SASB Participates in Dedication of National Scottish Monument
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Introduction to Scots Literacy
Introduction to Scots Literacy Speakin’ Scots Guid Fer a Laugh Level 2 - Pack 5 Jiggin Dicht Reekin Nieves Sonsie Forbye Fiddle Boosin Moose Bletherin Wabster Haggis 1 Introduction to Guid Fer A Laugh We are part of the City of Edinburgh Council, South West Adult Learning team and usually deliver ‘Guid Fer a Laugh’ sessions for community groups in South West Edinburgh. Unfortunately, we are unable to meet groups due to Covid-19. Good news though, we have adapted some of the material and we hope you will join in at home. Development of Packs We plan to develop packs from beginner level 1 to 5. Participants will gradually increase in confidence and by level 5, should be able to: read, recognise, understand and write in Scots. Distribution During Covid-19 During Covid-19 restrictions we are emailing packs to community forums, organisations, groups and individuals. Using the packs The packs can be done in pairs, small groups or individually. They are being used by: families, carers, support workers and individuals. The activities are suitable for all adults but particularly those who do not have access to computer and internet. Adapting Packs The packs can be adapted to suit participants needs. For example, the Pilmeny Development Project used The Scot Literacy Pack as part of a St Andrews Day Activity Pack which was posted out to 65 local older people. In the pack they included the Scot Literacy Pack 1 and 2, crosswords, short bread and a blue pen. Please see photo. 2 The Aims of the Session – Whit’s it a’aboot? • it’s about learning Scots language and auld words • takes a look at Scots comedy, songs, poetry and writing • hae a guid laugh at ourselves and others Feedback fae folk This is pack number five and we move on a little to Level 2. -
Taming Yellow Creek Alexander Arthur, the Yellow Creek Canal & Middlesborough, Kentucky
Taming Yellow Creek Alexander Arthur, The Yellow Creek Canal & Middlesborough, Kentucky By Maria Campbell Brent Kentucky Archaeological Survey (jointly administered by the Kentucky Heritage Council and the Department of Anthropology at the University of Kentucky) Education Series Number Five Lexington, Kentucky 2002 This publication was funded as a cooperative effort by the U.S. Army Corps of Engineers, Nashville District, the Common- wealth of Kentucky, the Bell County Historical Society, and the Bell County Tourism Commission Alexander Alan Arthur. He made the City of Middlesborough a reality. Louisville Frankfort Lexington KENTUCKY Map showing the location of Middlesborough,Kentucky Pineville BELL COUNTY Middlesborough A Grand Vision of a Great City In 1886, while scouting locations Arthur went down into the valley, for a railroad, Alexander Arthur riding from one side to the other. followed the old Wilderness Road In the mountain slopes surrounding west through Cumberland Gap and the valley, he saw beds of coal. He into the Yellow Creek Valley. What knew there were iron ore deposits he saw amazed him. The valley nearby, in Tennessee. Iron ore and was shaped like a huge bowl. A coal could bring money and jobs. creek wound across the valley, its He pictured a great city in the val- channel twisting and turning like ley: a modern city, based on indus- a snake. In this land of steep-sided try, a city with wide streets lined hills and narrow valleys, the wide, by grand buildings and beautiful nearly level valley of Yellow Creek houses. Alexander Arthur decided was a surprising sight. that he would, somehow, build this city. -
A History of Appalachia
University of Kentucky UKnowledge Appalachian Studies Arts and Humanities 2-28-2001 A History of Appalachia Richard B. Drake Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Drake, Richard B., "A History of Appalachia" (2001). Appalachian Studies. 23. https://uknowledge.uky.edu/upk_appalachian_studies/23 R IC H ARD B . D RA K E A History of Appalachia A of History Appalachia RICHARD B. DRAKE THE UNIVERSITY PRESS OF KENTUCKY Publication of this volume was made possible in part by grants from the E.O. Robinson Mountain Fund and the National Endowment for the Humanities. Copyright © 2001 by The University Press of Kentucky Paperback edition 2003 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kenhlcky Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com 12 11 10 09 08 8 7 6 5 4 Library of Congress Cataloging-in-Publication Data Drake, Richard B., 1925- A history of Appalachia / Richard B. -
Cumberland Gap, Tennessee : Building Community Identity Along the Wilderness Road, 1880-1929
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-1991 Cumberland Gap, Tennessee : Building community identity along the Wilderness Road, 1880-1929 Rebecca Vial University of Tennessee Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Recommended Citation Vial, Rebecca, "Cumberland Gap, Tennessee : Building community identity along the Wilderness Road, 1880-1929. " Master's Thesis, University of Tennessee, 1991. https://trace.tennessee.edu/utk_gradthes/5827 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Rebecca Vial entitled "Cumberland Gap, Tennessee : Building community identity along the Wilderness Road, 1880-1929." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in History. Susan D. Becker, Major Professor We have read this thesis and recommend its acceptance: Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Rebecca Vial entitled "Cumberland Gap, Tennessee: Building Community Identity on the Wilderness Road, 1880-1929." I have examined the final copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in History. -
Comprehension – Robert Burns – Y5m/Y6d – Brainbox Remembering Burns Robert Burns May Be Gone, but He Will Never Be Forgotten
Robert Burns Who is He? Robert Burns is one of Scotland’s most famous poets and song writers. He is widely regarded as the National Poet of Scotland. He was born in Ayrshire on the 25th January, 1759. Burns was from a large family; he had six other brothers and sisters. He was also known as Rabbie Burns or the Ploughman Poet. Childhood Burns was the son of a tenant farmer. As a child, Burns had to work incredibly long hours on the farm to help out. This meant that he didn’t spend much time at school. Even though his family were poor, his father made sure that Burns had a good education. As a young man, Burns enjoyed reading poetry and listening to music. He also enjoyed listening to his mother sing old Scottish songs to him. He soon discovered that he had a talent for writing and wrote his first song, Handsome Nell, at the age of fifteen. Handsome Nell was a love song, inspired by a farm servant named Nellie Kilpatrick. Becoming Famous In 1786, he planned to emigrate to Jamaica. His plans were changed when a collection of his songs and poems were published. The first edition of his poetry was known as the Kilmarnock edition. They were a huge hit and sold out within a month. Burns suddenly became very popular and famous. That same year, Burns moved to Edinburgh, the capital city of Scotland. He was made very welcome by the wealthy and powerful people who lived there. He enjoyed going to parties and living the life of a celebrity. -
"Auld Lang Syne" G
University of South Carolina Scholar Commons Selected Essays on Robert Burns by G. Ross Roy Robert Burns Collections 3-1-2018 "Auld Lang Syne" G. Ross Roy University of South Carolina - Columbia Publication Info 2018, pages 77-83. (c) G. Ross Roy, 1984; Estate of G. Ross Roy; and Studies in Scottish Literature, 2019. First published as introduction to Auld Lang Syne, by Robert Burns, Scottish Poetry Reprints, 5 (Greenock: Black Pennell, 1984). This Chapter is brought to you by the Robert Burns Collections at Scholar Commons. It has been accepted for inclusion in Selected Essays on Robert Burns by G. Ross Roy by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. “AULD LANG SYNE” (1984) A good case can be made that “Auld Lang Syne” is the best known “English” song in the world, & perhaps the best known in any language if we except national anthems. The song is certainly known throughout the English-speaking world, including countries which were formerly part of the British Empire. It is also known in most European countries, including Russia, as well as in China and Japan. Before and during the lifetime of Robert Burns the traditional Scottish song of parting was “Gude Night and Joy be wi’ You a’,” and there is evidence that despite “Auld Lang Syne” Burns continued to think of the older song as such. He wrote to James Johnson, for whom he was writing and collecting Scottish songs to be published in The Scots Musical Museum (6 vols. Edinburgh, 1787-1803) about “Gude Night” in 1795, “let this be your last song of all the Collection,” and this more than six years after he had written “Auld Lang Syne.” When Johnson published Burns’s song it enjoyed no special place in the Museum, but he followed the poet’s counsel with respect to “Gude Night,” placing it at the end of the sixth volume. -
The Prayer of Holy Willie
University of South Carolina Scholar Commons Faculty Publications English Language and Literatures, Department of 7-7-2015 The rP ayer of Holy Willie: A canting, hypocritical, Kirk Elder Patrick G. Scott University of South Carolina - Columbia, [email protected] Follow this and additional works at: https://scholarcommons.sc.edu/engl_facpub Part of the Literature in English, British Isles Commons Publication Info Published in 2015. Introduction and editorial matter copyright (c) Patrick Scott nda Scottish Poetry Reprint Series, 2015. This Book is brought to you by the English Language and Literatures, Department of at Scholar Commons. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. THE PRAYER OF HOLY WILLIE by ROBERT BURNS Scottish Poetry Reprints Series An occasional series edited by G. Ross Roy, 1970-1996 1. The Life and Death of the Piper of Kilbarchan, by Robert Semphill, edited by G. Ross Roy (Edinburgh: Tragara Press, 1970). 2. Peblis, to the Play, edited by A. M. Kinghorn (London: Quarto Press, 1974). 3. Archibald Cameron’s Lament, edited by G. Ross Roy (London: Quarto Press, 1977). 4. Tam o’ Shanter, A Tale, by Robert Burns, ed. By G. Ross Roy from the Afton Manuscript (London: Quarto Press, 1979). 5. Auld Lang Syne, by Robert Burns, edited by G. Ross Roy, music transcriptions by Laurel E. Thompson and Jonathan D. Ensiminger (Greenock: Black Pennell Press, 1984). 6. The Origin of Species, by Lord Neaves, ed. Patrick Scott (London: Quarto Press, 1986). 7. Robert Burns, A Poem, by Iain Crichton Smith (Edinburgh: Morning Star, 1996). -
SPACE, RELIGION, and the CREATURELINESS of APPALACHIA Dissertation Submitted to the College of Arts and Scie
OF MOUNTAIN FLESH: SPACE, RELIGION, AND THE CREATURELINESS OF APPALACHIA Dissertation Submitted to The College of Arts and Sciences of the UNIVERSITY OF DAYTON In Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in Theology By Scott Cooper McDaniel UNIVERSITY OF DAYTON Dayton, Ohio May 2018 OF MOUNTAIN FLESH: SPACE, RELIGION, AND THE CREATURELINESS OF APPALACHIA Name: McDaniel, Scott Cooper APPROVED BY: ____________________________________________ Vincent J. Miller, Ph.D. Faculty Advisor ____________________________________________ Silviu Bunta, Ph.D. Faculty Reader ____________________________________________ Kelly Johnson, Ph.D. Faculty Reader ____________________________________________ Anthony Smith, Ph.D. Faculty Reader _____________________________________________ Norman Wirzba, Ph.D. Outside Faculty Reader _____________________________________________ Daniel S. Thompson, Ph.D. Chairperson ii © Copyright by Scott Cooper McDaniel All rights reserved 2018 iii ABSTRACT OF MOUNTAIN FLESH: SPACE, RELIGION, AND THE CREATURELINESS OF APPALACHIA Name: McDaniel, Scott Cooper University of Dayton Advisor: Dr. Vincent J. Miller The following dissertation articulates a constructive theology of creatureliness that speaks from within the particularities of Appalachia’s spatial topography and religious culture. I analyze the historical development and ecological implications of industrial resource extraction, specifically the practice of mountaintop removal, within the broader framework of urbanization and anthropocentricism. Drawing on the unique religio-cultural traditions of the region, particularly its 19th century expressions of Christianity, I employ a spatial hermeneutic through which I emphasize the region’s environmental and bodily elements and articulate a theological argument for the “creaturely flesh” of Appalachia. iv Dedicated to Jade and Beatrice v ACKNOWLEDGEMENTS There are numerous individuals that have made this dissertation possible. I would first like to thank Dr. -
A Poem Ne Ly Sprung in Fairvie
A Poem Ne ly Sprung in Fairvie by CLARK AYCOCK ave you ever sung “Auld Lang therefore able to write in the local Ayrshire Syne” on New Year’s Eve? dialect, as well as in “Standard” English. He Or have you ever uttered the wrote many romantic poems that are still phrase, when frustrated, “the recited and sung today, and some of us may best-laid schemes of mice and men…”? remember his songs more easily than we do Did you know that John Steinbeck’s classic his poetry. in a human book Of Mice and Men was based on a line Robert Burns infl uenced many other head, though I in a poem written “To a Mouse”... or that poets including Wordsworth, Coleridge have seen the most a Tam O’ Shanter cap was named aft er a distinguished men of my time.” and Shelley. Walter Scott was also a great A commemorative plate showing character in a poem by that name? And admirer and wrote this wonderful descrip- In the late 1700s, many Scots migrated did you know that singer and songwriter tion of Burns that provides us with a clear from the Piedmont into the mountains of Robert Burns in the center Bob Dylan said his biggest creative impression of the man. “His person was WNC, bringing with them their country's surrounded by characters from inspiration was the poem and song “A strong and robust; his manners rustic, not culture and craft and inherent connection his poems Red, Red Rose”? Yes, we are talking about clownish, a sort of dignifi ed plainness and with Burns. -
Hume Supplement
The Tattler Supplement The Jack Hume Heather & Thistle Poetry Competition June 2020 A s indicated in the main edition of O n the pages following are the sec- the Tattler, the wining entry in the 2020 ond place entry, also written by Jim Jack Hume Heather & Thistle Poetry McLaughlin, the equal third place en- competition was written by Jim tries, both written by previous winner McLaughlin of the Calgary Burns Club. Jim Fletcher of Halifax, and fifth place The epic entry of over 3,000 words is entry written by new RBANA President printed inside Henry Cairney 1 Scotland’s Bard, the Poet Robert Burns A Biography in Verse The date of January 25th in seventeen-fifty-nine, At first a shy retiring youth, and slow to court a lass, Is honoured all around the globe, this day for auld lang syne. Our lad would learn the art of love, and other friends surpass; Wi’ right guid cheer we celebrate and toast his name in turns, ‘Fair Enslavers’ could captivate, and oft times would infuse Scotland’s own Immortal Bard, the poet Robert Burns. His passionate, creative mind, that gave flight to his muse. His father William Burnes met his mother Agnes Broun A brash elan would soon emerge as youth was left behind, At a country fair in Maybole, more a village than a town. With age came self-assurance and an independent mind. Agnes kept another suitor waiting for seven years, He formed Tarbolton’s Bachelors’ Club, a forum for debate, Till she found he’d been unfaithful, confirming her worst fears. -
Robert Burns: His Poetry, Wit, and Songs
The 42nd Royal Highlanders In honor of the 257th XLII anniversary of his birth, are pleased to host the 33rd annual Scottish Supper honoring Robert Burns: his poetry, wit, and songs Bagpipes, Fifes and Drums, Country Dancing, and Other Entertainment Saturday, January 23, 2016 The Trails 325 Burnett’sXLII Rd, West Lafayette, IN 47906 Robert Burns Robert Burns is considered by all to be Scotland’s national poet and favorite son. In Scotland, he is more like an institution than an individual, with his face appearing on everything from whiskey to shortbread to the Clydesdale Bank five pound note. Born during a violent winter thunderstorm on January 25th, 1759, he was the eldest of William and Agnes Burns’ seven children. At school he read avidly, devouring the works of poets already writ- ing in the broad Scots dialect still used in the Ayrshire countryside. Inevitably, he followed his father to work on the land but the farms were seldom productive or profitable. He wrote his first poem at age fifteen when he fell in love with Nellie Kirkpatrick and discov- ered he could express his feelings best in verse. For his poems he chose subjects everyone could relate to - love of women, nature, family, and country. Although he could use immaculate English when he so chose, he preferred the dialect and rhythms of his native Scottish tongue. Many belittled him as a man (saying he was a drunkard, a rebel, and a bore) as well as criticized his poetry. Before he died, he told his wife, “One hundred years hence they’ll think mair (more) o’ me than they do now.” Since his death in 1796, he has been right. -
Auld Lang Syne!’
Book Notes: Reading in the Time of Coronavirus By Jefferson Scholar-in-Residence Dr. Andrew Roth ‘Should Auld Acquaintance Be Forgot, And Auld Lang Syne!’ Admit it, at least once, but probably more often, on New Year’s Eve, with a glass of bubbly or some other strong libation in one hand, your other arm ’round your spouse, your best squeeze, or whomever might be at hand, you have raised that glass and sung (or at least hummed) the tune, “Should auld acquaintance be forgot/And auld lang syne!” And admit it, you may have done so without the faintest idea what you were saying. OK, maybe the faintest, since “auld” sounds like “old,” you know what “acquaintance” means, and you kind of intuit it has something to do with remembering old friends and the days long ago. But what does the rest of it mean? And why are you singing it? And where did it come from? It came from Scotland in 1788 when Robert Burns “sent the poem, ‘Auld Lang Syne’ to the Scots Musical Museum, indicating that it was an ancient song but that he’d been the first to record it on paper.” [1] Almost immediately, it became a Scottish tradition to sing on Hogmanay, the Scots’ word for the last day of the year – New Year’s Eve. The Scots, however, did not invent New Year’s Eve. New Year’s Eve and New Year’s Day, obviously, are global celebrations that begin and end on different sides of the International Date Line. For Jeopardy! aficionados and patrons of Trivia Night at the Plymouth Tavern on State Street in Erie, Pennsylvania, where do New Year’s celebrations begin and end? Located in the central Pacific on the eastern side of the dateline, the Line Islands and Tonga are among the first places to celebrate the New Year and American Samoa, on its western side, among the last.