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Artymiuk, Anne
UHI Thesis - pdf download summary Today's No Ground to Stand Upon A Study of the Life and Poetry of George Campbell Hay Artymiuk, Anne DOCTOR OF PHILOSOPHY (AWARDED BY OU/ABERDEEN) Award date: 2019 Awarding institution: The University of Edinburgh Link URL to thesis in UHI Research Database General rights and useage policy Copyright,IP and moral rights for the publications made accessible in the UHI Research Database are retained by the author, users must recognise and abide by the legal requirements associated with these rights. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement, or without prior permission from the author. Users may download and print one copy of any thesis from the UHI Research Database for the not-for-profit purpose of private study or research on the condition that: 1) The full text is not changed in any way 2) If citing, a bibliographic link is made to the metadata record on the the UHI Research Database 3) You may not further distribute the material or use it for any profit-making activity or commercial gain 4) You may freely distribute the URL identifying the publication in the UHI Research Database Take down policy If you believe that any data within this document represents a breach of copyright, confidence or data protection please contact us at [email protected] providing details; we will remove access to the work immediately and investigate your claim. Download date: 29. Sep. 2021 ‘Today’s No Ground to Stand Upon’: a Study of the Life and Poetry of George Campbell Hay Anne Artymiuk M.A. -
Download a PDF File of the Index for Volume 40
Aindex to Volume 40 – 2018 Compiled by H.e. Knox Z INDEX Index of Authors: books reviewed are listed by author, with the title in italics and the reviewer’s name in brackets, followed by the issue number. Index of Reviewers: books reviewed are listed by reviewer, with the author’s name after the title. Subject Index: the subject is followed by the title and author of the book discussed, with the reviewer’s name in brackets. ‘Corres.’ refers to letters sent to the editor in response to the article listed, and printed in subsequent issues. Index of Original Contributions: all articles which are not strictly book reviews (features, diaries, poems, short stories) are listed here, as well as appearing in the index of authors. Index of Authors Adam, G.: Dark Side of the Boom: The Excesses of the Art Berlin, L.: Cixin Liu: Market in the 21st Century. (Abrahamian, A.A.) 40.9 Evening in Paradise: More Stories. (Lockwood, P.) 40.23 Translator Liu, K. Adams, M.: Ælfred’s Britain: War and Peace in the Viking Age. Welcome Home: A Memoir with Selected Photographs. The Dark Forest. (Richardson, N.) 40.3 (Shippey, T.) 40.9 (Lockwood, P.) 40.23 Death’s End. (Richardson, N.) 40.3 Ahmed, S.: Living a Feminist Life. (Rose, J.) 40.4 Bermant, A.: Margaret Thatcher and the Middle East. The Three-Body Problem. (Richardson, N.) 40.3 Akomfrah, J.: Mimesis: African Soldier. (Harding, J.) 40.23 (Wheatcroft, G.) 40.17 The Wandering Earth. (Richardson, N.) 40.3 Alderton, D.: Everything I Know about Love. -
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. -
165Richard.Pdf
165 165 c2001 Richard Caddel Basil Basil Bunting : An Introduction to to a Northern Modernist Poet : The Interweaving Voices of Oppositional Poetry Richard Richard Caddel I'd I'd like to thank the Institute of Oriental and Occidental Studies for inviting me to give this this presentation, and for their generosity in sustaining me throughout this fellowship. I have have to say that I feel a little intimidated by my task here, which is to present the work of of a poet who is still far from well known in his own country, and who many regard as not not an easy poet (is there such a thing?) in an environment to which both he and I are foreign. foreign. This is my first visit to your country, and Bunting, though he travelled widely throughout throughout his life, never came here. That's a pity, because early in his poetic career he made what I consider to be a very effective English poem out of the Japanese prose classic, classic, Kamo no Chomei's Hojoki (albeit from an Italian tranlation, rather than the original) original) and I think he had the temperament to have enjoyed himself greatly here. I'm I'm going to present him, as much as possible, in his own words, often using recordings of him reading. He read well, and his poetry has a direct physical appeal which makes my task task of presenting it a pleasure, and I hope this approach will be useful for you as well. But first a few introductory words will be necessary. -
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. -
Collier, Mike (2012) Street Flowers: Urban Survivors of the Privileged Land: Conference Paper and Published Essay
Collier, Mike (2012) Street Flowers: Urban Survivors of the Privileged Land: Conference Paper and Published Essay. In: Tourism, Roads and Cultural Itineraries: Meaning, Memory and Development. Laval University, Quebec. ISBN 978-2-7637-1789-0 (Unpublished) Downloaded from: http://sure.sunderland.ac.uk/id/eprint/3728/ Usage guidelines Please refer to the usage guidelines at http://sure.sunderland.ac.uk/policies.html or alternatively contact [email protected]. Street Flowers – Urban Survivors of the Privileged Land Dr. Mike Collier, Programme Leader and Principal Investigator for WALK1, University of Sunderland Abstract In this essay, I want to explore the way in which we relate to our environment and its often contested histories through the simple action of taking a meander through an Edgeland2 urban site – a site local to me and the place where I work (Sunderland in the North East of England). It is my contention that the action of moving slowly (or meandering) through an environment affects our experience of that place in ways that are not immediately apparent. Meandering allows the walker to stop whenever and wherever they find something interesting to ‘explore’; and it allows them time to respond to the weather patterns and soundscapes of an environment. This creates an embodied experience which, when meandering in a group, seems to encourage the body and mind to respond by meandering across a range of different areas of thought. In my projects, these have included discussions around natural history, social history, politics and philosophy explored together in non-hierarchical and unstructured ways; ways which create new patterns of interdisciplinary and interconnected thinking. -
Reconstruction of a Gaelic World in the Work of Neil M. Gunn and Hugh Macdiarmid
Paterson, Fiona E. (2020) ‘The Gael Will Come Again’: Reconstruction of a Gaelic world in the work of Neil M. Gunn and Hugh MacDiarmid. MPhil(R) thesis. http://theses.gla.ac.uk/81487/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work 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 Enlighten: Theses https://theses.gla.ac.uk/ [email protected] ‘The Gael Will Come Again’: Reconstruction of a Gaelic world in the work of Neil M. Gunn and Hugh MacDiarmid Fiona E. Paterson M.A. (Hons) Submitted in fulfilment of the requirements for the Degree of Master of Philosophy in Scottish Literature School of Critical Studies College of Arts University of Glasgow June 2020 Abstract Neil Gunn and Hugh MacDiarmid are popularly linked with regards to the Scottish Literary Renaissance, the nation’s contribution to international modernism, in which they were integral figures. Beyond that, they are broadly considered to have followed different creative paths, Gunn deemed the ‘Highland novelist’ and MacDiarmid the extremist political poet. This thesis presents the argument that whilst their methods and priorities often differed dramatically, the reconstruction of a Gaelic world - the ‘Gaelic Idea’ - was a focus in which the writers shared a similar degree of commitment and similar priorities. -
1 Roy Fisher's Mysticism a Thesis Submitted to the University Of
Roy Fisher’s Mysticism A thesis submitted to the University of Manchester for the degree of PhD in the Faculty of Humanities 2011 Ian Pople Centre for New Writing, School of Arts, Histories and Cultures 1 Contents page Abstract 3 Declaration and Copyright Statement 4 List of Fisher’s works referred to in this thesis 5 Chapter 1: Introduction 5 Chapter 2: Fisher and Self 28 Chapter 3: Fisher and Other : Mystic Interactions 55 a. Mystic Latencies 55 b. Fisher’s Urban Other 60 c. The Mystical Abject 68 d. Fisher’s Uncanny Woman 76 Chapter 4: Mysticism and Fisher: A Furnace 85 Chapter 5: Conclusion 117 Poetry: 1. Kissing Gate 121 2. For this relief, much thanks 122 3. The Lace Wing 123 4. Berkhampstead 124 5. A Thousand Twangling Instruments 125 6. A Week of Running beside the Canal 126 7. ‘… As Dedicated Men’ 128 8. Handiwork of Light 129 i. At Church 129 ii. A Lofty House 129 iii. A View of Arnhem 130 iv. The Kiss 130 v. What the Car Park was Singing 131 9. Set Elements for John Brown – Isamu Noguchi 133 10. An Ordered Name 134 11. Angels of Anarchy 135 12. Effects 136 13. Those Who Stand Beside You After Hatzopoulos 137 14. Seven Answers 138 15. Owl 139 16. The Hierophant 140 17. Loaves and Fishes 141 18. Disposable Icon, the Reply 142 19. That Day 143 20. The Bleachers 144 21. The Shearer and the Lamb 145 22. The Aerial Orchids 153 23. William Blake at the Kardomah Café 160 24. -
Focus, Meter, and Operations in Poetry
WILLIAM S. WILSON FOCUS, METER, AND OPERATIONS IN POETRY l. focus and meter Anything written 0n a page has two focal of poetry; so when Chaucer goes t0 wrap up planes-one of them distant and conceptual, be' Troilus and Creseida, he says good'bye to his yond the words in the meaning as it could be little book, dedicates it, misinterprets it, and con- abstracted from the materiality of the signs it as a verbal artifact to posterity. But he words-and the other close and physical: the alio invoks Christ and Mary at the last moment. paper,'color, texture, ink, typeface, and margins. Since they cannot be asimilated to the poem as the This doubie focus .is'inherent'in literature: how a thing of words, focusing on them shrinks as within the drily curious vvhen a beautiful story is read in a scale and scope of the'poem, even seen fr-om abwe drhb volume; how difficult for Wallace Stevens t0 poem the world shrinks ndren focus is beyond the get his .books designed and bound in a style by Troilus. Chaucer's final wftich is the reciprocal of the contents; how page, on God. ideas, there pleasiag Ohinese calligraphy is t0 one vuho cannot So while words are designating within even read Chinese. When Monkey, in the remains some undesignated materialitv poetry has always used this-for sixteenth+entury Ghinese nove! of that name, the words, and good luck of a rhyme-al' opens the scroll and finds it blank, he says t0 example the irrational there have been attempts t0 Buddha, ". -
Superimpositions the Poetic Terrain Vague of Roy Fisher’S a Furnace
poetica 49 (2017/2018) 114-162 brill.com/poe Superimpositions The Poetic terrain vague of Roy Fisher’s A Furnace André Otto München [email protected] This essay reads Roy Fisher’s major long poem A Furnace as an expres- sion of post-industrial urban space and an engagement with its episte- mological, political and ethical challenges. Via its central procedure of superimposition, the text develops a spatial poetics that focusses on the dynamic constitution of space. It approaches the wider Birmingham area first through a problematization of perception, then through superim- posing topographically, historically and ontologically different spaces, and eventually culminates in a micro-physical analysis of spatial materi- alization. In presenting different ways of relating to space, the poem gives expression to a fundamentally relational notion of space. This spatial po- etics, however, not only refers to the representation of space and forms of conceptualizing space, it also creates space as a particular textual space and as a text that (re)configures and (re)forms the spaces it refers to. It makes these spaces available for cultural re-appropriations and turns the topographical space into a textual terrain vague, an intermediate space for imaginative poetic encounters and re-inscriptions. Placings and the Critical Zone of the Urban When in 1996 Roy Fisher, after a period of one and a half decades with Ox- ford UP, published a collection of new and selected poems, The Dow Low Drop, with Bloodaxe Books, the blurb “drew attention to the scattered and discon- tinuous nature of the poet’s actual and possible readership”.1 Although being highly praised by poets and critics alike and being considered one of the most 1 Peter Robinson, “Introduction”, in: Peter Kerrigan / Peter Robinson (eds.), The Thing about Roy Fisher. -
Prose Supplement 6
PS edited by Raymond Friel and Richard Price number 6 PS is the Prose Supplement to Painted, spoken, which is edited, typeset, and published by Richard Price. Please send an A5 stamped self-addressed envelope for a free copy. Earlier issues have been digitised at: www.poetrymagazines.org.uk PS‘s editorial policy is constituted in instalments by the contents of PS PS appears occasionally, from 24 Sirdar Rd, Wood Green, London N22 6RG Other related projects are outlined at www.hydrohotel.net PS edited by Raymond Friel and Richard Price PS number 6 2009 Tactile Richard Price This issue of PS is particularly concerned with small presses and little magazines and publishes for the first time two papers from a recent symposium that looked at the interconnections. Of course the tangible, haptic, hyper-visual nature of the little magazine and small press (at their best) is a significant part of the story here. It is no surprise that art history informs the narrative and that Allen Fisher, who gives a remarkable account of his work in this field, should be poet, editor-publisher, professor and artist. For traditionalists, the aesthetics of the late modernism of the sixties and seventies small press may take some re-tuning of the receptive organs, but there are many pleasures to be had in the world of the avant-garde (not just puritanical lessons). As shown by Raymond Friel‘s account of the closest the reading public is likely to get to an autobiography of Seamus Heaney, for those more calibrated towards the experimental perhaps there are also pleasures to be had (not just didactic lessons) in Heaney‘s poetry, too. -
Nuair a Bha Gidhlig Aig Na H-Ein
Harris-Logan, Stuart A. (2007) Nuair a bha Gaidhlig aig na h-eoin : an investigation into the art and artifice of avifaunal mimesis as a mode of artistic expression in Gaelic oral culture from the seventeenth century to the present. MPhil(R) thesis. http://theses.gla.ac.uk/741/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study 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] NUAIR A BHA GÀIDHLIG AIG NA H-EÒIN: AN INVESTIGATION INTO THE ART AND ARTIFICE OF AVIFAUNAL MIMESIS AS A MODE OF ARTISTIC EXPRESSION IN GAELIC ORAL CULTURE FROM THE SEVENTEENTH CENTURY TO THE PRESENT _________________________________________________________ ______ A Dissertation Submitted to the Department of Celtic University of Glasgow In Fulfilment of a Degree of M.Phil. _________________________________________________________ ______ by Stuart A. Harris-Logan October 2007 1 Abstract This investigation will interrogate the mimetic faculty of modern Gaelic oral culture, focussing particularly on mimesis as an artistic device. The imitation of nature in Gaelic is perhaps most frequently associated with the folksong tradition, in which non-lexical vocable refrains are frequently deployed for the purposes of emulating a particular sound quality pertinent to an individual species or natural phenomenon, such as the call of the seal or the breaking of waves.