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A Daily Bulletin Listing Decisions of Superior Courts of Australia
Friday 28 November 2008 Click here to visit our website Insurance A Daily Bulletin listing Decisions of Superior Courts of Australia Today’s Cases Litigation Funding – whether funding arrangement for plaintiffs in class action was illegal. See Brookfield Multiplex Limited v International Litigation Funding Partners PTE Personal Injury – claim for damages by plaintiff against Council for personal injury allegedly suffered when plaintiff fell over low unfenced retaining wall of drain – defence of intoxication – assessment of damages – verdict for defendant at first instance - plaintiff’s appeal allowed. See Jackson v Lithgow City Council Building Dispute (NSW) – proceedings before CTTT – tribunal determined separate question concerning validity of termination of contract – appeal to Supreme Court succeeded – further appeal to single justice of Court of Appeal – application by appellant to have respondent’s Notice of Contention struck out – application failed. See HIA Insurance Services v Kostas & Ors Limitation Period (NSW) – application for extension of time – excessive amount of materials tendered in support of application - duty of parties’ legal representatives to tender only relevant material – implications on costs orders. See SDW v Church of Jesus Christ of Latter- Day Saints Defamation (NSW) – application by defendants to strike out imputations contained in Statement of Claim – application by plaintiff to amend – amendment granted and large amount of imputations struck out. See Burns v Harbour Radio & Anor Jurisdiction (NSW) – application by defendant for an order declining to exercise jurisdiction in relation to plaintiff’s claim for damages for personal injuries suffered by plaintiff whilst on holiday in Fiji. Application refused. See Mody v South Seas Cruises Limited & Anor Motor Accident (NSW) – sections 108 & 109: Motor Accidents Compensation Act 1999 – whether “full and satisfactory” explanation – leave to commence proceedings granted. -
James Currie's Editing of the Correspondence of Robert Burns Robert D
Studies in Scottish Literature Volume 35 | Issue 1 Article 30 2007 James Currie's Editing of the Correspondence of Robert Burns Robert D. Thornton State University of New York, New Paltz Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Thornton, Robert D. (2007) "James Currie's Editing of the Correspondence of Robert Burns," Studies in Scottish Literature: Vol. 35: Iss. 1, 403–418. Available at: https://scholarcommons.sc.edu/ssl/vol35/iss1/30 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]. Robert D. Thornton J ames Currie's Editing of the Correspondence of Robert Bums The best known letter of Burns edited by James Currie in Volume One is the autobiography addressed to Dr. John Moore.! Unlike almost every other person suggested for the task of editing, Currie could have had the posted letter itself. Apparently he never accepted Moore's offer of it. Not interested in collating and without the time and the space even if he were, Currie had in Liverpool what he needed to go on confidently. "There are" he tells his read ers: Various copies of this letter, in the author's- hand-writing; and one of these, evi dently corrected, is in the book in which he copied several of his letters. This has been used for the present, with some omissions, and one slight alterations suggested by Gilbert Burns.2 lThe Letters of Robert Burns, 2nd edn., ed. -
A Bibliography of Robert Burns for the 21St Century: 1786-1802
A Bibliography of Robert Burns for the 21st Century: 1786-1802 Craig Lamont 2018 Introduction THIS WORK will provide the beginnings of an overdue renewal into the bibliographical study of the main editions of Robert Burns. The aim is to provide comprehensive details, especially concerning the contents of the editions, which have been generally overlooked by previous bibliographers. It is hoped that this new methodology will benefit future researchers and readers of Robert Burns. The work is linked with the AHRC- funded project, ‘Editing Robert Burns for the 21st Century’ at the University of Glasgow, currently producing the multi-volume Oxford Edition of the Works of Robert Burns. Following the first phase of the work, further research was kindly funded by the Royal Society of Edinburgh through a Small Research Grant: ‘The Early Editions of Robert Burns, 1786-1802: towards a new descriptive bibliography’ (PI: Lamont), opening up the possibility for consultations in other collections. The principal reference in constructing this bibliography is J. W. Egerer’s A Bibliography of Robert Burns (1964). Other bibliographies, catalogues, books, and articles relative to this area will also be consulted, and any insights gained from these will be noted throughout. While Egerer’s chief aim in his bibliography ‘is to emphasize the first appearances in print of Burns’s writings,’ this work seeks to provide comprehensive details about each main edition, as well as renewing or correcting previous or outdated assumptions about first appearances and authorship of certain poems and songs. The method for doing this was refined over time, but the end result is hopefully easy to follow, especially with the focus on the contents, ie. -
Fifteen Songs of Robert Burns
FIFTEEN SOMGS OF ROBERT BURNS LOIS G. WILLIAMS B. A., University of California, 1963 A MASTER'S REPORT suijmltted in partial fulfillioent of the requirements for the degree V MASTER OF ARTS Department of English KANSAS STATE UNIVERSITY Manhattan, Kansas 1966 Approved by: .tl^±Scmierv^^ Major Professor The great fascination vlth £olk song ^ilch began In the eighteenth century and grew to gigantic proportions in the twentieth con8taxU;ly seeks new avenues of interest. Ei^teenth-century collectors and editors amassed large collections of songs. Although the collector was concerned with the antiquity of a song, he was inclined to edit elements of "barbarista." Collectors of the twentieth century, on the other hand, have been concerned with tracing the genealogies of songs, with establishing the ''authenticity" of words or tune. As everyone knows, a folk song must be very old, must betray no polished literary skill, and must certainly be anonymous. Contenqiorary collectors would probably disregard the songs o£ Robert Bums, since, after all, they are not really old, are not works of an unskilled literary hand, and are not even sanctified by anonymity. A song has two equally important elemeots: words and noisic. Until recently, song collectors have been primarily Interested in words because of the difficulties in tracing old tunes which are caused by notational problems and absence of historical records. In the divorce of these two elements, as Gavin Greig points out, both have suffered: Taken apart from the music the words have come to be judged mainly by literary standards. But 'good is good for what it suits'; and the words of a song being intended for singing cannot fairly be judged apart from the music. -
Robert Burns
Classic Poetry Series Robert Burns - poems - Publication Date: 2004 Publisher: PoemHunter.Com - The World's Poetry Archive Robert Burns (1759-1796) Burns, sometimes known as the 'ploughman poet', was the eldest son of a poverty-stricken farmer. Though his father had moved to Ayrshire, where Burns was born, in order to attempt to improve his fortunes, he eventually died as a bankrupt - after taking on first one farm and then, unsuccessful, moving to another - in 1784. Robert, who had been to school since the age of six, and was also educated at home by a teacher, had, by the age of fifteen, already become the farm's chief labourer. He had also acquired a reading knowledge of French and Latin and had read Shakespeare, Dryden, Milton and the Bible. After his father's death, he and his brother continued farming together, working now at Mossigiel. The poverty of Burns' early life, though far from being overcome, had produced in him a supporter of the French Revolution and a rebel against both Calvinism and the social order of his time. His rebellious nature soon became evident in his acts. Burns' first illegitimate child was borne to him by Elizabeth Paton in 1785. Two sets of twins later followed, and various amorous intrigues, from Jean Amour, whom he afterward married. It was also during this period that Burns' first achieved literary success. Though he had thought of emigration to Jamaica as a possible way to avoid his mounting problems, he published his Poems Chiefly in the Scottish Dialect on July 31 1786 at Kilmarnock. -
Robert Burns: Containing His Poems, Songs, and Correspondence., by Robert Burns and Allan Cunningham
1 A free download from manybooks.net The Project Gutenberg EBook of The Complete Works of Robert Burns: Containing his Poems, Songs, and Correspondence., by Robert Burns and Allan Cunningham This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Complete Works of Robert Burns: Containing his Poems, Songs, and Correspondence. With a New Life of the Poet, and Notices, Critical and Biographical by Allan Cunningham Author: Robert Burns and Allan Cunningham Release Date: June 4, 2006 [EBook #18500] Language: English Character set encoding: ISO-8859-1 • START OF THIS PROJECT GUTENBERG EBOOK WORKS OF ROBERT BURNS *** Produced by Marilynda Fraser-Cunliffe, Sankar Viswanathan, and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was made using scans of public domain works from the University of Michigan Digital Libraries.) Transcriber's Note. 2 1. The hyphenation and accent of words is not uniform throughout the book. No change has been made in this. 2. The relative indentations of Poems, Epitaphs, and Songs are as printed in the original book. THE COMPLETE WORKS OF ROBERT BURNS: CONTAINING HIS POEMS, SONGS, AND CORRESPONDENCE. WITH A NEW LIFE OF THE POET, AND NOTICES, CRITICAL AND BIOGRAPHICAL, BY ALLAN CUNNINGHAM. ELEGANTLY ILLUSTRATED. BOSTON: PHILLIPS, SAMPSON, AND COMPANY. NEW YORK: J.C. DERBY. 1855 TO ARCHIBALD HASTIE, ESQ., 3 MEMBER OF PARLIAMENT FOR PAISLEY THIS EDITION OF THE WORKS AND MEMOIRS OF A GREAT POET, IN WHOSE SENTIMENTS OF FREEDOM HE SHARES, AND WHOSE PICTURES OF SOCIAL AND DOMESTIC LIFE HE LOVES, IS RESPECTFULLY AND GRATEFULLY INSCRIBED BY ALLAN CUNNINGHAM. -
Who Wrote the Scots Musical Museum? Challenging Editorial Practice in the Presence of Authorial Absence Murray Pittock University of Glasgow
Studies in Scottish Literature Volume 42 | Issue 1 Article 2 5-31-2016 The .W Ormiston Roy Memorial Lecture: Who Wrote the Scots Musical Museum? Challenging Editorial Practice in the Presence of Authorial Absence Murray Pittock University of Glasgow Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the Ethnomusicology Commons, and the Literature in English, British Isles Commons Recommended Citation Pittock, Murray (2016) "The .W Ormiston Roy Memorial Lecture: Who Wrote the Scots Musical Museum? Challenging Editorial Practice in the Presence of Authorial Absence," Studies in Scottish Literature: Vol. 42: Iss. 1, 3–27. Available at: https://scholarcommons.sc.edu/ssl/vol42/iss1/2 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]. WHO WROTE THE SCOTS MUSICAL MUSEUM? CHALLENGING EDITORIAL PRACTICE IN THE PRESENCE OF AUTHORIAL ABSENCE Murray Pittock The Scots Musical Museum is arguably the underpinning canonical text of Scottish song, the place where the country’s leading poet meets its great musical tradition in a “mouseion,” a temple of the Muses, which is also a Museum, a collection of antiquarian fragments. This six volume collection of the songs of Scotland was produced by James Johnson and Robert Burns, with the help of Stephen Clarke and many others, in the years 1787-1803. Although it was apparently a collection which was to serve as a “museum” for Scottish song, it was in fact in many respects less Scottish and less antiquarian than it appeared. -
Selected Pages from Robert Burns
Edinburgh Research Explorer Robert Burns, Selected Poems and Songs Citation for published version: Burns, R & Irvine, R (ed.) 2013, Robert Burns, Selected Poems and Songs. Oxford University Press, Oxford. Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Publisher Rights Statement: © Irvine, R. (Ed.), & Burns, R. (2013). Selected Poems and Songs. Oxford:OUP. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 06. Oct. 2021 Songs from The Scots Musical Museum GREEN GROWS THE RASHES 99780199603923_01-Burns-Poems.indd780199603923_01-Burns-Poems.indd 114242 77/24/2013/24/2013 77:12:58:12:58 PPMM songs from THE SCOTS MUSICAL MUSEUM 143 There’s nought but care on ev’ry han’, In ev’ry hour that passes, O: What signifi es the life o’ man, An’ twere not for the lasses, O? chorus : Green grow the rashes, O; Green grow the rashes, O; The sweetest hours that e’er I spend, Are spent amang the lasses, O. -
Discography Section 2: a (PDF)
1 ABERDEEN FISHER GIRLS’ CHOIR Conducted by Baillie Dan Allenby Recorded The Ballroom of the Music Hall, Union Street, Aberdeen, Tuesday, 29th. November 1932 M-14536- Caller herrin’ (Lady Caroline Nairne; Niel Gow, arr. J.Bell) Bel 1943 M-14537-1 Danny Boy (Frederick W. Weatherly; anon) Bel 1942 M-14538- Flora MacDonald’s lament (James Hogg, Niel Gow) Bel 1943 M-14539- Caillie Ou (Dr. John Gray; trad) Bel 1934 M-14540-1 I’ve got a robe (trad. arr. H. E. Pether) Bel 1917 M-14541-1 Steal away (trad. arr. E. Newman) Bel 1917 M-14542- Three fishers went a-sailing (John P. Hullan; Charles Kingsley) Bel 1934 NOTE: Some pressings and re-pressings are credited to the Aberdeen Fisher Lassies Choir. ABERDEEN STRATHSPEY AND REEL SOCIETY ORCHESTRA (formed 1928). Alec Sim, conductor, fiddles, piano (probably Annie Shand), double basses. Recorded The Ballroom of the Music Hall, Union Street, Aberdeen, Tuesday, 29th. November 1932 M-14556- Wind on the heath (trad. arr. A. Sim) Bel 1914 M-14557-2 Marquess of Huntly (William Marshall); Marchioness of Huntly (William Marshall); Speed the plough (trad), etc. Bel 1931 M-14558- The laverock’s nest (trad); The smith’s a gallant fireman (trad); The fairy reel (Nathaniel Gow) (all arr. A. Sim) Bel 1914 M-14559- Mrs. Ferguson of Raith; Miss Robertson of Crawhillock (all trad) Bel 1932 M-14560- March – Sir William Noble (trad); Forbes Morrison (J. Scott Skinner); Laird o’ Drumblair (J. Scott Skinner); Mrs. MacLeod (trad) (all arr. A. Sim) Bel 1931 M-14561- Lassie, look before you leap (trad); Duncan Davidson (Nathaniel Gow), Glen Ogie (trad) Bel 1932 LADY ABERDEEN (Ishbel Maria Gordon, née Marjoribanks) (1857 – Aberdeen, 1939). -
Translating Burns
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Enlighten WHO WROTE THE SCOTS MUSICAL MUSEUM? CHALLENGING EDITORIAL PRACTICE IN THE PRESENCE OF AUTHORIAL ABSENCE Murray Pittock The Scots Musical Museum is arguably the underpinning canonical text of Scottish song, the place where the country’s leading poet meets its great musical tradition in a “mouseion,” a temple of the Muses, which is also a Museum, a collection of antiquarian fragments. This six volume collection of the songs of Scotland was produced by James Johnson and Robert Burns, with the help of Stephen Clarke and many others, in the years 1787-1803. Although it was apparently a collection which was to serve as a “museum” for Scottish song, it was in fact in many respects less Scottish and less antiquarian than it appeared. The Museum took advantage both of the extensive market in song across the British Isles in the eighteenth century, and also of the new market in pianofortes which was being opened up in Edinburgh and elsewhere in the 1780s by John Broadwood (1732-1812) and others: pianos began to appear in Edinburgh music shops only three years before the first volume of the Museum appeared. Collections were ‘pianoized’. As David McGuinness points out, the bass line of Neil Gow’s “Lament for James Moray of Abercairney” had turned from a lamenting drone to a piano accompaniment between the 1784 and 1801 editions. Many of the traditions of Scottish song that the Museum seemed to be preserving were themselves novelties: what had been “new” reels in Neil Stewart’s 1761 Collection and its successor collections, were “old” less than a generation later. -
Journal of Irish and Scottish Studies Gallic Connections
Journal of Irish and Scottish Studies Volume 2: Issue 1 Gallic Connections: Irish & Scottish Encounters with France AHRC Centre for Irish and Scottish Studies, University of Aberdeen JOURNAL OF IRISH AND SCOTTISH STUDIES Volume 2, Issue 1 September 2008 Gallic Connections: Irish and Scottish Encounters with France 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 and The Stout Research Centre Irish-Scottish Studies Programme Victoria University of Wellington 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 Editors: Michael Brown, Rosalyn Trigger Associate Editors: Stephen Dornan, Paul Shanks 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 Luke Gibbons, Notre Dame 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 September and March – by the AHRC Centre for Irish and Scottish Studies at the University of Aberdeen. -
Robert Burns - Poems
Classic Poetry Series Robert Burns - poems - Publication Date: 2004 Publisher: Poemhunter.com - The World's Poetry Archive Robert Burns(1759-1796) Burns, sometimes known as the 'ploughman poet', was the eldest son of a poverty-stricken farmer. Though his father had moved to Ayrshire, where Burns was born, in order to attempt to improve his fortunes, he eventually died as a bankrupt - after taking on first one farm and then, unsuccessful, moving to another - in 1784. Robert, who had been to school since the age of six, and was also educated at home by a teacher, had, by the age of fifteen, already become the farm's chief labourer. He had also acquired a reading knowledge of French and Latin and had read Shakespeare, Dryden, Milton and the Bible. After his father's death, he and his brother continued farming together, working now at Mossigiel. The poverty of Burns' early life, though far from being overcome, had produced in him a supporter of the French Revolution and a rebel against both Calvinism and the social order of his time. His rebellious nature soon became evident in his acts. Burns' first illegitimate child was borne to him by Elizabeth Paton in 1785. Two sets of twins later followed, and various amorous intrigues, from Jean Amour, whom he afterward married. It was also during this period that Burns' first achieved literary success. Though he had thought of emigration to Jamaica as a possible way to avoid his mounting problems, he published his Poems Chiefly in the Scottish Dialect on July 31 1786 at Kilmarnock.