (father b. Barrow-in-Furness, shop sales assistant; mother b. Harrow, dinner lady) Clare, b. 1988 Barrow-in-Furness; female; sixth-form student (father b. Barrow-in-Furness, farmer; mother b. Brentwood, Essex) Lucy, b. 1988 Leeds; female; sixth-form student (father b. Pudsey, farmer; mother b. Dewsbury, building and construction tutor; nursing home activities co-ordinator) Nathan, b. 1988 Barrow-in-Furness; male; sixth-form student (father b. Dalton-in-Furness, IT worker; mother b. Barrow-in-Furness) The interviewees (except Jane France) are sixth-form students at Barrow VI Form College. ELICITED LEXIS ○ see English Dialect Dictionary (1898-1905) ∆ see New Partridge Dictionary of Slang and Unconventional English (2006) ◊ see Green’s Dictionary of Slang (2010) ♥ see Dictionary of Contemporary Slang (2014) ♦ see Urban Dictionary (online) ⌂ no previous source (with this sense) identified pleased chuffed; happy; made-up tired knackered unwell ill; touch under the weather; dicky; sick; poorly hot baking; boiling; scorching; warm cold freezing; chilly; Baltic◊ annoyed nowty∆; frustrated; pissed off; miffed; peeved
    [Show full text]
  • Fan-Guide Glasgow Rangers
    Fan-Guide Bus vom Flughafen. An der Gilmour Street Station in den Zug umsteigen nach Glasgow Central. Alle 10 Minu- ten fährt tagsüber ein Zug. Das Kombinationsticket für Glasgow Rangers Bus und Zug kostet £ 3,60. Die gesamte Fahrtzeit be- trägt bei der kostengünstigeren Option 45 Minuten. Für Hartgesottene ist natürlich auch eine längere Anrei- se mit dem Zug und Schiff möglich. Liebe YB-Fans Möchte man seine Emissionen kompensieren, kann dies unter anderem bei https://www.myclimate.org/de/ ge- Für das sechste und letzte Gruppenspiel der Europa macht werden. League reisen die Young Boys zu den Rangers nach Glasgow. Der aktuell 2. Platzierte der Scottish Premi- ership qualifizierte sich gegen den FC Midtjylland (Dä- nemark), Legia Warschau (Polen) und FC St. Joseph’s Treffpunkt vor dem Spiel (Gibraltar) für die Gruppenphase der EL. www.ostkurve.be In diesem Fan-Guide zum Spiel vom 12. Dezember 2019 erfahrt ihr wichtige Informationen und spannende www.gaeubschwarzsuechtig.ch Fakten rund um unseren Gegner aus Schottland. Viel Spass und HOPP YB! In Glasgow wird wie so oft an europäischen Spielen der Berner Young Boys ein Treffpunkt für alle YB-Fans or- ganisiert. Dieser wird über die üblichen Kanäle am Spiel- tag kommuniziert. Bei Fragen könnt ihr euch gerne auch an die Fanarbei- tenden wenden, welche zu dritt vor Ort sein werden: Gut zu wissen Unterstützung durch Fanarbeit Bern vor Ort Vorwahl Schottland +44 Luke 0041 79 617 75 82 Notruf allgemein 999 Nici 0041 76 227 75 86 Typ G Steckdosen-Adapter Typ G Jonny 0041 78 873 29 17 Währung Pfund Sterling 1 £ = 1.28 CHF.
    [Show full text]