Relevant bibliographies by topics / Scottish poem

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Scottish poem'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Scottish poem"

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Campbell, Dean J. ""Of Four Scottish Chemists". A Burns Supper-Inspired Poem." Journal of Chemical Education 84, no. 4 (April 2007): 605. http://dx.doi.org/10.1021/ed084p605.

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Stoliarova, A. G. "REGIONAL DEVELOPMENT OF A POETICAL TRADITION: FOREIGN INCLUSIONS AS A LITERARY DEVICE (stylistic aspect)." Bulletin of Udmurt University. Series History and Philology 30, no. 6 (December 11, 2020): 1008–13. http://dx.doi.org/10.35634/2412-9534-2020-30-6-1008-1013.

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Scottish alliterative poetry, which can be regarded as a regional variety and at the same time the final step in the evolution of the alliterative tradition in England and Scotland, was composed in the second half of the 15th century, the period that marked the gradual decline of the tradition. In Scotland the alliterative verse was mainly employed for ironic or satirical purpose. The Buke of Howlat by Richard Holland, the earliest Scottish poem, can provide an example of using alliterative style in allegory and parody. The paper deals with how elements of a foreign language, as well as imitation of foreign speech can be employed as a literary device. By means of abracadabra, imitating the sounding of Scottish Gaelic, parody of Seanchas, or Gaelic genealogy, and the wrong transmission of Gaelic terms of poetry, the author creates a caricature on a Gaelic poet and the ancient oral Celtic poetical tradition, which was unjustly neglected by early Scottish writers.
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Sharp, Sarah. "Exporting ‘The Cotter's Saturday Night’: Robert Burns, Scottish Romantic Nationalism and Colonial Settler Identity." Romanticism 25, no. 1 (April 2019): 81–89. http://dx.doi.org/10.3366/rom.2019.0403.

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A Scottish literary icon of the nineteenth century, Burns's ‘The Cotter's Saturday Night’ was a key component of the cultural baggage carried by emigrant Scots seeking a new life abroad. The myth of the thrifty, humble and pious Scottish cottager is a recurrent figure in Scottish colonial writing whether that cottage is situated in the South African veld or the Otago bush. This article examines the way in which Burns's cotter informed the myth of the self-sufficient Scottish peasant in the poetry of John Barr and Thomas Pringle. It will argue that, just as ‘The Cotter’ could be used to reinforce a particular set of ideas about Scottish identity at home, Scottish settlers used Burns's poem to respond to and cement new identities abroad.
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Stolyarova, Anastasiya G. "Evolution of Middle English Alliterative Phrases in 15th-Century Scottish Poetry: New Forms and Functions." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 5 (October 10, 2020): 89–97. http://dx.doi.org/10.37482/2227-6564-v052.

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Alliterative phrases, along with traditional poetic words and substantivized epithets, are considered to be a typical feature of the diction of alliterative revival in England and Scotland, a special marker of this tradition. Formulaic alliterative phrases are quite a different phenomenon than traditional oral poetic formulas; their formulaic character is expressed in potential variation of their elements provided that the semantics and the alliteration scheme are preserved, which allows poets to create individual author variants on the basis of traditional phrases. The paper discusses the use of formulaic alliterative phrases as illustrated by two alliterative Scottish poems that were written nearly at the same time (second half of the 15th century) and belong to the same tradition, but to different genres: the romance Golagros and Gawain and the allegorical poem The Buke of the Howlat. Golagros and Gawain is a poem composed in the decline of the genre of romance, which glorifies the virtues of chivalry and the heroic world becoming a thing of the past. A characteristic feature of the poem is the extensive use of variation between the elements of set phrases typical of the tradition of alliterative revival. A large number of alliterative phrases in Golagros and Gawain are individual author variants describing an ideal chivalric hero. In The Buke of the Howlat, on the contrary, most phrases are fixed and stereotyped. The author of this poem prefers to exploit formulas as a satiric device, putting typical phrases in an unusual context and thus altering their meaning.
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Tasioulas, Jacqueline. "‘Double Sorrow’." Critical Survey 30, no. 2 (June 1, 2018): 6–19. http://dx.doi.org/10.3167/cs.2018.300202.

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The connection between Henryson’s Testament of Cresseid and Chaucer’s Troilus and Criseyde is made evident from the outset of Henryson’s poem. It is not, however, the only work of Chaucer’s that infuses the Testament, for the Scottish poet reaches towards Anelida and Arcite in the complaint d’amour that is delivered at the climax of the work. This article considers the effect that the echoes of this text have upon judgement of Cresseid and of Troilus, and the complex embedded layers of what constitutes ‘truth’, whether for the lover, the narrator or the reader. It explores the notion of ‘doubleness’ of thought in both works, initiated by Chaucer in his exploration of the complex loves of Anelida and Arcite, and pursued by Henryson in a poem that takes textual and amatory doubleness as its foundation.
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Roberts, Wendy Raphael. "The Calvinist Couplet." Christianity & Literature 68, no. 3 (February 26, 2019): 412–31. http://dx.doi.org/10.1177/0148333119827675.

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The article provides the first modern analysis of one of the bestselling transatlantic evangelical poems of the eighteenth century, the Scottish minister Ralph Erskine’s Gospel Sonnets. The article argues that the importance of the marriage metaphor and rhyme in the poem provided a specific meaning to the form of the couplet in eighteenth-century transatlantic evangelicalism—a form often associated with an outdated understanding of a monolithic enlightenment. In the case of Erskine, it produced the Calvinist couplet. What the author terms “espousal poetics” designates the much larger presence and purpose of the marriage metaphor in the emerging revivalist community: to fuse the paradoxes of a sound Calvinist theology with poetics.
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CHISHOLM, LEON. "WILLIAM MCGIBBON AND THE VERNACULARIZATION OF CORELLI'S MUSIC." Eighteenth Century Music 15, no. 2 (September 2018): 143–76. http://dx.doi.org/10.1017/s1478570618000039.

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ABSTRACTIn his 1720 poem ‘To the Musick Club’ Allan Ramsay famously called upon an incipient Edinburgh Musical Society to elevate Scottish vernacular music by mixing it with ‘Correlli's soft Italian Song’, a metonym for pan-European art music. The Society's ensuing role in the gentrification of Scottish music – and the status of the blended music within the wider contexts of the Scottish Enlightenment and the forging of Scottish national identity – has received attention in recent scholarship. This article approaches the commingling of vernacular and pan-European music from an alternative perspective, focusing on the assimilation of Italian music, particularly the works of Arcangelo Corelli, into popular, quasi-oral traditions of instrumental music in Scotland and beyond. The case of ‘Mr Cosgill's Delight’, a popular tune derived from a gavotte from Corelli's Sonate da camera a tre, Op. 2, is presented as an illustration of this process. The mechanics of vernacularization are further explored through a cache of ornaments for Corelli's Sonate per violino e violone o cimbalo, Op. 5, by the Scottish professional violinists William McGibbon and Charles McLean. The study foregrounds the agency of working musicians dually immersed in elite and popular musical traditions, while shedding new light on McGibbon's significance as an early dual master of Italian and Scots string-playing traditions.
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Ruszkiewicz, Dominika. "“Be War in Tyme, Approchis Neir the End”: The Sense of an Ending in the Testament of Cresseid." Studia Anglica Posnaniensia 51, no. 2 (December 1, 2016): 93–106. http://dx.doi.org/10.1515/stap-2016-0011.

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Abstract The story of Troilus and Criseyde - whether in Chaucer’s or Henryson’s renditions - is not a story about a new beginning, but a story about an end: the end of love, of hope, and finally - the end of life: Troilus’s life in Chaucer’s poem and Cresseid’s life in Henryson’s. The Scottish version of the story, however, not only evokes the end of an individual life, but also the end of the world. The purpose of this paper is to situate Henryson’s poem in the context of apocalyptic fiction - fiction which is concerned with loss, decay and the finality of things. My contention that the poem belongs to the apocalyptic genre is based on a number of its features, such as the elegiac mood and imagery, the contrast between the past and the present, as well as the pattern of sin-redemption-preparation for death, which applies to Cresseid’s life, but also invites reflection on our own.
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Ferradou, Carine. "La poésie en question dans la première et la cinquième élégie de George Buchanan." Renaissance and Reformation 36, no. 4 (March 15, 2014): 11–35. http://dx.doi.org/10.33137/rr.v36i4.20980.

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From the first verse of the first Elegy (entitled “Quam misera sit conditio docentium literas humaniores Lutetiae...”) written by Buchanan while he was a young teacher in Paris, the Scottish scholar depicts himself as an unlucky lover of poetry whose passion is impeded by his educational job. Through his fifth Elegy, “Ad Franciscum Oliuarius, Franciae Cancellarium, nomine Scholae Burdigalensis”, the Scottish scholar, then teaching Latin in Bordeaux, becomes the advocate of the Muses in order to obtain from the French Chancellor François Olivier the financial and moral help that classical studies need at the moment. In the first Elegy which testifies a personal experience as well as in the second one which is an “event poem” written for the defense of the Collège de Guyenne, Buchanan adopts the position of the poet complaining that too many difficulties prevent him from living completely and with dignity from his art whereas he embodies a sophisticated way of life, civilization in short. In both elegies, the status of the poet is seen as problematical: George Buchanan uses the topoi of the poet’s representation and of the current situation that is sometimes personal, sometimes shared by his fellow teachers in Bordeaux. Such a situation casts doubt on the poetical vocation of the “Prince of Poets of his time”, so called a little later by the French publisher Robert Estienne.
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Reid-Baxter, James. "Domino Roberto Carwor, Canonico de Scona…" Tempo, no. 161-162 (September 1987): 92–93. http://dx.doi.org/10.1017/s004029820002338x.

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(In recognition that 1987 sees the 500th anniversary of the birth of Robert Carver (1487–c. 1566), generally considered the greatest Scottish composer of the Renaissance, we append a poem by a founder-member of the modern-day Carver Choir of Aberdeen. Dr. Reid-Baxter has written in Carver's own tongue, the aureate Scots of the late Middle Ages. After due consideration, we have forborne to provide translation or glossary, since enough of TEMPO'S readers should be acquainted with such major figures of British literature as Robert Henryson, William Ounbar, and Gavin Douglas.)
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Dissertations / Theses on the topic "Scottish poem"

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Lindfield-Ott, Kristin. ""See SCOT and SAXON coalesc'd in one" : James Macpherson's 'The Highlander' in its intellectual and cultural contexts, with an annotated text of the poem." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2096.

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This thesis explores James Macpherson’s The Highlander (1758) in relation to originality, Scottish identity and historiography. It also situates the Ossianic Collections in the context of Macpherson’s earlier poetical and later historical works. There are three parts to it: a biographical sketch of Macpherson’s early life, the annotated edition of The Highlander, and discursive commentary chapters. By examining The Highlander in detail this thesis questions the emphasis of other Macpherson criticism on the Ossianic Collections, and allows us to see him as a writer who is historically minded, very aware of sources, well versed in established forms of poetry and thoroughly, and positively, British. The Highlander stands out among the corpus of his works not because it can give us insights into the Ossianic Collections, which is its usual function in Macpherson criticism, but because it can help us understand what it is that connects Macpherson’s earlier and later works with the Ossianic Collections: history, Britishness, tradition. Macpherson’s poetical works are united by a desire to translate Scotland’s factual past into sentimental British poetry. In the Ossianic Collections he does so without particular faithfulness to his sources, but in The Highlander he converts historical sources directly into neo-classic verse. This is where Macpherson’s originality lies: his ability to adapt history. In different styles and genres, and based on different sources, Macpherson’s works are early examples of Scotland’s great literary achievement: historical fiction. Instead of accusing him of forgery or trying to trace his knowledge of Gaelic ballads, this thesis presents Macpherson as a genuine historian who happened to write in a variety of genres.
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Rogers, Rebecca. "Eighteenth-century Macbeths : the English poet and the Scottish play." Thesis, University of Southampton, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298893.

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Byrne, Michel. "Bàrdachd Mhic Iain Dheòrsa : the original poems of George Campbell Hay : an annotated edition." Thesis, University of Edinburgh, 1992. http://hdl.handle.net/1842/10549.

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George Campbell Hay (1915-1984) is acknowledged as one of the towering figures of 20th c. Gaelic poetry, and also respected outwith that linguistic tradition for his work in Scots and English, yet since the appearance of his three poetry collections shortly after the war, the greater part of his work has been unavailable, and its appreciation limited to a handful of Gaelic poems. Even the 1970 anthology which brought his non-Gaelic poems to wider attention has long been out of print, and his master-work - the unfinished long narrative poem Mochtar is Dughall - only emerged from almost forty years' obscurity in 1982. In short, there is an urgent need for the totality of Hay's work to be made available again, both for the enjoyment of the poetry-reading public and to enable a proper assessment of his contribution to Scottish literature. This thesis aims to provide the basis for such a Collected Edition. As a scholarly edition, however, it does not seek to provide single ideal texts or an editor's anthology, but to present the development of each poem through all its variants (shown in a critical apparatus), and bring some light to bear on the creative process. The poems are given in a separate volume, in chronological order, with no interfering classifications (such as by language, or publication status). In the way of introduction, I first give an account of Hay's life. This is based primarily on the man's own correspondence, to complement already published portraits drawn in the main from personal reminiscence. I have stressed the socio-political context in which Hay operated up till the war, as his passionate evangelical nationalism held such a dominant place in his poetry throughout his life. The following chapter looks in more detail at Hay's poetic activity in the 1940s, marked by his growing reputation and his association with the Scottish Renaissance of Hugh MacDiarmid, and culminating in the publication of Fuaran Sleibh, Wind On Loch Fyne and 0 Na Ceithir Airdean. A third chapter surveys the principal themes which exercised Hay's poetic imagination. In view of the edition's eschewal of categorisation, such a thematic classification may be of help in giving an overview of Hay's poetry; its aim however is not to create artificial segregations, but to stress both the diversity and the underlying philosophical unity of the poetry. Hay was a poet of virtuosic technique, and a final chapter examines both his own professed attitudes to poetic technique and his practical craftsmanship; this includes the linguistic and musical aspects of his work. The edition proper is preceded by a statement of editorial policy, illuminating some of the problems posed by the differing nature of the sources, and by Hay's inveterate tendency to revise his work. There follow notes to the poems, appendices of material which did not find a place in the main body of the edition, and an illustrated index of the Argyll place-names which so copiously populate Hay's poetry. An index to the poems is also supplied.
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Chater, Nancy. "Technologies of remembrance, literary criticism and Duncan Campbell Scott's Indian poems." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0003/MQ45483.pdf.

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Slagle, Judith Bailey. "Joanna Baillie and the Poetry of Intellectual and Historical Romanticism." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/459.

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Book Summary: The Encyclopedia of Romantic Literature is an authoritative three-volume reference work that covers British artistic, literary, and intellectual movements between 1780 and 1830, within the context of European, transatlantic and colonial historical and cultural interaction. Comprises over 275 entries ranging from 1,000 to 6,500 words arranged in A-Z format across three fully cross-referenced volumes Written by an international cast of leading and emerging scholars Entries explore genre development in prose, poetry, and drama of the Romantic period, key authors and their works, and key themes Also available online as part of the Wiley-Blackwell Encyclopedia of Literature, providing 24/7 access and powerful searching, browsing and cross-referencing capabilities
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Slagle, Judith Bailey. "Joanna Baillie." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/458.

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Book Summary: Poetry Criticism assembles critical responses to the writings of the world's most renowned poets and provides supplementary biographical context and bibliographic material to guide the reader to a greater understanding of the genre and its creators. Each entry includes a set of previously published reviews, essays and other critical responses from sources that include scholarly books and journals, literary magazines, interviews, letters and diaries, carefully selected to create a representative history and cross-section of critical responses. Although poets and poetry are also covered in other titles from the Gale Literature Criticism series, Poetry Criticism offers a greater focus on understanding poetry than is possible in the broader, survey-oriented entries in those series. Clear, accessible introductory essays followed by carefully selected critical responses allow end-users to engage with a variety of scholarly views and conversations about poets and their works. Student's writing papers or class presentations, instructors preparing their syllabi, or anyone seeking a deeper understanding of the genre will find this a highly useful resource.
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Chalmers, Aimée Y. "The singin lass : a reflection on the life of the poet Marion Angus (1865-1946) in the form of an account of her life and work, and three extracts from 'Blackthorn', a novel." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1846.

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Part 1 of this thesis comprises a biography which, for the first time, places Marion Angus within her historical, family and social context. A version of this was published as the introduction to my edited collection The Singin Lass: Selected Work of Marion Angus (Polygon, 2006). Assumptions made about the poet's activities and attitudes derive from critical reading of archival material: her published 'diaries', letters and prose, as well as her poetry. The appraisal of her work places it within literary contexts. The development of her linguistic awareness of the Scots language is traced and the extent of her commitment to it noted. I conclude that assessment of her work has frequently been affected by erroneous judgements about her lifestyle and that the poetry, which has greater depth than it sometimes is given credit for, illuminates her struggle rather than defines her character. Her strength and resilience, as well as her contribution to Scots literature, should be respected and admired. Part II comprises three extracts from Blackthorn, a novel based on aspects of the life and work of Marion Angus. My starting point was the marked contrast between her earlier prose and her later poetry. This, I believe, reflects an actual family crisis which is central to my narrative. The extracts presented here (dated 1900, 1930 and 1945-46) present a credible alternative to inaccurate assumptions which were made about her life. I explore two actual significant relationships in her life: with a sister who becomes wholly dependent on her, and with a younger friend who looks after her in her final year. In the absence of any firm evidence of lovers, I speculate on other relationships.
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O'Donnell, Stuart. "The author and the shepherd : the paratextual self-representations of James Hogg (1807-1835)." Thesis, University of Stirling, 2012. http://hdl.handle.net/1893/12940.

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The Author and the Shepherd: The Paratextual Self-Representations of James Hogg (1807-1835) This project establishes a literary-cultural trajectory in the career of Scottish poet and author James Hogg (1770-1835) through the close reading of his self-representational paratextual material. It argues that these paratexts played an integral part in Hogg’s writing career and, as such, should be considered among his most important works. Previous critics have drawn attention to Hogg’s paratextual self-representations; this project, however, singles them out for comprehensive analysis as literary texts in their own right, comparing and contrasting how Hogg’s use of such material differed from other writers of his period, as well as how his use of it changed and developed as his career progressed. Their wider cultural significance is also considered. Hogg not only used paratextual material to position himself strategically in his literary world but also to question, challenge and undermine some of the dominant socio-cultural paradigms and hierarchies of the early-nineteenth century, not least the role and position of ‘peasant poets’ (such as himself) in society. Hogg utilised self-representational paratextual material throughout his literary career. Unlike other major writers of the period Hogg, a self-taught shepherd, had to justify and explain his position in society as ‘an author’ through these pseudo-autobiographical paratexts, which he attached to most of his works (in such forms as memoirs, introductions, dedications, notes and footnotes, and introductory paragraphs to stories). Via these liminal devices he created and propagated his authorial persona of ‘The Ettrick Shepherd’, whose main function was to draw attention to Hogg’s preeminent place in the traditional world, and to his status as a ‘peasant poet’. It was on the basis of this position that he argued for his place in the Scottish literary world of the early-nineteenth century and, ultimately, in literary history. His paratextual self-representations are thus a crucial element in his literary career. Drawing on Gerard Genette’s description of ‘the paratext’, the authorial theories of Roland Barthes and Michel Foucault (along with more recent authorial criticism), as well as autobiographical theory, this project traces Hogg’s changing use of self-representational paratexts throughout his career, from his first major work The Mountain Bard (1807) to his final book of stories Tales of the Wars of Montrose (1835). By reading Hogg’s paratexts closely, this project presents a unique view – from the inside out – of the specific literary world into which Hogg attempted to position himself as an author.
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Books on the topic "Scottish poem"

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Hay, George Campbell. Seeker, reaper: Poem. Edinburgh: Saltire Society, 1988.

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Conran, Anthony. Castles: Variations on an original theme : a poem. Llandysul: Gomer, 1993.

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Poem, purpose, and place: Shaping identity in contemporary Scottish verse. Edinburgh: Polygon, 1992.

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Dalwura, the black bittern: A poem cycle. Nedlands, W.A: University of Western Australia, Centre for Studies in Australian Literature, 1988.

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ill, Wright Johanna, ed. Keep a pocket in your poem: Classic poems and playful parodies. Honesdale, Pennsylvania: WordSong, 2017.

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Henryson, Robert. The testament of Cresseid: A retelling of Robert Henryson's poem by Seamus Heaney, with images by Hughie O'Donoghue. London: Enitharmon Editions, 2004.

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Heddle, Donna. John Stewart of Baldynneis Roland Furious: A Scots poem in its European context. Leiden: Brill, 2008.

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Heddle, Donna. John Stewart of Baldynneis Roland Furious: A Scots poem in its European context. Leiden: Brill, 2008.

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Belfor, Clifton. Scottish poems. Bettyhill: C. Belfor, 1997.

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Belfor, Clifton. Scottish poems. Bettyhill): Clifton Belfor (Ardruim, Achine, Bettyhill KW14 7SG, 1997.

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Book chapters on the topic "Scottish poem"

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Mcintosh, Angus. "Is Sir Tristrem an English or a Scottish poem?" In In Other Words, edited by J. Lachlan Mackenzie and Richard Todd, 85–96. Berlin, Boston: De Gruyter, 1989. http://dx.doi.org/10.1515/9783110861389-009.

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DesBrisay, Gordon. "Lilias Skene: A Quaker Poet and her ‘Cursed Self’." In Woman and the Feminine in Medieval and Early Modern Scottish Writing, 162–77. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230502208_12.

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MacKenzie, Robin. "From “Pictish Artemis” to “Tay Moses”: Visions of the River Tay in Some Contemporary Scottish Poems." In The Poetics of Space and Place in Scottish Literature, 187–208. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12645-2_11.

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Martin, Joanna. "The Border, England, and the English in Some Older Scots Lyric and Occasional Poems." In The Anglo-Scottish Border and the Shaping of Identity, 1300–1600, 87–102. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137108913_6.

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Mathison, Hamish. "Robert Burns and the Scottish Bawdy Politic." In Scottish Gothic, 42–58. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474408196.003.0004.

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Oft-times, Lowland Scots wrote of death in the eighteenth century without engaging in what we now call ‘Scottish Gothic’. Witness Robert Blair, above, Edinburgh-born, as he brings the adverb ‘complexionally’ to an otherwise straightforward example of the ancient and melancholy ubi sunt trope.1 Blair’s melancholy is here expressed in a fantastically influential poem called The Grave (1743). Blair’s fascinating poem, to which this chapter will return at its conclusion, is rightly held to be foundational for the study of what until recently was thought of as a pan-British ‘Graveyard School’ of poetry. That label describes an extremely loose collection of mid-eighteenth-century authors whose poems were written in a more or less ‘standard’ English, and often troped the graveyard. The category invokes such disparate poets as the English-born Thomas Gray and Edward Young or the Scottish-born James Thomson and James Beattie.
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"How Inauthentic was James Macpherson’s “Translation” of Ossian?" In Who Wrote That?, edited by Donald Ostrowski, 190–208. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501749704.003.0009.

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This chapter talks about the Scottish poet James Macpherson. It analyzes Macpherson's publication of the “Fragments of Ancient Poetry Collected in the Highlands of Scotland,” which he claimed was his own translation into English from old Gaelic manuscripts he discovered in the Scottish Highlands. It also looks into “Fingal,” an Ancient Epic Poem or cycle of poetry presumably sung by the legendary Scottish bard Ossian, which Macpherson also claimed was a translation from the Gaelic. The chapter examines the Ossian cycle that stimulated investigations and searches for ethnic folk literature, particularly for national epics throughout Europe and Russia that represented the mystical spirit of the nation. It looks into skeptics, such as Samuel Johnson, David Hume, and Horace Walpole who expressed doubt about the authenticity of Macpherson's translations.
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Thomas, Greg. "Off-Concrete." In Border Blurs, 115–58. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620269.003.0004.

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The Glaswegian poet Edwin Morgan coined the term ‘off-concrete’ to describe one of his own concrete poems. In this chapter, the term is used to characterise his overall approach to the style, which expressed both a keen enthusiasm for the classical concrete poetry of the 1950s-60s and a pronounced scepticism regarding its formal and ideological limits. One of many styles with which Morgan experimented during the 1950s-70s – also including beat and sci-fi poetry – concrete poetry was a means both of expressing his opposition to the parochialism of Scottish literary modernist culture and of redefining that culture as internationalist and technologically oriented. At the same time, Morgan’s incorporation of narrative voices and specific thematic scenarios into the concrete poem – ranging from outer space to the animal kingdom, and periodically expressing Scottish-nationalist and anti-colonialist politics – reflects his desire to extend and subvert the grammars of concrete poetry. This dialectical movement propelled his concrete practice forwards from 1962 until around the close of the 1960s, by which time his engagement with the style was waning. However, by the 1970s, a new variant of concrete poetry, more responsive to sound poetry and new Scottish poetry in dialect, had begun to animate Morgan’s practice.
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Riach, Alan. "Scottish Literature, Nationalism and the First World War." In Scottish Literature and World War I, 21–43. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474454599.003.0001.

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This chapter considers the Great War’s bearing on the rise of Scottish nationalism in political and cultural terms. Riach discusses these developments in the contexts of international imperialism, the Irish rising in Dublin, and most centrally in the Scottish literature of the era. Riach points to the international nature of Scottish literature in the pre-war era. Addressing the war’s role in shaping Scottish national identity, he notes that the devastations witnessed by Hugh MacDiarmid would underlie the vigour and ruthlessness with which he would pursue his vision for a Scotland regenerated. Riach, however, recognising patriotic unionist perspectives such as those of Ian Hay and John Buchan, concludes that the poly-vocal, multi-media and temporally mutable nature of the Scottish literary response to imperialism and world war cannot be reduced or defined to a single party, moment, poem, book or author.
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Scott, Walter. "Historical Note." In Marmion, edited by Ainsley McIntosh, 351–66. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425193.003.0005.

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This essay outlines the historical and political context for the breakdown in Anglo-Scottish relations that culminated in the Battle of Flodden and describes the unfolding and aftermath of the battle itself. A table of dates for these events is helpfully provided. The essay then examines Scott’s fictional narrative timeline and the blend of historical characters and character prototypes presented in Marmion. It identifies the literary and historical sources that Scott drew upon most extensively when writing the poem and concludes with a brief discussion of the purpose of the verse epistles.
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10

Pittock, Murray G. H. "Robert Burns and British Poetry." In Proceedings of the British Academy, Volume 121, 2002 Lectures. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197263037.003.0007.

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This lecture discusses Robert Burns, a poet who dwelt on the early phase of the poem ‘Resolution and Independence’. It examines the critical introspection that has tended to exclude Burns from an increasingly narrow definition of Romanticism since 1945. The lecture presents an argument that Burns' concerns are in many respects not those of the ‘peasant poet’ or a particularist Scottish writer, but in dialogue with the other major British Romantic poets. Finally, it demonstrates that Burns' self-consciousness, poetic flexibility, and playful use of category and genre demand a deeper understanding of the nature of British Romanticism and of the scope of his achievement within it.
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