Academic literature on the topic 'Scottish Americans in fiction'
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Journal articles on the topic "Scottish Americans in fiction"
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Zinnatullina, Zulfiya R. "The ‘Internal’ Other in John Fowles’s Works." Вестник Пермского университета. Российская и зарубежная филология 14, no. 4 (2022): 85–93. http://dx.doi.org/10.17072/2073-6681-2022-4-85-93.
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The problem of the national is among the main ones in works by English writer John Fowles. This can be seen both in his fiction works and essays. This article discusses the role of the image of the ‘internal’ Other in the process of building his concept of ‘Englishness’. In his essay On Being English but Not British, the writer analyzes the relations between Englishmen and the inhabitants of Wales, Scotland, and Northern Ireland, and puts the latter on a par with Australians and Americans, however, pointing out their interdependence with the English. The Welshmen Henry Breasley and David Jones act as the ‘internal’ Other in The Ebony Tower and A Maggot. They are endowed with typical Welsh characteristics such as a penchant for drinking, greed, and cunning. Both characters are presented through the perception of English characters, which allows the author to play with the stereotypes about the Welsh circulating among the English. There is an Irishman Dr. Grogan in the novel The French Lieutenant’s Woman. The protagonist Charles Smithson also attributes to him traits of the Irish national character such as talkativeness, foolishness, frivolity. At the same time, Grogan acts as a kind of arbiter, trying to explain the behavior of the characters from a scientific point of view. In Daniel Martin, actress Jenny appeals to her Scottish roots, but she does not take it seriously. That is why the main character also endows her with stereotypical features. However, she subsequently abandons them for the sake of ‘Americanness’, thus losing her identity. ‘Internal’ Others do not play a significant role in the writer’s conception of national identity. The writer focuses on the English characters, making the internal ‘others’ a kind of backdrop for them.
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WHYTE, C. "MASCULINITIES IN CONTEMPORARY SCOTTISH FICTION." Forum for Modern Language Studies XXXIV, no. 3 (July 1, 1998): 274–85. http://dx.doi.org/10.1093/fmls/xxxiv.3.274.
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Miller, Gavin. "Scottish science fiction: writing Scottish literature back into history." Études écossaises, no. 12 (April 30, 2009): 121–33. http://dx.doi.org/10.4000/etudesecossaises.197.
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Martynenko, Ekaterina A. "Emblems of Scotland in Alasdair Gray’s Fiction." Proceedings of Southern Federal University. Philology 25, no. 3 (September 30, 2021): 102–13. http://dx.doi.org/10.18522/1995-0640-2021-3-102-113.
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Alasdair Gray is one of the most influential post-war Scottish writer along with Muriel Spark, Robin Jenkins, and James Kelman. He is wellknown not only as a contemporary novelist, intellectual, and esthete but also as a political activist and a Scottish independence supporter. Although his novels are written exclusively in English, they are characterized with a strong national flavor and are inspired by the ideas of the eminent Scottish scientists, philosophers, and community leaders. The article dwells on the analysis of Scottish national emblem in Alasdair Gray’s fiction. This emblem manifests itself through female nation figures, which were first used in Scottish nationalist discourse by Hugh MacDiarmid and Lewis Grassic Gibbon during the period of Scottish Literary Renaissance. One of the most recurrent themes in Alasdair Gray’s fiction are female suffering and entrapment, which serve as political allegories of the national inferiority complex («Scottish cringe») and subordinate position within the United Kingdom. Thus, the writer strives to include Scotland into the post-colonial framework. In order to re-imagine Scottish nation figure Alasdair Gray addresses both the literary tradition and the latest feminist ideas of his time. Unlike other contemporary Scottish writers who tend to present this figure as a passive victim of political injustice, Alasdair Gray intentionally makes her initiative and active non-victim. She is also constructed as a female monster, which alludes to discrepancy between country’s rich history and its «young» parliament.
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Plain, Gill. "Theme Issue: Scottish Crime Fiction: Introduction." Clues: A Journal of Detection 26, no. 2 (January 1, 2008): 5–9. http://dx.doi.org/10.3172/clu.26.2.5.
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Thomson, Alex. "Review: Scottish Fiction by Kelman and Gray." Scottish Affairs 58 (First Serie, no. 1 (February 2007): 111–17. http://dx.doi.org/10.3366/scot.2007.0007.
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Hubbard, Tom. "Review: Scottish Fiction and the British Empire." Scottish Affairs 64 (First Serie, no. 1 (August 2008): 149–52. http://dx.doi.org/10.3366/scot.2008.0040.
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Crickmar, Marta. "Tartan Polonaise: Scottish Crime Fiction in Poland." Glottodidactica. An International Journal of Applied Linguistics 41, no. 1 (January 1, 2014): 89. http://dx.doi.org/10.14746/gl.2014.41.1.6.
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Blethen, H. Tyler, and Celeste Ray. "Highland Heritage: Scottish Americans in the American South." Journal of Southern History 68, no. 4 (November 2002): 933. http://dx.doi.org/10.2307/3069793.
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Battershell, Gary, and Celeste Ray. "Highland Heritage: Scottish Americans in the American South." Arkansas Historical Quarterly 60, no. 4 (2001): 443. http://dx.doi.org/10.2307/40038266.
Full textDissertations / Theses on the topic "Scottish Americans in fiction"
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Manning, S. L. "The nature of provicialism : Some nineteenth-century Scottish and American fiction." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372632.
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Hughes, Keith John. "Constructions of identity in nineteenth-century Scottish and American fiction : ideology and discourse." Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/22328.
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This thesis examines the ways in which various nineteenth-century literary texts articulate the ideological and linguistic production of identity. I argue that the representation of individual and/or collective identity is problematized, and the determinant role of language accorded due weight, in these texts. A contested relationship with imperialist ideology and English 'centrality' in the nineteenth-century is a common factor for both Scottish and American culture: this thesis interrogates the paradigms of 'core-periphery' and 'provincialism' as applied to Scottish and American literature. Chapter One considers a number of travel narratives for production of subjectivity and authority - including Washington Irving's Tour in Scotland, Samuel Johnson's Journey to the Western Islands, and Frances Trollope's Domestic Manners of the Americans. Some of Nathaniel Hawthorne's stories and essays are then read for their ironic constructions of American identity. Chapter Two considers Herman Melville's Moby-Dick and Billy Budd, locating a critique of imperialist-capitalist practices as they impact on the production of identity. Chapter Three recontextualizes the Scottish 'Kailyard' as other than melodramatic. Precursors of Kailyard are considered - Adam Blair and Mansie Wauch - alongside William Alexander's Doric narrative Johnny Gibb of Gushetneuk and a classic Kailyard text, J.M. Barrie's Auld Licht Idylls. Through its formulation of a 'British' Scottish identity, Kailyard embodies as text specific social and ideological contradictions; Barrie's Farewell Miss Julie Logan is seen to self-reflexively deconstruct the genre. Chapter Four considers Edgar Allan Poe's critique of America's literary 'provincialism', and his call for a specifically American literature as a marker of national identity. Using de Tocqueville's Democracy in America as historiographic counterpoint, Poe's Narrative of Arthur Gordon Pym and Richard Henry Dana's Two Years Before the Mast are seen to describe and inscribe a growing American hegemony; however, unlike most critics, I read Pym as destabilizing racist ideologies, not buttressing them. Frederick Douglass's 'The Heroic Slave,' furthers the connections between racism, language and power.
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Wall, Brian Robert. "Inheritance and insanity : transatlantic depictions of property and criminal law in nineteenth century Scottish and American fiction." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/21707.
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Participants in the critical enterprise of “Law and Literature” tend to center their arguments on the question of literature’s utility to the study and practice of law. I focus instead on the reciprocal corollary: how can an understanding of law influence a critical reading of literature? Taking cues from discussions in Renaissance studies of law and literature and drawing on my own legal training, I assert that transatlantic literary studies provides both a conceptual framework for positing a reciprocal relationship between law and literature and, in nineteenth century Scottish and American depictions of property and criminal law, a crucial test case for this exploration by uncovering new “legal fictions” within these texts. I begin my first chapter by situating my work within recent critical work in Law and Literature. While most scholarship in the “law in literature” subcategory since James Boyd White’s influential 1973 text The Legal Imagination has focused on how (and if) literary studies can help current and future legal practitioners through what Maria Aristodemou calls “instrumental” and “humanistic” mechanisms, recent work, particularly by a dedicated group of interdisciplinary scholars in Renaissance studies, has focused on the law’s benefit to literary studies in this field. I explore the critical mechanisms employed by these scholars as well as by scholars in nineteenth century literary studies such as Ian Ward. I then turn to transatlantic literary studies, arguing that the approaches outlined by Susan Manning, Joselyn Almeida, and others provide a framework that can give nineteenth-century literary studies a similar framework to that proposed by Aristodemou: an “instrumental” method of giving greater precision to discussions of how historical institutions and hierarchies are depicted in nineteenth century literature, and a “humanistic” method of extending beyond historicist approaches to see beyond the often artificial demarcations of literary period and genre by finding commonalities that transcend disciplinary and historical borders. I conclude this introduction by identifying the legal and literary parameters of my project in the legal-political tensions of late-eighteenth and early-nineteenth century Scotland and America. My second chapter focuses on property law and the question of inheritance, reading Walter Scott’s Rob Roy and The Bride of Lammermoor alongside Nathaniel Hawthorne’s The House of the Seven Gables to demonstrate how the narratives play with two dueling theories of inheritance law – meritocratic and feudal – and how those dueling legal theories impact the events of the tales themselves. After outlining tensions between older but still prevalent ideas of feudal succession and newer but admittedly flawed in execution notions of meritocratic land transfer, I explore how Scott’s and Hawthorne’s narratives demonstrate the inability of their characters to reconcile these notions. Both Rob Roy and The House of the Seven Gables seem to demonstrate the triumph of deserving but legally alienated protagonists over their titled foes; both novels, however, end with the reconciliation of all parties through ostensibly love-based weddings that perform the legal function of uniting competing land claims, thus providing a suspiciously easy resolution to the legal conflict at the heart of both stories. While reconciliation makes the legal controversies at the heart of these stories ultimately irrelevant, the legal nihilism of The Bride of Lammermoor takes the opposite tactic, demonstrating both the individual shortcomings of the Ashton and Ravenswood families and the systemic failure of Scottish property law’s feudalism to achieve equitable outcomes. I next turn to the question of insanity in Edgar Allan Poe’s “The Tell-Tale Heart” and James Hogg’s “Strange Letter of a Lunatic,” arguing that both narratives complicate the legal definition of insanity by showing gaps between the legislative formulation and actual application to their fictional defendants. After developing the different viewpoints towards criminal culpability articulated by the American (but based on English law) and Scottish versions of the insanity defense, I turn first to Poe’s “The Tell-Tale Heart.” Poe’s narrator, I argue, deliberately develops a narrative that takes him outside the protections of the insanity defense, insisting on his own culpability despite – or perhaps because of – the implications for his own punishment. Meanwhile, Hogg’s narrative, both in its original draft form for Blackwood’s and its published version in Fraser’s, paints a different picture of a narrator who avoids criminal punishment but finds himself confined in asylum custody. These two areas of inheritance and insanity collide in my exploration of Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde and Frank Norris’s McTeague, where I illustrate the relationship between the urban demographics and zoning laws of both the real and fictional versions of London and San Francisco and the title characters’ mentally ill but probably not legally insane murderers. After demonstrating Stevenson’s and Norris’s link between psychology and the complex amalgamations of their fictional cityscapes, I demonstrate how these cityscapes also allow them to sidestep rather than embrace mental illness as an excuse for their murderous protagonists’ crimes, indicting the institutions at the center of their texts as equally divided and flawed.
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McGuire, Matthew. "Dialect in contemporary Scottish and Irish fiction." Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/29263.
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There has to date been no attempt at a detailed comparative study of contemporary Irish and Scottish literature: this thesis constitutes an attempt to do so. Specifically, it looks at the significance of the dialect novel in writing after 1979. My claim is that the dialect novel must be read in terms of the crisis facing working-class communities at the end of the twentieth century. Despite certain attempts to declare class a redundant critical category, I argue that it is fundamental to our understanding of contemporary Irish and Scottish culture. Chapter one traces the emergence of Irish-Scottish studies as an interdisciplinary field within the humanities. It also outlines the political and theoretical challenges confronting Marxism at the end of the twentieth century. Here I will introduce the work of Italian Marxist Antonio Gramsci. Chapter two looks at Scotland and the work of James Kelman. It examines attempts by nationalist critics to locate Kelman’s work within the so-called 'Renaissance’ of contemporary Scottish literature. Against this, I argue that Kelman’s use of dialect belongs to a class based politics that makes problematic the politics of nationalism. Chapter three looks at the Republic of Ireland and the work of Roddy Doyle. Focusing in The Commitments (1987), it examines the novel’s contentious claim that the working-class are the niggers of Ireland. The conflation of class and race will be examined in detail, particularly in light of Kelman’s own insistence that his work belongs to literature of de-colonisation. Chapter four examines the wholly neglected issue of class within the post ’69 conflict in Northern Ireland. It focuses on the role of dialect in Frances Molloy’s No Mate for the Magpie (1985) and John Boyd’s Out of my Class (1985). Chapter five considers all three regions in a more concentrated form of analysis. It concentrates on Richard Kearney’s concept of postnationalism and the postmodern theory upon which it is predicated. Although popular among both Scottish and Irish critics, I contend that this is an essentially misguided critical enterprise.
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Farrell, Maureen Anne. "Culture and identity in Scottish children's fiction." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/902/.
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British Children’s Literature has a long and distinguished history. In fact it could be argued that in the late seventeenth and increasingly in the eighteenth century, Britain took the lead in developing a new kind of literature especially designed for children. The Puritans were the first to recognise the potential for material specifically targeted at children as a means of reforming the personal piety of all individuals, including children. As a result, educational, instructional and religious books for children began to appear followed later by books retelling myths, legends and oral tales and later again books intended to entertain and engage children at all stages of their development. Included as part of British Children’s Literature was the work of Scottish authors. Indeed writers such as Sir Walter Scott, George MacDonald and J.M Barrie produced works that have since become Children’s Literature classics and they themselves had significant influence on diverse children’s authors including writers such as Lewis Carroll and C.S.Lewis. Though the work of Scottish authors was included in British Children’s Literature, it was not recognised specifically for its distinctively Scottish elements. In fact, increasingly from the nineteenth century, it began to be labelled as ‘English’ Children’s Literature even though it meant ‘British’. Scotland had been a separate nation until the Act of Union in 1707. After that, even as a ‘stateless nation’, Scotland retained its own education system, its own legal system and its own national church. Scottish Literature continued to flourish during this period making use of English and Scots language, as well as Gaelic, to produce an illustrious and influential literature of world renown. As Roderick Watson has observed, “the main ‘state’ left to a ‘stateless nation’ may well be its state of mind, and in that territory it is literature that maps the land.” (Watson, 1995: xxxi) Since devolution in 1997, Scotland’s literature sector has undergone an unprecedented period of rapid, sustained and dramatic expansion, a process paralleled by the growing profile of Scottish writers internationally. During the same period Scottish Children’s Literature and Scottish children’s writers have not received the same attention, though their progress has been just as significant. In the year 2000 the Modern Language Association of America recognised Scottish Literature as a national literature, and presumably Scottish Children’s Literature is included as part of that, but it was not specifically highlighted. Even up until 2006, Scottish Children’s Literature was not generally included or even mentioned in Scottish Literature anthologies or histories of Scottish Literature. When in January 2006 the Scottish Executive unveiled Scotland’s Culture, its new cultural policy, it gave Scottish Literature a prominent place. At the same time this document also acknowledged the importance of education in giving access to and highlighting Scotland’s literary heritage. It became all the more important then to recognise the existence of a corpus of work that is recognisable as Scottish Children’s Literature existing separately from but complementary to English Children’s literature and which could be used in schools by teachers and read by children in order to explore and interrogate their own cultural history and identity. This thesis seeks to investigate whether a distinctive Scottish Children’s Literature exists and, if so, to identify those aspects that make it distinctive. Further, if Scottish Children’s Literature exists, how does it become a repository for the formation of culture, identity and nationhood and how does this impact on young Scottish readers? In order to carry out this investigation the study adopts an integrated, humanistic and multi-dimensional approach towards Scottish Children’s fiction. It draws selectively and discursively on theories of reading, reader response and close reading skills for heuristic purposes; that is, on methods that further the overall hermeneutical task of enlarging understanding of the phenomenon, though no particular theoretical approach to analysis has been privileged over another. It draws on a range of overarching theoretical perspectives that work effectively in illuminating the characteristics of particular texts with and for readers. As such, the study does not pretend to provide a specific theoretical basis for the reading of Scottish Children’s Fiction. The approach adopted requires an immersion in the narratives, making unfamiliar texts familiar in order to do the work of projecting a distinctive Scottish perspective. Given that this study is among the first of its kind, it provides a base-line for others to apply specific theoretical filters to Scottish Children’s Literature for further study. Using what cultural typology and the semiotics of culture would recognise as a retrospective approach, this study intends to identify children’s texts that are recognisably Scottish and which may be considered to form a corpus of work which can be celebrated as a central part of Scottish Children’s Literature. WATSON, R. (1995) The Poetry of Scotland, Edinburgh, Edinburgh University Press.
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McMillan, Neil Livingstone. "Tracing masculinities in twentieth-century Scottish men's fiction." Thesis, University of Glasgow, 2000. http://theses.gla.ac.uk/5190/.
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Tracing Masculinities in Twentieth-Century Scottish Men's Fiction takes account of the representation of masculinities in a selected group of novels by twentieth-century Scottish male authors. Rather than attempt a chronological survey of fictions during this period, the argument proceeds by analysing groups of texts which are axiomatic in specific ways: the Glasgow realist novels of the 1930s and post-1970s, from the works of James Barke and George Blake to those of William McIlvanney and James Kelman, which offer particular perspectives on relationships between men of different class identifications; fictions reliant upon existentialism, which intersect with the masculinist values of the Glasgow tradition in the figure of Kelman, but are also produced by Alexander Trocchi and Irvine Welsh; and novels which employ the technique of 'cross-writing', or literary transvestism, from the Renaissance fictions of Lewis Grassic Gibbon to the postmodern works of Alan Warner and Christopher Whyte. In a critical field which has always been concerned with a tradition of largely male-produced texts privileging the actions of male characters, but has neglected fully to consider the production and reception of those texts in terms of their specific articulations of gender positions, this thesis employs theories of masculinities developed in the study of American and English literatures since the 1980s in order to provide new perspectives on Scottish novels. It also draws upon the materialist theory of Louis Althusser for a model of ideological identification, as well as utilising several psychoanalytic and deconstructive approaches to gender formation in Western culture, epitomised by the work of Judith Butler and Kaja Silverman. The various perspectives on masculine gender and sexual identities thus assembled are primarily directed towards considering the novels under discussion as 'men's texts' - texts not only by or about men, but often directed towards men as readers too.
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Hammer, Julia Maria. "Crossing limits : liminality and transgression in contemporary Scottish fiction." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25923.
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In my thesis, I aim to show that a focus on liminality in contemporary Scottish fictional texts illustrates underlying developments of relevant social phenomena with regard to class issues, gender and sexual identity. The anthropological concept of liminality looks at a situation of “being between”. The liminar faces a situation of having to renegotiate their values and perceptions in order to proceed. Liminality always involves the existence of limits which have to be transgressed and against which the individual negotiates a personal situation. I further hypothesise that the transgression of limits can be seen as an instrument to create order. I take an anthropological approach to my thesis. Arnold van Gennep’s early studies on rites of passage and Victor Turner’s study of liminality originate in the observation of tribe-internal, social structures of personal development. Van Gennep assumes a tripartite structure among which liminality is the middle stage, the phase in which the initiand has to perform tasks to re-enter and become part of the community. Turner isolates the middle stage and transfers this concept to western societies. This theory is taken up and developed further by several literary critics and anthropologists. While the transgression of limits is often regarded as a violation of those norms which regulate societies, the transgression of limits in a rite of passage and connected with liminality is a vital aspect and socially necessary. Several concepts are related to this theory, which will play a major role in my thesis: Turner’s permanent liminality, Mikhail Bakhtin’s carnivalesque as well as Foucault’s transgression. In the first chapter, I contrast two of Alasdair Gray’s novels, stating that the most powerful message of social and capitalist criticism is not just visible on the surface of the hyperbolic texts, but particularly prominent in liminal passages. The theories of Bakhtin and Turner plays the most important role in this chapter. In the second chapter, A. L. Kennedy’s novels are contrasted. In So I am Glad a difficult psycho-social issue is solved by a liminal trigger-figure, Paradise is an example of the destructive and restrictive effects of permanent liminality. In chapter three, I deal with the issue of passing and an individual redefinition of gender identity. The performativity of masculinity reveals ambiguous definitions of gender and morale. The Wasp Factory portrays a form of masculinity which has destructive effects on the individual and its environment. It is the tension in the liminal situation of a gender myth, a brutally performed masculinity and the character’s biological sex which expresses a harsh criticism of society’s definition of masculinity. In Trumpet, the binary model of gender is questioned. The text suggests a different definition of identity as fluid, passing between the two ‘extremes’, formulating the possibility of a state of being ‘something in-between’. It is the confrontation with this ‘otherness’ which provokes a wave of rejection and protest in the environment of the individual passing as a member of the ‘other sex’. In this case, it is not the obvious liminal individual, but his son who undergoes a process of change and thus a process of renegotiating his strict value system. The final chapter deals with liminal spaces and how these reflect and support the internal development which the protagonists undergo. The choice of Orkney as a mystical place and the fictional setting in a war game show that liminal spaces – both real and fictitious – trigger a personal development and reconnect present day life in Scotland with historical events which have had a shaping role for Scottish and European life.
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Böhnke, Dietmar. "Brave New Scotland?: National Identity and Contemporary Scottish Fiction." Wissenschaftlicher Verlag, 2007. https://ul.qucosa.de/id/qucosa%3A31942.
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Stark, Lynne. "Beyond skin : the exposed body and modern Scottish fiction." Thesis, University of Edinburgh, 2001. http://hdl.handle.net/1842/23204.
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This thesis examines the use of graphic corporeal imagery by an number of modern Scottish writers - Janice Galloway, A. L. Kennedy, Candia McWilliam, Alan Warner and Irvine Welsh - and reclaims such potentially offensive material as socially and thematically significant. Using Phillip A. Mellor and Chris Shilling’s notion of the Baroque modern body, I show in the first two chapters how scenes of pain, violence and sexual violation relate to, challenge and comment upon the cultural tensions surrounding the body in postmodern society. These tensions stem from two contradictory social impulses, the first towards intense cognitive control and denial of the body, the second towards physical release and greater sensual expression. The damaged or violated body is positioned at the precise point where these opposing tendencies meet. Violence towards the body may reflect a desire to disassociate oneself from the flesh, if not obliterate it altogether. Yet cutting, wounding or perforating the body renders it literally more substantial by exposing the bloodied mesh of tissue and tendon that lies beyond the skin. Paradoxically, many ‘harmful’ body practices force us to re-engage with the body. I trace this oscillation between disembodiment and re-embodiment across several novels in order to show how fictional representations of anorexia, sado-masochism and violence function as something more than simple metaphors of social dysfunction. The main argument of this study is that extreme physical episodes are often the catalysts for characters’ reintegration into existing social formations or even herald the creation of new forms of sociality based on sensual solidarities. Contemporary ‘transgressive’ body practices such as body piercing and tattooing highlight the transformative capacity of pain and violence. I discuss these in the final chapter.
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MacDonald, Kirsty A. "Spectral ambiguities : the tradition of psychosomatic supernaturalism in Scottish fiction." Thesis, University of Glasgow, 2005. http://theses.gla.ac.uk/1926/.
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This thesis aims to prove that there exists in Scottish literature a previously undervalued, or indeed, overlooked tradition of ‘psychosomatic supernaturalism’, which like other literary traditions, refers to an evolving constellation of texts with similar themes, motifs and techniques. It is widely accepted that the continued presence of supernatural elements is a common feature in Scottish literature. However, the modifier ‘psychosomatic’, a term borrowed from the field of psychiatry, designates those specific supernatural events or beings around which accumulate sustained doubt as to whether their origins are in the actual or the psychological. This supernatural/psychological tension – discussed but rarely analysed closely by critics – occurs primarily in fiction throughout the national literary history from the beginning of the nineteenth century to the present day. The evocation of this tension is a subversive strategy, challenging realism and its associated modes of representation. Perhaps the most renowned example of the tension occurs in James Hogg’s Private Memoirs and Confessions of a Justified Sinner (1824). However, Hogg wrote a number of equally significant psychosomatic supernatural tales, including the novel The Three Perils of Woman (1823), and the short story ‘The Brownie of the Black Haggs’ (1828). The start of the nineteenth century marks the establishment of psychiatry, and the underlining of the distinction between madness and supernatural forces, a demarcation that was previously hazy. This was something Hogg was fully aware of, and as a writer with a documented interest in the supernatural and folk tradition, and in evolving views on mental illness, his work forms the starting point for the thesis. The development of this tradition throughout the nineteenth century is subsequently traced. During this time ‘social realism’ is a prominent mode in fiction. There are, however, critical and subversive exceptions to this in the work of writers such as Robert Louis Stevenson, Margaret Oliphant and J.M. Barrie. The thesis considers their work, and then examines how this tradition is manifested during the period now referred to by critics as the Scottish Renaissance. Late twentieth-century manifestations of the tradition are then analysed, against a background of the increasing dominance of realism and its associated metanarratives in Scottish fiction, and mass media contexts such as film and television.
Books on the topic "Scottish Americans in fiction"
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Breeding, Robert L. Footprints in Appalachia. Knoxville, TN: Thriftecon Publications, 1996.
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Ho-ho-homicide: A Liss Maccrimmon Scottish mystery. Thorndike, Maine: Center Point Large Print, 2014.
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Dunnett, Kaitlyn. Bagpipes, brides and homicides. New York: Kensington Books, 2013.
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Dunnett, Kaitlyn. Bagpipes, brides, and homicides. Thorndike, Me: Center Point Pub., 2012.
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Faust, Frederick Schiller. Blue kingdom: A western story. Waterville, Me: Five Star, 2003.
Find full textBook chapters on the topic "Scottish Americans in fiction"
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Huang, Betsy. "Introduction: “Generic” Asian Americans?" In Contesting Genres in Contemporary Asian American Fiction, 1–9. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230117327_1.
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Craig, Cairns. "Devolving the Scottish Novel." In A Concise Companion to Contemporary British Fiction, 121–40. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470757673.ch6.
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Hallissy, Margaret. "What Americans Know and How They Know It: Song." In Reading Irish-American Fiction, 33–46. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403983275_3.
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Hallissy, Margaret. "What Americans Know and How They Know It: Story." In Reading Irish-American Fiction, 47–59. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403983275_4.
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Mahn, Churnjeet. "Black Scottish Writing and the Fiction of Diversity." In Time and Space in the Neoliberal University, 119–41. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15246-8_6.
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Brannigan, John. "The Empty Places: Northern Archipelagos in Scottish Fiction." In The Poetics of Space and Place in Scottish Literature, 71–85. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12645-2_5.
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Walton, Samantha. "Scottish Modernism, Kailyard Fiction and the Woman at Home." In Transitions in Middlebrow Writing, 1880–1930, 141–60. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137486776_8.
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Manning, Susan. "Historical Characters: Biography, the Science of Man, and Romantic Fiction." In Character, Self, and Sociability in the Scottish Enlightenment, 225–48. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119956_12.
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Lehner, Stefanie. "‘Un-Remembering History’: Traumatic Herstories in Contemporary Irish and Scottish Fiction." In Subaltern Ethics in Contemporary Scottish and Irish Literature, 115–53. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230308794_6.
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Riach, Alan. "Nobody’s Children: Orphans and their Ancestors in Popular Scottish Fiction after 1945." In Representing Scotland in Literature, Popular Culture and Iconography, 160–94. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230554962_8.
Full textConference papers on the topic "Scottish Americans in fiction"
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Keo, Peter. "Fiction, Not Facts: An Exploration of How Asian Americans Are "Wedged" Between Whites and Racial Minorities in Education Research: A Qualitative Meta-Analysis." In 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1438559.
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Fatima Hajizada, Fatima Hajizada. "SPECIFIC FEATURES OF THE AMERICAN VERSION OF THE BRITISH LANGUAGE." In THE FIRST INTERNATIONAL SCIENTIFIC – PRACTICAL VIRTUAL CONFERENCE IN MODERN & SOCIAL SCIENCES: NEW DIMENSIONS, APPROACHES AND CHALLENGES. IRETC, 2022. http://dx.doi.org/10.36962/mssndac-01-10.
Full textAbstract:
English is one of the most spoken languages in the world. A global language communication is inherent in him. This language is also distinguished by a significant diversity of dialects and speech. It appeared in the early Middle Ages as the spoken language of the Anglo-Saxons. The formation of the British Empire and its expansion led to the widespread English language in Asia, Africa, North America and Australia. As a result, the Metropolitan language became the main communication language in the English colonies, and after independence it became State (USA, Canada, Australia, New Zealand) and official (India, Nigeria, Singapore). Being one of the 6 Official Languages of the UN, it is studied as a foreign language in educational institutions of many countries in the modern time [1, 2, s. 12-14]. Despite the dozens of varieties of English, the American (American English) version, which appeared on the territory of the United States, is one of the most widespread. More than 80 per cent of the population in this country knows the American version of the British language as its native language. Although the American version of the British language is not defined as the official language in the US Federal Constitution, it acts with features and standards reinforced in the lexical sphere, the media and the education system. The growing political and economic power of the United States after World War II also had a significant impact on the expansion of the American version of the British language [3]. Currently, this language version has become one of the main topics of scientific research in the field of linguistics, philology and other similar spheres. It should also be emphasized that the American version of the British language paved the way for the creation of thousands of words and expressions, took its place in the general language of English and the world lexicon. “Okay”, “teenager”, “hitchhike”, “landslide” and other words can be shown in this row. The impact of differences in the life and life of colonists in the United States and Great Britain on this language was not significant either. The role of Nature, Climate, Environment and lifestyle should also be appreciated here. There is no officially confirmed language accent in the United States. However, most speakers of national media and, first of all, the CNN channel use the dialect “general American accent”. Here, the main accent of “mid Pppemestern” has been guided. It should also be noted that this accent is inherent in a very small part of the U.S. population, especially in Nebraska, Iowa, and Illinois. But now all Americans easily understand and speak about it. As for the current state of the American version of the British language, we can say that there are some hypotheses in this area. A number of researchers perceive it as an independent language, others-as an English variant. The founder of American spelling, American and British lexicographer, linguist Noah Pondebster treats him as an independent language. He also tried to justify this in his work “the American Dictionary of English” written in 1828 [4]. This position was expressed by a Scottish-born English philologist, one of the authors of the “American English Dictionary”Sir Alexander Craigie, American linguist Raven ioor McDavid Jr. and others also confirm [5]. The second is the American linguist Leonard Bloomfield, one of the creators of the descriptive direction of structural linguistics, and other American linguists Edward Sapir and Charles Francis Hockett. There is also another group of “third parties” that accept American English as a regional dialect [5, 6]. A number of researchers [2] have shown that the accent or dialect in the US on the person contains significantly less data in itself than in the UK. In Great Britain, a dialect speaker is viewed as a person with a low social environment or a low education. It is difficult to perceive this reality in the US environment. That is, a person's speech in the American version of the British language makes it difficult to express his social background. On the other hand, the American version of the British language is distinguished by its faster pace [7, 8]. One of the main characteristic features of the American language array is associated with the emphasis on a number of letters and, in particular, the pronunciation of the letter “R”. Thus, in British English words like “port”, “more”, “dinner” the letter “R” is not pronounced at all. Another trend is related to the clear pronunciation of individual syllables in American English. Unlike them, the Britons “absorb”such syllables in a number of similar words [8]. Despite all these differences, an analysis of facts and theoretical knowledge shows that the emergence and formation of the American version of the British language was not an accidental and chaotic process. The reality is that the life of the colonialists had a huge impact on American English. These processes were further deepened by the growing migration trends at the later historical stage. Thus, the language of the English-speaking migrants in America has been developed due to historical conditions, adapted to the existing living environment and new life realities. On the other hand, the formation of this independent language was also reflected in the purposeful policy of the newly formed US state. Thus, the original British words were modified and acquired a fundamentally new meaning. Another point here was that the British acharism, which had long been out of use, gained a new breath and actively entered the speech circulation in the United States. Thus, the analysis shows that the American version of the British language has specific features. It was formed and developed as a result of colonization and expansion. This development is still ongoing and is one of the languages of millions of US states and people, as well as audiences of millions of people. Keywords: American English, English, linguistics, accent.
Reports on the topic "Scottish Americans in fiction"
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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien, and Damon Herd. A New Palingenesis. University of Dundee, November 2022. http://dx.doi.org/10.20933/100001273.
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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.