To see the other types of publications on this topic, follow the link: Scottish poem.
Journal articles on the topic 'Scottish poem'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Scottish poem.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full text
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
Tasioulas, Jacqueline. "‘Double Sorrow’." Critical Survey 30, no. 2 (June 1, 2018): 6–19. http://dx.doi.org/10.3167/cs.2018.300202.
Full textAbstract:
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.
6
Roberts, Wendy Raphael. "The Calvinist Couplet." Christianity & Literature 68, no. 3 (February 26, 2019): 412–31. http://dx.doi.org/10.1177/0148333119827675.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
Reid-Baxter, James. "Domino Roberto Carwor, Canonico de Scona…" Tempo, no. 161-162 (September 1987): 92–93. http://dx.doi.org/10.1017/s004029820002338x.
Full textAbstract:
(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.)
11
Shum, Matthew. "The Prehistory of The History of Mary Prince: Thomas Pringle's "The Bechuana Boy"." Nineteenth-Century Literature 64, no. 3 (December 1, 2009): 291–322. http://dx.doi.org/10.1525/ncl.2009.64.3.291.
Full textAbstract:
Thomas Pringle, a Scottish journalist and poet, is best known to Anglo-American scholarship for his role as editor of the first black female slave narrative to be published in Britain, The History of Mary Prince (1834). Pringle had lived in the Cape Colony from 1820 to 1826, however, and produced an important body of work that is not well known outside South Africa. The central argument of this essay is that the poem "The Bechuana Boy" (first published in 1830) has not yet been recognized as a significant precursor text of the History, even though it helps us locate the narrative as informed by a structure of thought already present in Pringle's work. I examine in particular the way in which the poem engages the notion of sympathy, especially as this derives from Adam Smith's conceptualization in The Theory of Moral Sentiments. Such metropolitan notions meet their limits in the colonized subject, who may only access the circuits of sympathy by divesting himself of indigenous selfhood. In comparing "The Bechuana Boy" and The History of Mary Prince, I draw attention to shared structural and thematic features and elaborate on the affinities between these works despite their generic and other differences. The essay concludes by offering a further brief comparison between the History and Olaudah Equiano's Interesting Narrative (1789). Working with Gayatri Spivak's notion of the "native informant," I argue that the works under examination display similarities in their understanding of the protocols governing the admission of the native informant to mainstream public discourse.
12
Youens, Susan. "Maskenfreiheit and Schumann's Napoleon-Ballad." Journal of Musicology 22, no. 1 (2005): 5–46. http://dx.doi.org/10.1525/jm.2005.22.1.5.
Full textAbstract:
One of the best known compositions from Robert Schumann's "song year" of 1840 is the ballad "Die beiden Grenadiere," op. 49, no. 1, to a poem by Heinrich Heine (1797-1856). Any work about Napoleon, in any genre, was inevitably politically charged, both at the time Heine wrote his poem (perhaps in 1821, after hearing the news of the former emperor's death on 5 May 1821) and the date of its most famous musical setting (at the beginning of the decade when Germany was edging towards revolutionary outbreak). What impelled this 21st-century investigation of the song was curiosity about its confusing initial gesture in the piano, a tonic six-four chord as an anacrusis, leading to unharmonized tonic pitches on the downbeat of measure 1. Speculation about Schumann's intention led to an investigation of both men's attitudes towards Napoleon, especially the aftermath of his downfall. That Heine venerated Napoleon (who emancipated the Jews) cannot be doubted, but Heine, given to paradox and contradiction, was no hagiographer. His poem is as much literary as it is political, with its borrowings from Des Knaben Wunderhorn and Herder's translation of the Scottish ballad "Edward." The First Empire, like all empires, is not merely historical fact but a confabulation of poetic legends. Heine's underlying concern, I would argue, was not Bonapartism per se but rising German nationalism of the sort he found ominous and that Schumann, to some as yet ill-defined degree, supported. But composer and poet both associated Napoleon with the ideals of the French Revolution in the days before it and the emperor succumbed to what is darkest in human nature. In my opinion, Schumann understood Heine's delineation of nationalistic fanaticism and found apt musical gestures for that understanding. Here, I trace the composer's lifelong sense of identification with Napoleon and the compositional decisions that tell of a political point of view in "Die beiden Grenadiere."
13
Grant, Alexander. "The Death of John Comyn: What Was Going On?" Scottish Historical Review 86, no. 2 (October 2007): 176–224. http://dx.doi.org/10.3366/shr.2007.86.2.176.
Full textAbstract:
The aim of this article is to explore in depth what was ‘going on’ - as opposed to simply what ‘happened’ - when John Comyn was killed by Robert Bruce in Dumfries on 10 February 1306, in one of the most dra-matic and pivotal events in Scotland's history. It divides into two parts. The first considers the main medieval sources. These were of course all written after the event, and so are invariably coloured by hindsight and what is nowadays called ‘spin’; hence they are not ‘true’ accounts but constructed narratives. Their treatment here aims to elucidate what each author was trying to present to his intended audience. The article deals with, in turn: the narratives in the English government documents produced in the killing's aftermath; the near-contemporary English chronicle narrratives; the rather later Scottish chronicle narratives; some additional Scottish narra-tives found within certain poems; and finally the lay-authored Scalacronica, which has a significantly different perspective from other English chroni-cles. In general, the narratives are revealingly complex; despite their slants, they are far from being exercises in crude propaganda. And, significantly, the Scottish chronicles (especially Wyntoun) and Scalacronica give emphasis to the fact that the victim of the killing, John Comyn, was the nephew of King John Balliol and grandson of Dervorguilla, lady of Galloway, and thus was a leading member of the senior Scottish royal line. Moreover, close reading of ‘The Scottish poem’ in Liber Extravagans (appended to Bower's Scotichronicon) reveals a contemporary plea for John Comyn to become king of Scots. In the second half of the article, the implications of this ‘Comyn-for-king’ concept are pursued. None of the standard accounts of the period pays serious attention to Comyn's royal descent; discussions of the killing invariably focus on Robert Bruce. Therefore an attempt is made here - despite the understandable absence of hard evidence - to consider the killing more from the victim's point of view. It is argued that, after the de facto collapse of Balliol kingship in 1303-4, John Comyn (because of his own lineage) would never have accepted Robert Bruce (whose line of descent had been declared inferior in 1292) as king. Consequently, political compromise between the two men was obviously out of the question. Therefore, although none of the chronicle narratives can be taken at face value, their consistent presenta-tions of the killing as premeditated are possibly valid after all, despite the denials of the main modern studies. And although (because of the problem of evidence) it is impossible to achieve certainty over this ques-tion, what does become clear is that Comyn's claim to the throne is the crucial factor for understanding what was going on when he was killed.
14
Ruszkiewicz, Dominika. "“The Flyting of Dumbar and Kennedie” as an Inverted Litany: The Scottish Perspective on a Poetic Agon." Prace Filologiczne. Literaturoznawstwo, no. 10 (13) (April 26, 2020): 293–305. http://dx.doi.org/10.32798/pflit.575.
Full textAbstract:
This article is composed of two parts. In the first, the Scottish genre of flyting, whose main purpose was to humiliate the opponent, is situated in the context of the Anglo-Saxon cultural and literary tradition. The second offers a stylistic analysis of “The Flyting of Dumbar and Kennedie”, arguing that the poem shows thematic affinity with satiric verse while bearing formal resemblance to litanic verse. “The Flyting” not only displays certain features that are characteristic of the litanic form, but also shares the litanic worldview, with God as the mediator of the poetic agon. Seen from this perspective, the poem’s hostile exchanges of insults do not represent a negation, but merely a reversal of the litanic tradition, and “The Flyting” may be seen as an example of an inverted litany
15
Korzeniowska, Aniela. ""Scotland Small? Our Multiform, Our Infinite Scotland Small?" Scotland's Literary Contribution to the Modern World." Colloquia Humanistica, no. 2 (June 13, 2015): 33–54. http://dx.doi.org/10.11649/ch.2013.003.
Full textAbstract:
"Scotland Small? Our Multiform, Our Infinite Scotland Small?" Scotland's Literary Contribution to the Modern WorldHugh MacDiarmid’s poem "Scotland Small?" (1943) questions the widespread opinion at the time that Scotland was only a small country geographically with "nothing but heather!", showing how "marvellously descriptive" this may be, but also totally "incomplete". The issue addressed in this article is how Scottish letters, starting with the outstanding and multiform writings of the same Hugh MacDiarmid (Christopher Murray Grieve [1892-1978]) and ending with observations of the international significance of such contemporary Scottish poets as Carol Ann Duffy (b. 1955), the first female to become British Poet Laureate, have contributed to the development and diversity of literature far beyond the borders of Scotland. It is also in looking at the achievements of such diverse writers as Muriel Spark, James Kelman and Ian Rankin as well as poets Ian Hamilton Finlay, Edwin Morgan, Jackie Kay, or the present Scottish Poet Laureate Liz Lochhead, among others, that we can see how significant their literary oeuvre is for a better understanding of the modern world. Emphasis is also placed on the fact that although Scotland is undoubtedly a small country geographically, we can never – in reference to the title of this volume – say it is minor.„Szkocja mała? Nasza wielopostaciowa, bezmierna Szkocja mała?” Literacki wkład Szkocji do współczesnego świataWiersz Hugh MacDiarmid’a Szkocja mała? (1943) kwestionuje ogólnopanującą opinię w pierwszej połowie XX wieku, że Szkocja to tylko mały kraj, gdzie „nie ma nic innego poza wrzosem”, pokazując jednocześnie, że „opis może i jest wspaniały”, ale także wielce „niekompletny”. Temat niniejszego artykułu opisuje, jak literatura szkocka, poczynając właśnie od wybitnej i wielorakiej twórczości MacDiarmid’a (Christopher Murray Grieve [1892- 1978]), a kończąc na międzynarodowym znaczeniu takich współczesnych poetów, jak Carol Ann Duffy (ur. 1955), pierwsza kobieta piastująca funkcję nadwornego poety brytyjskiego monarchy, przyczyniła się do rozwoju i różnorodności literatury daleko poza granicami Szkocji. Uwypuklając osiągnięcia tak różnych powieściopisarzy, jak Muriel Spark, James Kelman i Ian Rankin, czy takich poetów, jak Ian Hamilton Finlay, Edwin Morgan, Jackie Kay czy Liz Lochhead (aktualnie nosząca tytuł Narodowego Poety Szkocji), widzimy jak ważna jest ich twórczość dla lepszego zrozumienia współczesnego świata. Ich wkład do literatury światowej pokazuje, iż powierzchnia Szkocji może jest rzeczywiście mała, ale to, co pochodzi z tego małego kraju, na pewno nie jest bez znaczenia.
16
Windscheffel, Ruth Clayton. "Gladstone and Scott: Family, Identity and Nation." Scottish Historical Review 86, no. 1 (April 2007): 69–95. http://dx.doi.org/10.3366/shr.2007.0054.
Full textAbstract:
In the 175 years since his death, Walter Scott has regularly been hailed as an influence by politicians. Amongst the poet-novelist's nineteenth-century political admirers, William Ewart Gladstone was possibly the most ardent, genuine, and significant. Scott's poems and novels were amongst the earliest texts Gladstone read; he read no works (in English), except the Bible, so consistently or completely over such a length of time. They offered him a plethora of inspirations, ideas, and language, which he imbibed and appropriated into his public and private lives. His concept of self, his understanding of family, and his sense of home, were all forged and conducted within a Scottian frame of reference. Scott's life and works also crucially influenced Gladstone's political understanding of the Scottish nation and its people, and his conception of how he could best serve their political interests. This article casts new light on an important and influential relationship in Gladstone's life, establishing that it was neither the superficial and recreational association some have described, nor simply a ploy of an astute politician. The article falls into three parts. The first elucidates how Gladstone's consumption of Scott's writings was seminal in the formation of his private identity, both individual and familial. The second explains how Gladstone's readings of Scott fitted into the specific and serious character of his other reading and knowledge-gathering, and the third shows how the details of Gladstone's response to Scott related to the broader intellectual and cultural context of his public life. By placing Gladstone within his Scottish context, this article shows how frequently and significantly his private and public worlds intersected.
17
Peatling, G. K. "Who fears to speak of politics? John Kells Ingram and hypothetical nationalism." Irish Historical Studies 31, no. 122 (November 1998): 202–21. http://dx.doi.org/10.1017/s0021121400013912.
Full textAbstract:
John Kells Ingram was born in County Donegal in 1823. His ancestry was Scottish Presbyterian, but his grandparents had converted to Anglicanism. He was educated at Trinity College, Dublin, the most prestigious academic institution in nineteenth-century Ireland. In a brilliant academic career spanning over fifty years he proceeded to occupy a succession of chairs at the college. His published work included an important History of political economy (1888), and he delivered a significant presidential address to the economics and statistics section of the British Association for the Advancement of Science (1878). Ingram influenced, and was respected by, many contemporary social and economic thinkers in the British Isles and elsewhere. In an obituary one of Ingram’s friends exaggerated only slightly in describing him as ‘probably the best educated man in the world’. Yet contemporary perspectives on Ingram’s career were warped by one act of his youth which was to create a curious disjunction in his life. In 1843, when only nineteen years old, Ingram was a sympathiser with the nationalist Young Ireland movement. One night, stirred by the lack of regard shown for the Irish rebels of 1798 by the contemporary O’Connellite nationalist movement, he wrote a poem entitled ‘The memory of the dead’, eulogising these ‘patriots’. Apparently without much thought, Ingram submitted the poem anonymously to the Nation newspaper. It appeared in print on 1 April 1843 and, better known by its first line, ‘Who fears to speak of ’Ninety-Eight?’, became a popular Irish nationalist anthem.
18
Valdés Miyares, J. Rubén. "Scottish Transnational Discourse of the Great War: A Genealogy of Eric Bogle’s “And the Band Played Waltzing Matilda” and Hugh MacDiarmid’s “At the Cenotaph”." Cultural Studies ↔ Critical Methodologies 19, no. 5 (December 29, 2018): 323–31. http://dx.doi.org/10.1177/1532708618819640.
Full textAbstract:
A comparison of a 1971 popular song, Eric Bogle’s “And the Band Played Waltzing Matilda” with a 1935 poem, Hugh MacDiarmid’s “At the Cenotaph,” enables this article to produce a transnational, trans-genre and trans-historical discourse analysis of memories of the Great War of 1914-1918. While an ethonosymbolic approach allows for the discovery of resemblances and continuities, Nietzschean genealogy criticizes such monumental, associative views of the past and focuses instead on the casual connections between disperse moments in time. Critical discourse analysis, in turn, offers a possible synthesis by distinguishing historical narrative structures, cultural practices (the Anzac parades and cenotaphs to honor the heroic dead), and textual events, in this case the satirical representation of the Great War in later song and poetry.
19
Vargo, Gregory. "A LIFE IN FRAGMENTS: THOMAS COOPER'S CHARTISTBILDUNGSROMAN." Victorian Literature and Culture 39, no. 1 (December 6, 2010): 167–81. http://dx.doi.org/10.1017/s106015031000032x.
Full textAbstract:
The improbable course of Thomas Cooper'slife (1805–1892) – from shoemaker and autodidact, to school teacher, to Methodist circuit rider, to Chartist activist, to prison poet, and finally to working-class lecturer and editor – encapsulates the tensions and contradictions of Victorian self-help. Fiercely devoted to projects of self-education and improvement, as an apprentice craftsman in Lincolnshire, Cooper memorizedHamletand significant portions ofParadise Lost, and taught himself Latin, French, and some Hebrew. The publication ofThe Purgatory of the Suicides, the epic poem for which he is best known, made Cooper a minor celebrity in the world of middle-class literary reformers, who praised his artistic and educational accomplishments. The novelist and Christian socialist Charles Kingsley discerned in his heroic commitment to “the pursuit of knowledge under difficulties” an alternative to political militancy and loosely basedAlton Locke, the story of a disillusioned Chartist hero's spiritual redemption, on Cooper's own life (Collins 3–4). Samuel Smiles, the Scottish reformer and author ofSelf-Help, celebrated Cooper's writing as part of a national culture which could help heal the country's social and economic divisions, arguing that his literary achievements placed him in “the same class as Burns, Ebenezer Elliot, Fox, the Norwich weaver-boy, to say nothing of the Arkwrights, Smeatons, Brindleys, Chantrys, and the like, all rising out of the labour-class into the class of the thinkers and builders-up of English greatness” (Smiles 244).
20
MacPherson, Chelsey, Brian James MacLeod, Lodaidh MacFhionghain, and Laurie Stanley-Blackwell. "Converses with the Grave: Three Modern Gaelic Laments." Genealogy 5, no. 1 (March 15, 2021): 22. http://dx.doi.org/10.3390/genealogy5010022.
Full textAbstract:
Within Scottish deathways, the Gaelic lament has long served as a poignant and powerful outlet for loss. In this creative piece, three Canadian-born, Gaelic-speaking poets present their previously unpublished Gaelic laments along with English translations. This collaborative article is designed to demonstrate, in a creative rather than an academic format, that the venerable lament tradition continues to enjoy longevity and vitality in the present day as a literary expression of grief among Gaels. This article further demonstrates that modern Gaelic laments are not constrained by a strict fidelity to literary rules but strive instead to work creatively within tradition while reaching their audiences in a relevant and resonant way. For each poem, the author offers a personal contextualization for his/her lament, which serves to explain the source of inspiration and demonstrates how the work draws upon and reflects its literary roots. In recognition of the strong oral tradition present within Gaelic poetry, this article includes an audio recording of each of the three authors’ laments.
21
Rudy, Jason R. "Scottish Sounds in Colonial South Africa." Nineteenth-Century Literature 71, no. 2 (September 1, 2016): 197–214. http://dx.doi.org/10.1525/ncl.2016.71.2.197.
Full textAbstract:
Jason R. Rudy, “Scottish Sounds in Colonial South Africa: Thomas Pringle, Dialect, and the Overhearing of Ballad” (pp. 197–214) This essay uses Scottish ballads to think through the ways poems circulated in nineteenth-century emigrant communities. Dialect was a significant feature of colonial poetry, capturing the particular sounds of localities: the borderlands of Scotland, for example. Given the long association between dialect and oral culture, dialect in the context of ballad poetry signaled an especially communal form of identification. Scottish dialect poems in emigrant communities had an especial power to invoke a communal consciousness, a sense of being together that arose from having come from the same place. I take the Scottish poet Thomas Pringle as an example of a larger phenomenon, tracing the revisions he made to ballad poems as he moved from Edinburgh to South Africa and then London.
22
Cooper, G. Burns. "Intonation in Two Scottish Poems." Journal of English Linguistics 30, no. 1 (March 2002): 6–27. http://dx.doi.org/10.1177/007542420203000103.
Full text
23
Sharpe, Richard. "Iona in 1771: Gaelic tradition and visitors’ experience." Innes Review 63, no. 2 (November 2012): 161–259. http://dx.doi.org/10.3366/inr.2012.0040.
Full textAbstract:
This account of Iona has long been known only under the claim, made in 1883, that it was translated from Irish. It is here shown to have been printed in English in Edinburgh in 1774. The account provides important testimony to the experience of a Scottish visitor before the famous visits by Joseph Banks, Thomas Pennant, and Samuel Johnson opened up Iona and Staffa as popular destinations. Its valuable evidence on the state of the antiquities in 1771 is drawn out by comparison with the nearest available witnesses. This account is unusual in the richness of its Gaelic material, both sayings and stories associated with St Columba and also names of local features pointed out to visitors in Iona. One poem cited by the visitor is found in Irish manuscripts from the sixteenth century, raising the question whether his reportage was backed up by written texts. This account more than any other gives a glimpse of Catholic tradition with roots in Irish hagiography. The writer's circumstances are nowhere made explicit, but there are signs that his knowledge of Columban stories in Gaelic was not acquired in the context of a brief visit. In the local setting, however, what was told to visitors was also adapted to their expectations, so that, over the following twenty years we have an instructive example of an early transition from vernacular, and largely oral, transmission to a polite written circulation of selected stories retold by visitors. This in turn has its effect on the antiquities, which in some cases were actually replenished. Detectable changes in what was pointed out and said to visitors show that what visitors received as ancient tradition was already in the 1770s capable of new and creative responses to their expectations based on their awareness of what earlier visitors had seen. This account is the most important key to understanding Iona in the years before the regular stream of visitors began.
24
Ruseckienė, Rasa. "That Rune Will Unlock Time’s Labyrinth…: Old Norse Themes and Motifs in George Mackay Brown’s Poetry." Scandinavistica Vilnensis, no. 14 (May 27, 2019): 113–35. http://dx.doi.org/10.15388/scandinavisticavilnensis.2019.6.
Full textAbstract:
George Mackay Brown (1921–1996), an Orcadian poet, author and dramatist, was undoubtedly one of the finest Scottish creative voices of the twentieth century. He was greatly influenced by Old Norse literature, and this is reflected in his writings in many ways. The present article aims to trace and discuss Old Norse themes and motifs in Brown’s poetry. His rune poems, translations of the twelfthcentury skaldic verse, experimentation with skaldic kennings, as well as choosing saga personalities, such as Saint Magnus, Earl Rognvald of Orkney and others, as protagonists of the poems show the poet’s in-depth interest in the historical and literary legacy of his native Orkney and Old Norse culture in general.
25
Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij28072339n.
Full textAbstract:
The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.
26
Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij29082339n.
Full textAbstract:
The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.
27
Buckridge, Patrick. "Robert Burns in Colonial Queensland: Sentiment, Scottishness and Universal Appeal." Queensland Review 16, no. 1 (January 2009): 69–78. http://dx.doi.org/10.1017/s1321816600004967.
Full textAbstract:
Worldwide, 25 January 2009 was celebrated as the 250th birthday of the great Scottish poet Robert Burns (1759–96). The anniversary celebrations will continue all through this year, however, as the Scottish Parliament has proclaimed – in recognition of Burns' powerfully unifying significance – that 2009 will be a ‘Year of Homecoming’ for all those Scots, or Scottish descendants, who compose the great intellectual, economic and social diaspora that has emanated from this tiny, harsh and indomitable country over the last 300 years.
28
Mitich, Larry W. "Ragweeds (Ambrosiaspp.)—The Hay Fever Weeds." Weed Technology 10, no. 1 (March 1996): 236–40. http://dx.doi.org/10.1017/s0890037x00045966.
Full text
29
Mitich, Larry W. "Bull Thistle,Cirsium vulgare." Weed Technology 12, no. 4 (December 1998): 761–63. http://dx.doi.org/10.1017/s0890037x00044675.
Full text
30
Blair, Kirstie. "“HE SINGS ALONE”: HYBRID FORMS AND THE VICTORIAN WORKING-CLASS POET." Victorian Literature and Culture 37, no. 2 (September 2009): 523–41. http://dx.doi.org/10.1017/s1060150309090329.
Full textAbstract:
In 1868, Alexander Wallace paused in his introduction to the life and works of Janet Hamilton, a respected Scottish working-class poet, to note his subject's interest in literary parlour games: “Janet asked us if we had ever tried the writing of Cento verses, which she characterized as a pleasant literary amusement for a meeting of young friends in a winter's night.”
31
Stafford, Fiona. "Pastoral Elegy in the 1820s: The Shepherd's Calendar." Victoriographies 2, no. 2 (November 2012): 103–27. http://dx.doi.org/10.3366/vic.2012.0083.
Full textAbstract:
‘Adonais’ is often discussed in relation to other poems by Shelley or to other English elegies. This essay suggests that it may also illuminate other writings from the 1820s, by emphasising the traditional association of elegy with the pastoral mode. Both John Clare and James Hogg published collections entitled The Shepherd's Calendar in the 1820s and, though very different from ‘Adonais’, each can fruitfully be read as new versions of pastoral elegy. Although neither Clare's poems nor Hogg's prose stories commemorate the loss of an individual poet, both have strongly elegiac elements and explore questions often regarded as defining characteristics of the elegy, including the workings of memory and melancholy, inheritance and legacy, loss and renewal, the nature of poetry and responsibilities of the poet. The essay focuses on the poet-shepherds of the 1820s, who inherited the pastoral innovations of the later eighteenth century and contributed to the Romantic transformation of the ancient mode. Far from representing the tail-end of tradition, Hogg and Clare were following the examples of their predecessors by demonstrating the recuperative powers intrinsic to true pastoral. The Shepherds Calendars of the 1820s offer an alternative version of pastoral to Shelley's self-conscious neoclassical, post-Miltonic elegy. They adopt Gray's extension of the country elegy to an entire community and draw energy from Burns and Wordsworth, who adopted plainer language and local settings for their influential Romantic versions of pastoral. Hogg's stories drew on his local environment, but far from presenting a sentimental idyll, they exposed the presence of death in the sheep-farming communities of the Scottish Borders, even as they celebrated the distinctive way of life and thriving oral culture. Clare's poems similarly celebrate the rural world of his native Northamptonshire, but his vivid poems are intensified by a recurrent sense of loss and irreversible change. Both poet-shepherds offer a lament for a world under threat from modernity but, in doing so, they develop exciting new literary styles which are perfectly suited to the demands of a modern, predominantly urban reading public. The essay concludes with brief reference to the infusion of pastoral into the Victorian novel and the early work of one of the most significant heirs to Romantic pastoral, Thomas Hardy.
32
Simpson, M. ""Hame Content": Globalization and a Scottish Poet of the Eighteenth Century." Eighteenth-Century Life 27, no. 1 (January 1, 2003): 107–29. http://dx.doi.org/10.1215/00982601-27-1-107.
Full text
33
Szuba, Monika. "From The Adoption Papers to Fiere: Jackie Kay's Writing and Scottish Multiculturalism." Tekstualia 4, no. 51 (December 19, 2017): 75–86. http://dx.doi.org/10.5604/01.3001.0013.3549.
Full textAbstract:
The essay discusses Jackie Kay’s writing in the context of her complex Scottish-Nigerian identity. Despite the marginalisation in terms of race, ethnic origin, sexuality which she describes in her texts, she has not only become a mainstream author but was also appointed as the Makar, the National Poet for Scotland in 2016. Thus the essay seeks to situate Kay in contemporary Scottish culture, which has moved to a high appreciation of voices coming from the margins. It focuses on the role that Kay has played in reinventing Scotland, a nation rapidly losing its recent homogeneity, where the peripheral has moved towards the centre. Furthermore, it examines the representations of ethnicity in Kay’s works and to explore the powerful theme of identity and difference in Scottish society refl ected in her work, demonstrating how the cultural identity represented in her writing involves being both inside and outside Scotland.
34
Klimova, M. N. "Lady Macbeth in the Context of Russian Culture: From a Character to a Plot." Studies in Theory of Literary Plot and Narratology 15, no. 1 (2020): 73–88. http://dx.doi.org/10.25205/2410-7883-2020-1-73-88.
Full textAbstract:
Lady Macbeth, the ambitious wife of the title character of the Scottish tragedy of W. Shakespeare, became a household name. Her name is represented in collective consciousness both as a symbol of insidiousness and as a reminder of the torments of a guilty conscience. Lady Macbeth entered the world culture, as an image of a strong and aggressive woman, who is ready for a conscious violation of ethical norms and rises even against the laws of her nature. N. S. Leskov describes appearance of that kind of a character in a musty atmosphere of a Russian province in his famous novella “Lady Macbeth of the Mtsensk District” (1864). He pegged this image as the product of a suffocating lack of freedom of his contemporary reality. The author moved typical features of the Shakespearean heroine to a Russian soil, into the thick of people’s life and created a special love-criminal plot of complex origin for the purposes of its full disclosure in new conditions. The novella plot organically absorbs a number of Shakespearean motifs and images despite of the fact that it is outwardly far from the events of the tragedy “Macbeth”. Notwithstanding that Leskov’s novella had been leaving out by critics’ attention for more than 60 years, it was included in the gold fund of Russian classics in the 20 th century, evoked many artistic responses in literature and art, gained international fame and complemented the content of the “Russian myth” in world culture. Not only Leskov’s novella is discussed in the article but also other variants of the Russian Lady Macbeth’s plot such as the poem of N. Ushakov, the story of Yu. Dombrovsky, named after the Shakespearean heroine, as well as a fragment of the novel by L. Ulitskaya “Jacob’s Ladder” with discussing of the draft of one of the possible staging of the essay. Also, a hidden presence of this plot for the first time is noticed in the story “Rus” by E. I. Zamyatin and in the ballad-song “Lesnichikha” by V. Dolina. Moreover, the article gives analysis of transpositions of this literary source into theater, music and cinema languages: its first stage adaptation by director A. Dikiy, the opera “Katerina Izmailova” by D. D. Shostakovich, and its screen versions and cinema remakes such as “Siberian Lady Macbeth” by A. Wajda, “Lady Macbeth of the Mtsensk District” by R. Balayan, “Moscow Nights” by V. Todorovsky, “Lady Macbeth” by W. Oldroyd. The moral evaluation of the Katerina Izmailova’s story left for Leskov as a frightening mystery of an immense Russian soul, but in the further processing of the plot it ranges from condemnation to justification and even apology of the heroine. Adaptations of this plot are also differ in the degree of dependence of the central female image from his Shakespearean prototype.
35
Lewis-Smith, Ronald I. "The Barrier Silence by Edward A. Wilson." Polar Record 54, no. 1 (January 2018): 1–10. http://dx.doi.org/10.1017/s0032247417000614.
Full textAbstract:
ABSTRACTThe drafting, publishing and subsequent reproduction of Edward Wilson's evocative and sinisterly premonitory poem, The Barrier Silence, is examined. It was written in October 1911 for Part 3 of the South Polar Times (SPT), Vol. 3, prepared and ‘published’ at Robert Falcon Scott's British Antarctic (Terra Nova) Expedition hut at Cape Evans, Ross Island, shortly before Wilson, Scott and three other members set off on the ill-fated South Pole journey. Wilson contributed most of the illustrative material for all three volumes of the SPT, but this poem is the only written article attributed to him, although it is possible that he was also the author of an anonymous poem. Events that may have influenced Wilson to write his poem are also considered.
36
Moore, Dafydd. "Adam Ferguson,The Poems of Ossianand the imaginative life of the Scottish enlightenment." History of European Ideas 31, no. 2 (January 2005): 277–88. http://dx.doi.org/10.1016/j.histeuroideas.2003.11.013.
Full text
37
Villani, Stefano. "From Mary Queen of Scots to the Scottish Capuchins: Scotland as a symbol of Protestant persecution in seventeenth-century Italian literature." Innes Review 64, no. 2 (November 2013): 100–119. http://dx.doi.org/10.3366/inr.2013.0055.
Full textAbstract:
Italian authors of the seventeenth century produced a myriad of historical texts, tragedies, oratorios and poems that dealt with the events of Mary Stuart's life. The tremendous outcry that her story caused all over Europe made Scotland one of the most powerful symbols of persecution of Catholics by Protestants. It was the image of Scotland as a land of martyrdom that possibly prompted the publication of two seventeenth-century Italian ‘biographies’, narrating the vicissitudes of the lives of two Scottish capuchins, and which ran to multiple editions down to the eighteenth century. This article explores the literary reception of Mary Queen of Scots in seventeenth-century Italian literature and, in so doing, opens up religious, cultural, and political implications, pointing to links between Scottish Catholic and European intellectuals, and the publishing networks of sympathetic Marian writing.
38
Dziok-Łazarecka, Anna. "The strategies of seeing differently in Kathleen Jamie’s travel writing: 'Findings' and 'Sightlines'." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 15/4 (December 28, 2018): 7–25. http://dx.doi.org/10.26881/bp.2018.4.01.
Full textAbstract:
This article looks at the narrative techniques employed in two collections of creative non-fiction essays by the Scottish writer and poet, Kathleen Jamie. In Findings (2005) and Sightlines (2012) the narrator uses the theme of travel as a platform for expressing the liminality of natural and cultural zones. At the same time, the concept of motion and the boundless travel experience are often turned into their diminutive forms. In order to transgress the dual notions of outside/inside, human/nonhuman and the visible/unseen, Jamie employs a number of visual strategies. She introduces experimental methods of observation to free perception from the constraints of the dogmatic predictions which emerge from the automatization of sight. Jamie exposes our own illusions of what “natural” is or where exactly “nature” resides, prompting us to rethink our own position in the system. In this she often demonstrates the ethical environmental agenda of contemporary Scottish writers and exposes the intrusion of globalism into parochial zones.
39
HUNTER, MICHAEL. "PITCAIRNEANA: AN ATHEIST TEXT BY ARCHIBALD PITCAIRNE." Historical Journal 59, no. 2 (January 19, 2016): 595–621. http://dx.doi.org/10.1017/s0018246x15000333.
Full textAbstract:
ABSTRACTThis article presents an overtly atheistic text from the early eighteenth century that has hitherto been completely unknown. It survives in manuscript in the Houghton Library at Harvard University, to which it was presented in 1841, and is claimed to be the work of the Scottish medical theorist, satirist, and poet, Archibald Pitcairne (1652–1713). Here, its links with Pitcairne and his milieu are assessed and its content evaluated, in conjunction with the provision of an annotated edition of the text itself.
40
Fox, Adam. "‘Little Story Books’ and ‘Small Pamphlets’ in Edinburgh, 1680–1760: The Making of the Scottish Chapbook." Scottish Historical Review 92, no. 2 (October 2013): 207–30. http://dx.doi.org/10.3366/shr.2013.0175.
Full textAbstract:
This article considers the development of the ‘chapbook’ in Scotland between 1680 and 1760. Chapbook is here defined as a publication using a single sheet of paper, printed on both sides, and folded into octavo size or smaller. The discussion focuses on production in Edinburgh which at this time was the centre of the Scottish book trade. While very few works were produced in these small formats in the city before the last quarter of the seventeenth century, the three generations thereafter witnessed their emergence as an important part of the market. This chapbook literature included ‘penny godlies’ and ‘story books’, poems and songs, which had long been staples of the London trade. Indeed, much output north of the border comprised titles pirated from the south. It is suggested, however, that an independent repertoire of distinctively Scottish material also began to flourish during this period which paved the way for the heyday of the nation's chapbook in the late eighteenth and early nineteenth centuries. The Edinburgh trade is shown to be much more extensive than has been appreciated hitherto. Discovery of the testament of Robert Drummond, the Edinburgh printer who died in 1752, reveals that he produced many such works that are no longer extant. It demonstrates not only that a number of classic English chapbooks were being reprinted in Scotland much earlier than otherwise known, but also that an indigenous Scottish output was well established before the reign of George III.
41
Pençak, Claire. "Shapeshifting the Scottish Borders: A Geopoetic Dance of Place." Arts 8, no. 3 (August 7, 2019): 101. http://dx.doi.org/10.3390/arts8030101.
Full textAbstract:
In this paper, I unite dance theory and practice and geopoetics in order to reflect on edges, peripheries and borders in a geographic region, the Scottish Borders, where the dominant cultural narrative is and has historically been based on rivalry. I draw here on the writing of the Scottish poet-philosopher Kenneth White, the practices of specific dancers and choreographers and on relational accounts of place and more-than-human perspectives. Rather than ‘sense of place’, my interest is in sensing place and thinking through sites. Threaded throughout are descriptions of perception practices exploring woodland, stone and riverways, which take the reader into the more experiential realm of embodied knowing. These passages are an invitation to be present with more-than-human others, to be in contact with the vitality of materials and to allow for being shaped, rather than being the shaping force. The intention is to bring different bodies of knowledge into contact as a way of revealing other vocabularies within place, which suggest alternative cultural narratives and help create the conditions for place—making a more collaborative, ethical and less anthropocentric endeavour, open to the influence and organising principles of the more-than-human.
42
Beattie-Smith, Gillian. "Dorothy Wordsworth: Tours of Scotland, 1803 and 1822." Northern Scotland 10, no. 1 (May 2019): 20–40. http://dx.doi.org/10.3366/nor.2019.0167.
Full textAbstract:
Dorothy Wordsworth's name, writing, and identity as an author are frequently subsumed in the plural of ‘The Wordsworths’, in her relationship as the sister of the poet, William Wordsworth. But Dorothy was a Romantic author in her own right. She wrote poetry, narratives, and journals. Nine of her journals have been published. In 1803, and again in 1822, she toured Scotland and recorded her journeys in Recollections of a Tour made in Scotland and Journal of My Second Tour in Scotland. This article considers Dorothy's two Scottish journals. It discusses them in the light of historical and literary contexts, and places of memorial.
43
Ziolkowski, Jan. "On Christian Rulers, and The Poems. Sedulius Scottus , Edward Gerard Doyle." Speculum 61, no. 2 (April 1986): 465–66. http://dx.doi.org/10.2307/2854083.
Full text
44
Elena Yu., Kulikova. "“And Again, the Skald Will Add Someone Else’s Song”: “Marine”, “Scottish”, “May” and Other Ballad Stylizations by Georgy Ivanov." Humanitarian Vector 15, no. 5 (October 2020): 16–27. http://dx.doi.org/10.21209/1996-7853-2020-15-5-16-27.
Full textAbstract:
The thematic justification involves demand for detecting and identifying patterns of transformation and modification of ballads by poets of the Silver Age. The twentieth century loved poetry experiments, a game with form, and there are a variety of genres: sonnets, rondos, gazella, pantoons, ballads in the works of symbolists and especially those of the Acmeists. Acmeist ballads reveal a part of the early twentieth century poetic world and contain both the traditional elements of the genre and the features of modernism. The works by Georgy Ivanov, the so-called “youngest acmeist”, who was a member of the Petrograd “Workshop of poets”, presents a variety of lyrical genres. The purpose of our study is to consider the ballads and ballad stylization of G. Ivanov. The purpose of the work determines its methodological basis, which includes the historical and literary, phenomenological, typological and comparative approaches. The stylization which is inherent in all of Ivanov’s ballads (“Song of the Pirate Ola”, “May Ballad”, “Scottish Ballad”, “Ballad about the Publisher”) and his ballad poems, allows to see the genre in a new aspect. The poet observes ballad rules – a tragic plot, romantic “vagueness” of narration, ballad motifs (ominous raven, night stories, turning into the past, etc.). However, these rules are distorted and stylized. Traditional ballad plots are so intensified that forcing the features creates a comic or ironic effect, the combination of motives turns out to be multilayer. G. Ivanov creates a parody in some cases and in some cases, a stylized ballad. The game and the love of stylization which characterize G. Ivanov throughout his creative life open up a new genre that he practically created by himself. Keywords: ballad genre, G. Ivanov, stylization, parody, motive, lyrical plot
45
YOSE, JOSEPH, RALPH KENNA, PÁDRAIG MacCARRON, THIERRY PLATINI, and JUSTIN TONRA. "A NETWORKS-SCIENCE INVESTIGATION INTO THE EPIC POEMS OF OSSIAN." Advances in Complex Systems 19, no. 04n05 (June 2016): 1650008. http://dx.doi.org/10.1142/s0219525916500089.
Full textAbstract:
In 1760 James Macpherson published the first volume of a series of epic poems which he claimed to have translated into English from ancient Scottish-Gaelic sources. The poems, which purported to have been composed by a third-century bard named Ossian, quickly achieved wide international acclaim. They invited comparisons with major works of the epic tradition, including Homer’s Iliad and Odyssey, and effected a profound influence on the emergent Romantic period in literature and the arts. However, the work also provoked one of the most famous literary controversies of all time, coloring the reception of the poetry to this day. The authenticity of the poems was questioned by some scholars, while others protested that they misappropriated material from Irish mythological sources. Recent years have seen a growing critical interest in Ossian, initiated by revisionist and counter-revisionist scholarship and by the two-hundred-and-fiftieth anniversary of the first collected edition of the poems in 1765. Here, we investigate Ossian from a networks-science point of view. We compare the connectivity structures underlying the societies described in the Ossianic narratives with those of ancient Greek and Irish sources. Despite attempts, from the outset, to position Ossian alongside the Homeric epics and to distance it from Irish sources, our results indicate significant network-structural differences between Macpherson’s text and those of Homer. They also show a strong similarity between Ossianic networks and those of the narratives known as Acallam na Senórach (Colloquy of the Ancients) from the Fenian Cycle of Irish mythology.
46
Brown, A. Peter. "Musical Settings of Anne Hunter's Poetry: From National Song to Canzonetta." Journal of the American Musicological Society 47, no. 1 (1994): 39–89. http://dx.doi.org/10.2307/3128836.
Full textAbstract:
Anne Hunter (1742-1821) seems to have appeared suddenly on the London scene when she provided Joseph Haydn with texts for his English songs published under the fashionable title of canzonettas. Yet long before Haydn arrived in London, she had already established herself as a writer of lyrics for the Scottish national song movement and of the famed "Death Song" of a Cherokee Indian set to "an original Indian air." Some believe that her poems provided a model for Robert Burns. Her lyrics were also set by Johann Peter Salomon and requested by the propagator and publisher of national song in the British Isles, George Thomson.
47
Blair, Kirstie. "“Let the Nightingales Alone”: Correspondence Columns, the Scottish Press, and the Making of the Working-Class Poet." Victorian Periodicals Review 47, no. 2 (2014): 188–207. http://dx.doi.org/10.1353/vpr.2014.0019.
Full text
48
Terrell, Katherine H. "“Duncane Laideus Testament” and Other Comic Poems in Older Scots. Janet Hadley Williams, ed. Scottish Text Society Fifth Series 15. Woodbridge: Scottish Text Society, 2016. xiv + 264 pp. $60." Renaissance Quarterly 71, no. 2 (2018): 816–17. http://dx.doi.org/10.1086/699133.
Full text
49
John Reid, Steven. "Andrew Melville, sacred chronology and world history: the Carmina Danielis 9 and the Antichristus." Innes Review 60, no. 1 (May 2009): 1–21. http://dx.doi.org/10.3366/e0020157x09000390.
Full textAbstract:
The accepted view of the ecclesiastical reformer Andrew Melville (1545–1622) as the dynamic leader of the Presbyterian movement in Jacobean Scotland has been severely eroded in recent years, with particular criticism of the actual importance of his contribution to the Kirk and to Scottish higher education. While this reductionism has been necessary, it has resulted in an inversion of the overwhelmingly positive traditional image of Melville, and does not give us a rounded assessment of his life and works. This article attempts to partially redress this balance by looking at a neglected aspect of Melville's Latin writings, which showcase his talents as a humanist intellectual and biblical commentator. It focuses on two long poems that are both commentaries and paraphrases of Daniel and Revelation: the Carmina Danielis and the Antichristus. Through these poems, we see how Melville engaged with two problems exercising reformed theologians across Europe: the dating of key biblical events and the historicised meaning of prophecies within these texts. We also find evidence that Melville read widely among both contemporary and ancient commentators on both these issues.
50
Zimina, Evgeniia, and Mariana Sargsyan. "Politics, Poetry, People: an Overview of Contemporary Poetry Trends in the British Literary Landscape." Armenian Folia Anglistika 15, no. 1 (19) (April 15, 2019): 113–29. http://dx.doi.org/10.46991/afa/2019.15.1.113.
Full textAbstract:
The article deals primarily with the poetic discourse surrounding the 2014 Scottish Independence Referendum and the post-referendum developments in the UK. The political processes of the recent years have been unprecedented in terms of the public resonance, which was by and large due to the active involvement of the social media. By examining the language and rhetoric strategies used in poems we become aware of the message behind them, of the political ideologies they are based on and of the means employed to address the public. It is argued that poetry, whether traditional or digital, sentimental or furious, played and still continues to play a significant role in shaping debate over mega political processes in the UK and in affecting people’s opinion.