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Dissertations / Theses on the topic 'Arts, Scottish'

Author: Grafiati

Published: 27 July 2024

Last updated: 31 July 2025

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Consult the top 32 dissertations / theses for your research on the topic 'Arts, Scottish.'

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1

Robinson, Rebecca Grace. "Scottish television comedy audiences." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/1177/.

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This study explores how Scottish people feel about representations of Scottishness in contemporary television comedy. The thesis is in two related parts, articulating an exploration of genre, comedy and Scottish television texts with the theory, methodology and analysis of empirical audience research. The thesis begins by exploring how current television comedy is poorly served by critical literature beyond notions of genre although this field of study too fails to indicate significant contemporary permeabilities between comedy sub-genres, and between comedy and other kinds of leisure shows. T

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2

Smith, Aileen. "The construction of cultural identity in the visual arts in Scotland, 1918-1945." Thesis, University of Aberdeen, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247759.

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This thesis examines the hitherto somewhat neglected subject of patronage of the arts in Scotland during the twentieth century. The introduction briefly discusses existing scholarly works dealing with this subject, pointing out that the role of Scottish myths in influencing Scottish culture merits careful and detailed attention. Chapter One looks at how Scottish artistic myths in twentieth century Scottish culture can be traced back as far as the eighteenth century. The nature and evolution of these myths are examined to show why they have had a direct impact in the creation of a distorted vie

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3

Norrie, K. M. "Cloth, cull and cocktail : anatomising the performer body of 'Alba'." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:c67e59e2-4556-4baf-8475-fa092952bf07.

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Where and how can the live experience 'being there' be positioned in Scottish live art culture? Such transformatively liminal corporeity is situated in three examples of performative objects intrinsically linked to readings of Scottish identity. By collating a 'blood culture imprint' of 1970s performance art with Scottish live artist Alastair McLennan's positioning of the artist body as art, the thesis presents a revised understanding of how and where the live can be placed within Highland Gaelic culture. The specificity of this frame is intrinsically linked to the 'blood culture imprint' of C

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4

Worthing, Katherine Genevieve. "The landscape of clearance : changing rural life in nineteenth-century Scottish painting." Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/5498/.

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This thesis explores the incidence and import of imagery surrounding the Highland Clearances in nineteenth-century Scottish painting. It recognises that the Clearances comprised a wide range of responses to the changing economic, agricultural, and social currents that shaped Highland landscape and life throughout the late-eighteenth and well into the nineteenth-century and consequently includes paintings that extend Clearance imagery beyond the most commonly reproduced works of the era. In the Introduction to the thesis, I present the subject of the Clearances and establish the common coincide

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5

Sidiropoulou, Panagiota. "Moral and other educational significance of the arts in philosophy and recent Scottish educational policy." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5836.

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The immense value of the arts has long been recognized by diverse cultures and such recognition has mostly guaranteed their inclusion in educational and school curricula the world over. The arts are considered valuable for numerous reasons, but their inclusion depends on particular interpretations of their merits that may sometimes have failed to realise their full or real potential. Although some ways of valuing the arts date back to antiquity, debates about the value of arts certainly deserve no less consideration in the modern context. Plato was sceptical about the moral value of the arts a

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6

Parsons, Julie Fox. "The First Battle for Scottish Independence: The Battle of Dunnichen, A.D. 685." [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0328102-132641/unrestricted/ParsonsJ.pdf.

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7

Watry, Paul B. "Sixteenth century printing types and ornaments of Scotland with an introductory survey of the Scottish book trade." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356988.

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8

Graham, Deborah Jane. "The manifestation of national identities in late eighteenth-century Scottish art, c.1750-1800." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/110988/.

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This dissertation seeks to explore how national identities were manifest in eighteenth-century Scottish art. Understanding national identity to be a cultural and political phenomena, it considers symbols of national identity and examines in aesthetic and economic terms how the fine arts were both implicated in, and capable of expressing, the significant changes in national identity apparent in Scotland following the ’Forty-Five. The first chapter concerns itself with the issue of art and identity in Scotland between cl750 and 1800, and surveys the relevant literature, before introducing other

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9

Doroszenko, Rebekah. "Improvement and the Scottish rural estate : Sir Archibald Grant at Monymusk, 1715-1778." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6865/.

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The purpose of this study is ultimately to analyze the influence of cultural attitudes on the treatment of the Scottish estate in the first half of the 18th century (c.1715 – c.1776), making particular reference to the ideology of improvement, through the use of Sir Archibald Grant of Monymusk as a case study. Grant’s improvement of his estate is not understood as literally agricultural or economic development alone, but as a complex ideological commitment to the transformation of land, landscape and society. Whilst Grant of Monymusk has been discussed with reference to economic improvement, t

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10

Marshalsay, Karen Anne. "The Scottish National Players : in the nature of an experiment 1913-1934." Thesis, University of Glasgow, 1991. http://theses.gla.ac.uk/3488/.

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This thesis tries to provide a historical examination of the Scottish National Players, from the first proposals in 1913 until the disbandment of the Scottish National Theatre Society in 1934. The SNP aimed to produce plays of Scottish life and character; to encourage the public's taste for good drama of any kind; and to found a National Theatre. The golden years of the Players were the early and mid twenties, but by the end of the decade their ideals were crumbling away and they faced increasing dissatisfaction from the public and the press. They did not successfully fulfil any of their state

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11

Gunn, Linda. "Representations of Scottish identity and devolution : the relationship between the arts, cultural confidence and political autonomy from the 1980s." Thesis, University of Edinburgh, 2003. http://hdl.handle.net/1842/24657.

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The motivation for this thesis was the simultaneous increase of 'national feeling' and flourishing of the arts in Scotland from the 1980's. From this period - increasing through the 1990's towards the Referendum on Devolution in 1997 - the Scottish cultural community began to relate identity, art and politics, and frequent use was made of the word 'confidence'. As this implied a previous lack of it, the view that there was a sense of Scottish cultural inferiority is a thread running through this study, which examines beliefs about the relationship between cultural 'confidence' and support for

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12

Brown, Ian. "History as theatrical metaphor : history, myth and national identities in modern Scottish drama." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30714/.

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The completion of History as Theatrical Metaphor, now submitted for consideration for the award of the degree of Doctor of Letters, represents an integration and culmination of a number of related strands arising from both my practice as a playwright over the last five decades and my relevant academic research. Susanne Kries has summarised a key approach underlying my writing of history plays as ‘deconstructing the ideological intent behind the very endeavour of writing history and of revealing the ways by which mythologies are formed’. Much of my related academic research shares this interest

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13

Irvine, Victoria. "The development of the use of models in Scottish art, c.1800-1900, with special reference to painting and the Trustees' Academy, Edinburgh." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6179/.

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This thesis suggests that a range of major and some minor Scottish nineteenth-century artists’ approaches to figurative art, c.1800-1900, were informed by, and in some cases decisively influenced by, the prevalence of naturalism as fostered by the Trustees’ Academy, Edinburgh. The Trustees’ Academy was selected as a case study for this thesis due to its prominent position in art education as a leading Scottish institution, particularly for the first half of the nineteenth century. Despite scholars noting the far-reaching influence of certain nineteenth-century Scottish artists, such as David W

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14

Shaw, Michael. "The fin-de-siècle Scots Renascence : the roles of decadence in the development of Scottish cultural nationalism, c.1880-1914." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6395/.

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This thesis offers a cultural history of the Scots Renascence, a revival of Scottish identity and culture between 1880 and 1914, and demonstrates how heavily Scottish cultural nationalism in this period drew from, and was defined by, fin-de-siècle Decadence. Few cultural historians have taken the notion of a Scots Renascence seriously and many literary critics have styled the period as low point in the health of Scottish culture – a narrative which is deeply flawed. Others have portrayed Decadence as antithetical to nationalism (and to Scotland itself). The thesis challenges these characterisa

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15

Webb, Aleksandra. ""We need arts as much as we need food. Our responsibility is for that to be possible" : insights from Scottish cultural leaders on the changing landscape of their work." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21478.

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The analysis of cultural policy in the last decade suggests that creativity and the arts in general are extensively used in political agendas as means of capitalizing on the forecasted socio-economic potential of creative/artistic activities (e.g. Flew, 2005; Garnham, 2005; Hartley, 2005; Hesmondhalgh, 2007). Although some critical studies have highlighted instrumentalism, short-sidedness and practice/practitioners’ averse policy-making and intervention planning (Belfiore, 2004, 2009; Caust, 2003; Oakley, 2009; Newman, 2013), so far only very few studies have exposed the experiences and voices

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16

MacDonald, Juliette. "Aspects of identity in the work of Douglas Strachan (1875-1950)." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/7357.

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This thesis explores facets of Scottish identity via the decorative work of Douglas Strachan. Nations and nationalism remain extraordinarily potent phenomena in the contemporary world and this work seeks to examine aspects of Scottish nationhood and cultural identity through Strachan's evocation of history, folklore, religion and myth. It has been argued that these are the chief catalysts for enabling people to define and shape their understanding of themselves and their place within society. Cultural identity is often understood as a passive form of nationalism which is remote from its politi

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17

Foot, Michelle Elizabeth. "Modern spiritualism and Scottish art between 1860 and 1940." Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230582.

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This thesis is formed from original research into the cultural impact of Modern Spiritualism in Scotland during the late nineteenth and early twentieth century. Until the twenty first century academic scholarship has failed to recognise the historic importance of the Spiritualist movement's widespread popularity and the influence it had on art during this period. The findings of this research provide a new understanding and greater appreciation of art from this time. As academic investigation into Spiritualism's historic significance is largely absent, this study focuses on primary sources fro

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Soden, Joanna. "Tradition, evolution, opportunism the role of the Royal Scottish Academy in art education, 1826-1910 /." Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources, 2006. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=59750.

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19

Kreyling, Anna. "1700 Library: A Public Library in Scott's Addition." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2773.

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Thesis book documents process of creating design schematics for a proposed public library located in Scott's Addition at 1700 Summit Avenue. The final design uses a series of meandering ramps punctuated by bookshelf stacks in order to create a narrative experience. Specificity and simplicity were two main goals for the project.

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20

Insh, Fern. "An aspirational era? : examining and defining Scottish visual culture 1620-1707." Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=225722.

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The aims of this dissertation are to examine and define Scottish visual culture from 1620 to 1707. Such a definition has hitherto been omitted from previous scholarship. Scholars have concentrated on individual works, genres or displays in order to provide the initial groundwork. This study dissolves boundaries between categories and characterises aspects of the visual culture as a whole. The era is defined as having been characteristically aspirational. There are two halves to this dissertation. The first two chapters demonstrate that seventeenth-century Scottish artists were responding to a

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21

Beardmore, Peggy. "Students of Hospitalfield : education and inspiration in 20th-century Scottish art : the significance of Hospitalfield in the development of 20th-century Scottish art : the artwork and influence of James Cowie and Ian Fleming." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=231423.

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Through time, Hospitalfield in Arbroath, Scotland, served as a pilgrim hospice, private home, art school, and artist residency centre. In the 20th century, its art school and residency programme enabled hundreds of artists to live, work, and learn within a unique educational environment. Despite its wide-reaching impact, Hospitalfield has remained an ethereal presence within scholarship. This thesis presents the first investigation of its significance to the development of 20th-century Scottish art. Part 1 examines Hospitalfield's importance as a place where artists, throughout the 20 th centu

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22

Galastro, Anne Bernadette. "Institutional history of the Scottish National Gallery of Modern Art : tensions, paradoxes and compromises." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7899.

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This study provides the first comprehensive account of the institutional history of the Scottish National Gallery of Modern Art (SNGMA) from the earliest calls for its foundation at the start of the twentieth century to the recent series of exhibitions marking its fiftieth anniversary in 2010. The SNGMA is both a unique case‐study and a useful illustrative example of the specific category of modern art museum: the account of its history sets the institution within its wider cultural context and explores the inevitable complexities facing a public gallery devoted to modern art. The study examin

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23

Pringle, Trevor R. "Prophet of the Highlands : Sir Edwin Landseer and the Scottish Highland image." Thesis, Loughborough University, 1988. https://dspace.lboro.ac.uk/2134/14395.

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This thesis thematically examines Sir Edwin Landseer's 0802-73> visual images of the Scottish Highlands. From consideration of Landseer's art and its social context it is argued that it is possible to gain an understanding of changing conceptions of both landscape and nature and the symbolic role of Highland Scotland in British middle class consciousness over the period 1820-1870. The text is contained in Volume One and all illustrative plates are contained in Volume Two. In Chapter One recent reformulations of the concept of culture are examined, some approaches to cultural theory reviewed an

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24

Swarbrick, Elizabeth Joy. "The medieval art and architecture of Scottish collegiate churches." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/12210.

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Collegiate churches were founded for two essential aims: the augmentation of divine worship, and the salvation of souls. This thesis brings to light just how important material and aesthetic enrichments were in regards to these functions. The vast majority of collegiate churches in Scotland were substantially augmented around the time of their foundation. Patrons undertook significant building programmes and provided a variety of furnishings and ornaments to facilitate and enrich the services their body of clergy performed. Precise statutes were laid down in order to ensure that clergy were sk

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25

Livne, Inbal. "Tibetan collections in Scottish museum 1890-1930 : a critical historiography of missionary and military intent." Thesis, University of Stirling, 2013. http://hdl.handle.net/1893/20606.

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This thesis looks at Tibetan material culture in Scottish museums, collected between the mid-nineteenth and early twentieth centuries. It examines how collectors used Tibetan objects to construct both Tibet in the western imagination and to further personal, organisational and imperial desires and expectations. Through an analysis of the highly provenanced material available in Scottish museums, collectors will be grouped in three categories: missionaries, military personnel and colonial collectors. These are not only divided by occupation, but also by ideological frames of reference. The hist

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Telford, N. J. M. "Making stories : an investigation of personal brand narratives in the Scottish craft microenterprise sector." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21910.

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This thesis examines the marketing and branding behaviours of a sample of microbusinesses that operate in Scotland’s diverse craft sector by examining brand narratives they create. Context of the sector is first given and demonstrates that this particular topic has received little specific attention in academic literature even though it has been recommended (Fillis 2003a; Fillis 2003b). Such an investigation also offers implications for SME marketing/ entrepreneurship in general, the creative industries in particular and craft brands’ contribution to the overall place branding of Scotland. An

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Bolich, Cecilia Madeline. "_Alien_ Thoughts: Spectatorial Pleasure and Mind Reading in Ridley Scott's Horror Film." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3012.

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Pleasure experienced in an unpleasant film genre, like horror, has prompted numerous discussions in film studies. Noted scholars like Carol J. Clover and Noël Carroll have rationalized spectatorial enjoyment of a genre that capitalizes on human anxieties and complicates cultural categories. Clover admits that horror initially satisfies sadistic tendencies in young male viewers but then pushes them to cross gender lines and identify with the strong female heroine who defeats the film's threat. Carroll provides a basic explanation, citing spectators' cognitive curiosity as the source of pleasure

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28

Swinney, Geoffrey Nigel. "Towards an historical geography of a 'National' Museum : the Industrial Museum of Scotland, the Edinburgh Museum of Science and Art and the Royal Scottish Museum, 1854-1939." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8109.

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This thesis adopts a primarily process-based methodology to put a museum in its place as a site of knowledge-making. It examines the practices of space which were productive of a government-funded (‘national’) museum in Edinburgh. Taking a spatial perspective, and recognising that place is both material and metaphorical, the thesis explores how the Museum’s material and intellectual architectures were produced over the period 1854-1939. The thesis is concerned to bring into focus the dynamic processes by which the Museum was in a continual state of becoming; a constellation of tangible and int

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29

Dochy-Jacquard, Amélie. "Cliché, compassion ou commerce ? : les représentations des Irlandais par le peintre écossais Erskine Nicol, de 1850 à 1900." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20100.

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Après un séjour en Irlande de 1846 à 1850, le peintre écossais Erskine Nicol (1825-1904) représenta les Irlandais dans la plupart de ses tableaux. Il remporta un franc succès à la Royal Scottish Academy (Édimbourg), puis à la Royal Academy (Londres). Nous analyserons les raisons d’une telle popularité en adoptant, entre autres, une méthode issue des études culturelles, montrant que Nicol adapta les préjugés scientifiques de son temps ainsi que les clichés sur les Irlandais afin de créer son iconographie de l’Irlande. Au-delà des portraits flatteurs des paysannes irlandaises, Nicol peignit auss

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30

Schaaf, Jeanne. "Lieux et non-lieux du théâtre écossais : constellations identitaires à l’ère postnationale." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL061.

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En tant qu’espace public, la scène théâtrale est le lieu de la construction et de la déconstruction de représentations de la nation, dans un dialogue incessant entre art et politique. En Écosse, la tension qui fragilise l’idée même de nation est exacerbée par le contexte géopolitique récent (référendum de dévolution en 1979, 1997 et référendum d’indépendance en 2014, puis Brexit en 2016). Miroir de cette instabilité, la scène écossaise réinvente ainsi son rapport à l’espace national en jouant sur les représentations spatiales et communautaires à différentes échelles, du local au global. Espace

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31

Dyer, Rebekah Mary. "Multivalence, liminality, and the theological imagination : contextualising the image of fire for contemporary Christian practice." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16452.

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This thesis contends that the image of fire is a multivalent and theologically valuable image for application in British Christian communities. My research offers an original contribution by contextualising the image of fire for Christian practice in Britain, and combining critical observation of several contemporary fire rites with theological analysis. In addition, I conduct original case studies of three Scottish fire rituals: the Stonehaven Fireball Ceremony, the Beltane Fire Festival, and Up-Helly-Aa in Lerwick, Shetland. The potential contribution of fire imagery to Christian practice ha

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32

Sousa, Síbia Patrícia da Costa Gonçalves. "Alasdair Gray`s 1982 Janine (1984): a postmodernist scottish novel." Master's thesis, 2003. http://hdl.handle.net/10400.13/309.

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Alasdair Gray is now an established figure in the Scottish literary scene and has numerous claims to be considered an important voice writing in English. First Lanark: A Life in Four Books (1981) and then 1982 Janine (1984) contributed to the recognition of Gray as one of the founding fathers of the new Scottish writing and as a figure of importance in international contemporary fiction due to his innovative, experimental and postmodernist novels. As the title of this dissertation - “Alasdair Gray’s 1982 Janine (1984): A Postmodernist Scottish Novel” - suggests, it aims at analysing the aut

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