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Artykuły w czasopismach na temat „Arts, Scottish”

Autor: Grafiati

Data publikacji: 27 lipca 2024

Data aktualizacji: 31 lipca 2025

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1

Bell, Barbara. "The National Drama." Theatre Research International 17, no. 2 (1992): 96–108. http://dx.doi.org/10.1017/s0307883300016205.

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The National Drama was a nineteenth-century dramatic genre unique to Scotland, dealing with Scottish characters in Scottish settings. It has been neglected this century by scholars of theatre and of Scottish history in general. This is a curious oversight given the importance of the National Drama in the development of the Scottish theatre and to the image of Scotland as a nation at home and abroad. The omission may have been the result of a too close association with Sir Walter Scott in the minds of many for whom the phrase ‘High Tory Romanticism’ summed up Scott's career and influence. But,

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2

Bort, Eberhard. "Review: Scottish Arts and Crafts." Scottish Affairs 63 (First Serie, no. 1 (2008): 163–69. http://dx.doi.org/10.3366/scot.2008.0027.

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Williamson, Hilary. "The Scottish Visual Arts Group." Art Libraries Journal 28, no. 3 (2003): 11–14. http://dx.doi.org/10.1017/s0307472200013183.

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The Scottish Visual Arts Group is a relatively young co-operative of art librarians. However there is a significant history to the group, a substantial list of achievements and a whole new future just about to commence.

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4

Stenhouse, David. "Arts Policy and a Scottish Parliament." Scottish Affairs 17 (First Serie, no. 1 (1996): 1–10. http://dx.doi.org/10.3366/scot.1996.0050.

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McKinstry, Sam, and Marie Fletcher. "THE PERSONAL ACCOUNT BOOKS OF SIR WALTER SCOTT." Accounting Historians Journal 29, no. 2 (2002): 59–89. http://dx.doi.org/10.2308/0148-4184.29.2.59.

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This study examines the personal account books of Sir Walter Scott, the world-renowned Scottish author, a topic not explored before by Scott scholars or accounting historians. It sets the account books in the context of Scott's accounting education and experience, which took place at the time of the Scottish Enlightenment, an 18th century movement which saw a great flowering of writings on accountancy in Scotland as well as considerable progress in the arts and sciences. The style, layout and content of the account books is also studied from the point of view of elucidating Scott's domestic fi

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6

McKerrell, Simon. "Traditional arts and the state: The Scottish case." Cultural Trends 23, no. 3 (2014): 159–68. http://dx.doi.org/10.1080/09548963.2014.925281.

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Munro, Robert. "Performing the National? Scottish Cinema in the Time of Indyref." Journal of British Cinema and Television 17, no. 4 (2020): 425–48. http://dx.doi.org/10.3366/jbctv.2020.0541.

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This article examines Scottish cinema during the period 2012–17, assessing the ways in which the nation's constitutional debate, Scottish–English relations and discourses of national identity were engaged with thematically by films produced in this period. It argues that Scottish cinema in this period ‘performs the national’, in that a number of films flag their national status and engage with discourses of national identity at a distance, unburdened by any serious demand for national representativeness, as might be the case with a ‘national cinema’. From a corpus of texts in the period which

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8

Munro, Robert. "Scottish cinema now." Studies in European Cinema 13, no. 3 (2016): 270–72. http://dx.doi.org/10.1080/17411548.2016.1234833.

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Scullion, Adrienne. "Self and Nation: Issues of Identity in Modern Scottish Drama by Women." New Theatre Quarterly 17, no. 4 (2001): 373–90. http://dx.doi.org/10.1017/s0266464x00015001.

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The creation of the devolved Scottish parliament in 1999, argues Adrienne Scullion, has the potential to change everything that has been understood and imagined or thought and speculated about Scotland. The devolved parliament shifts the governance of the country, resets financial provisions and socio-economic management, recreates Scottish politics and Scottish society – and affects how Scotland is represented and imagined by artists of all kinds. The radical context of devolution should also afford Scottish criticism an unprecedented opportunity to rethink its more rigid paradigms and struct

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10

Turnbull, Alison. "Review of Scottish Arts Council'sQuality Framework – guidelines for arts organisations(2nd ed.), 2009." Cultural Trends 20, no. 2 (2011): 185–91. http://dx.doi.org/10.1080/09548963.2011.563913.

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11

Maudlin, Daniel. "Architecture and Identity on the Edge of Empire: The Early Domestic Architecture of Scottish Settlers in Nova Scotia, Canada, 1800–1850." Architectural History 50 (2007): 95–123. http://dx.doi.org/10.1017/s0066622x00002896.

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In the early nineteenth century thousands of Scots emigrated to Nova Scotia, Canada, settling there principally in Pictou and Antigonish Counties. This article considers the transformation of the domestic architecture of emigrants from the Scottish Highlands, from earth and random-rubble-walled ‘black houses’ to Classically ornamented and proportioned timber-framed houses. It demonstrates that, in contrast to the transferable traditions of Lowland Scottish settlers, virtually no element of the Scottish Highland vernacular building tradition was established in Nova Scotia, and that Scottish Hig

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12

Matheson, Ann. "Libraries working together: a Scottish perspective." Art Libraries Journal 20, no. 1 (1995): 12–16. http://dx.doi.org/10.1017/s0307472200009172.

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Cooperation between libraries is time-consuming, but is both ‘worthwhile and essential. Scottish research libraries commenced active cooperation in 1977: the Scottish Confederation of University and Research Libraries now has 15 active members. More recently, libraries in Scotland have been encouraged to work together following the creation of the Scottish Library and Information Council. The National Library has a key role to play, but in partnership with other libraries rather than invariably taking the lead. Cooperation between Scottish art libraries can be traced back to the 1950s and to t

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13

Stevenson, David. "Scottish cultural policy." Cultural Trends 23, no. 3 (2014): 133–35. http://dx.doi.org/10.1080/09548963.2014.925277.

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14

Jasper, David. "Re-imagining religion: Scottish writers and the breadth of religion." Theology in Scotland 29, no. 1 (2022): 78–86. http://dx.doi.org/10.15664/tis.v29i1.2422.

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To tie in with this issue’s theme of theology and imagination, this review essay reflects on four relatively recent works by Scottish authors in order to explore the ubiquitous and often deeply unsettling experience of Scottish religion in literature and the arts. Reviewed works: Meg Bateman, Robert Crawford and James McGonigal, eds., Scottish Religious Poetry: From the Sixth Century to the Present (Edinburgh: Saint Andrew Press, 2000) Edwin Morgan, A.D.: A Trilogy of Plays on the Life of Jesus (Manchester: Carcanet Press, 2000) James Robertson, News of the Dead (London

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15

Jackson, Tony, and Barbara Illsley. "Using sea to mainstream sustainable development: Some lessons from Scottish practice." Spatium, no. 17-18 (2008): 31–37. http://dx.doi.org/10.2298/spat0818031j.

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Strategic environmental assessment (SEA) is now a requirement for virtually all new Scottish public sector strategies, plans and programmes (SPPs), whether of a statutory or of a voluntary nature, which are deemed likely to have significant environmental effects. This major extension of the EU SEA Directive by the Scottish Government has been deliberately designed to mainstream sustainable development in Scottish policy formulation. The paper reviews current progress in this direction, raising some issues of principle and practice in the use of SEA before considering how SEA can be combined wi

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16

Young, Katharine, and David Buchan. "Scottish Tradition: A Collection of Scottish Folk Literature." Journal of American Folklore 99, no. 393 (1986): 341. http://dx.doi.org/10.2307/540825.

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17

Reid, Steven John. "Aberdeen's ‘Toun College’: Marischal College, 1593–1623." Innes Review 58, no. 2 (2007): 173–95. http://dx.doi.org/10.3366/e0020157x07000054.

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While debate has arisen in the past two decades regarding the foundation of Edinburgh University, by contrast the foundation and early development of Marischal College, Aberdeen, has received little attention. This is particularly surprising when one considers it is perhaps the closest Scottish parallel to the Edinburgh foundation. Founded in April 1593 by George Keith, fifth Earl Marischal in the burgh of New Aberdeen ‘to do the utmost good to the Church, the Country and the Commonwealth’,1 like Edinburgh Marischal was a new type of institution that had more in common with the Protestant ‘art

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18

Scullion, Adrienne. "Scottish theatre and the impact of radio." Theatre Research International 17, no. 2 (1992): 117–31. http://dx.doi.org/10.1017/s0307883300016229.

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Histories of broadcasting in Britain tend to have a distinct London bias–in other words they all but completely ignore developments in Scotland –and yet the early broadcasting infrastructure ensured that each regional centre could advance the boundaries of radio in more exciting and challenging ways (certainly in different ways) than the production centre in London. This critical bias, however, is perhaps only symptomatic of a more general social tendency to displace diversity within British culture and to focus on a metropolitan vision, a core-legitimized version of culture which discounts th

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19

Marshalsay, Karen Anne. "‘The Quest for a Truly Representative Scottish Native Drama’: The Scottish National Players." Theatre Research International 17, no. 2 (1992): 109–16. http://dx.doi.org/10.1017/s0307883300016217.

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The Scottish National Players were the most interesting and important group in Scottish theatre in the 1920s, and the ‘national drama’ which they produced defined Scottish theatre for almost two decades. The SNP, as they were known, became the focus for the aspirations of young people wanting to progress to a professional career within theatre and were responsible for training a whole generation of Scottish actors. Later theatre groups, such as the Curtain and the Gateway, were greatly influenced by the Scottish National Players, who also made a major contribution to the early years of broadca

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20

Clarke, Pamela, and Lee Knifton. "The Scottish Mental Health Arts and Film Festival ‐ promoting social change through the arts." A Life in the Day 13, no. 3 (2009): 10–13. http://dx.doi.org/10.1108/13666282200900025.

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21

Pavlovich, Kristina K. "V. Scott’s novel “Puritans” in the context of I.A. Goncharov’s novel “Oblomov”." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2023): 94–100. http://dx.doi.org/10.20339/phs.6-23.094.

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The article describes the study of typological connections between the novel Puritans by Walter Scott and Oblomov by Ivan Goncharov. For the first time, these literary texts are considered through the prism of depiction as an artistic and aesthetic category, based on the genre system of fine arts. The name of the “Scottish sorcerer” is found in every novel of Goncharov’s trilogy (Ordinary History (1847), Oblomov (1859), The Precipice (1869). Most often, numerous landscapes can be found both on the pages of Scott’s and Goncharov’s novels. These landscape paintings are brought together by the pl

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22

SCHWEITZER, MARLIS. "‘The Canny Scot’: Harry Lauder and the Performance of Scottish Thrift in American Vaudeville." Theatre Research International 36, no. 3 (2011): 254–68. http://dx.doi.org/10.1017/s0307883311000484.

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Scottish vaudevillian Harry Lauder epitomized Scottishness in the Anglo-American cultural imaginary for much of the twentieth century. Yet Lauder's Scottishness was a carefully crafted performance, a collaborative effort between Lauder and his American agent, William Morris, centred on Lauder's embodiment of the ‘canny Scot’ stereotype. The article argues that this performance served two primary objectives within the context of early twentieth-century vaudeville. First, stories of Lauder's ‘characteristic’ Scottish thrift worked to deflect commentary about the star's status as a highly paid fo

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23

Galloway, Susan, and Huw David Jones. "The Scottish dimension of British arts government: a historical perspective." Cultural Trends 19, no. 1-2 (2010): 27–40. http://dx.doi.org/10.1080/09548961003695981.

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24

McAuley, Andrew. "Entrepreneurial Instant Exporters in the Scottish Arts and Crafts Sector." Journal of International Marketing 7, no. 4 (1999): 67–82. http://dx.doi.org/10.1177/1069031x9900700405.

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25

Fomin, Maxim. "Maritime Memorates and Contemporary Legends of Storm Apparitions and Storm Making in Folklore Traditions of Ireland and Scotland*." Armenian Folia Anglistika 7, no. 2 (9) (2011): 154–62. http://dx.doi.org/10.46991/afa/2011.7.2.154.

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The present article examines the folklore genre of maritime memorates of Irish and Scottish origin. It describes the maritime traditions of Gauls when various supernatural creatures and inanimate objects appeared from the sea, as well as the spells and magic tricks producing winds. The article studies contemporary legends which tell about omens and visions bewitching a storm. * This contribution is based upon the findings of the research project ‘Stories of the Sea: A Typological Study of Maritime Memorates in Modern Irish and Scottish Gaelic Folklore Traditions’ supported by the Arts an

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26

Dzyubinskaya, K. D. "Welcoming speeches of Scottish subjects during the great progress of King James I Stuart to Edinburgh in 1617." Shagi / Steps 9, no. 2 (2023): 123–47. http://dx.doi.org/10.22394/2412-9410-2023-9-2-123-147.

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This article analyzes the welcoming speeches made by Scottish intellectuals during the journey of James VI and I Stuart to Scotland in 1617. These speeches, composed by the intellectuals themselves, reflected Scottish renaissance ideas on the status of Scotland. On the one hand, through such adresses Scottish intellectuals obtained the possibility to communicate with the crown and to express their attitude to the union of the two crowns and the king’s desire to reform the Scottish church. The author of the article pays special attention to the fact that Scottish intellectuals acknowledged the

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27

Valentine, Jeremy. "The politics of temporal sovereignty and the subaltern MA." Arts and Humanities in Higher Education 18, no. 2-3 (2019): 99–119. http://dx.doi.org/10.1177/1474022218811622.

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This paper explains the emergence of an MA in Culture and Creative Enterprise at a Scottish University by locating it within a policy context characterised by the attempt of the Scottish Government to establish ‘temporal sovereignty’ through ‘fast policy’. The argument of the paper is that the MA is an outcome of the Scottish Government’s attempt to establish the sovereignty of a ‘future present’ over political and economic temporalities through the inscription of the figure of the entrepreneur in economic, educational and cultural policy. The paper demonstrates that the MA acts as a subaltern

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28

Loranger, David, and Eulanda A. Sanders. "Highland haberdashery: Scottish kiltmaking in the twenty-first century." Critical Studies in Men???s Fashion 8, no. 1 (2021): 5–28. http://dx.doi.org/10.1386/csmf_00028_1.

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The Scottish kilt is one of the world’s most renowned cultural garments, and the Highland dress industry contributes £350 million annually to the Scottish apparel industry. However, outsourcing and deceptive marketing tactics have negatively impacted the kiltmaking industry. The purpose of this study was to investigate Scottish kiltmakers’ knowledge and experiences as a basis for industry protection. A qualitative, phenomenological method employed interviews, observations, video and artefact analysis and prototyping to understand participant’s (n=17) experiences with learning and practising ki

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29

Jamieson, Ruth, Ruth Donnelly, and Jim White. "‘Laff Yer Heid Aff’: The role of comedy inincreasing public awareness of common mental health problems." Clinical Psychology Forum 1, no. 187 (2008): 55–58. http://dx.doi.org/10.53841/bpscpf.2008.1.187.55.

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STEPS, a Glasgow primary care mental health team, has supported a comedy event held as part of the Scottish Mental Health Film and Arts Festival. The comedy event, which took place on World Mental Health Day (10 October 2007) marked the launch of a new STEPS mental health promotion comedy DVD.

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Arshad, Rowena, and Sheila Riddell. "Managing Disability Equality in Scotland: Tensions between Social Audit and Disability Equality." Social Policy and Society 10, no. 2 (2011): 229–38. http://dx.doi.org/10.1017/s1474746410000576.

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This paper focuses on the implications of adopting social audit approaches in order to implement equality policies in Scotland, exploring the tension between surface compliance and deep institutional engagement. Drawing on data from an evaluation of pubic sector bodies’ disability equality schemes, the paper provides examples of different levels of engagement, ranging from surface compliance (some education authorities) to institutional permeation of an equalities ethos (the Scottish Arts Council). The paper concludes by considering the future potential of single equality schemes to promote eq

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Milne, Rachel. "The beautiful and the damned: Depictions of Scottish childhoods in Small Deaths and Gasman." Short Film Studies 11, no. 2 (2021): 177–82. http://dx.doi.org/10.1386/sfs_00052_1.

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This article explores the function of poetic child realism in two of Lynne Ramsay’s short films, Small Deaths (1996) and Gasman (1998). Investigating the role of the orphaned child embedded in Scottish film culture, this article considers the ways in which the intersection of social and familial realities is portrayed through the subjective viewpoints of female children. Through an examination of the films’ aesthetic and narrative elements, alongside a discussion of the role of industrial iconography and spaces, I argue that Lynne Ramsay’s films deviate from and subvert a traditionally masculi

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32

Jones, Huw D., and Susan Galloway. "Arts Governance in Scotland: the Saga of Scottish Opera, 1962–2007." Journal of Scottish Historical Studies 31, no. 2 (2011): 220–41. http://dx.doi.org/10.3366/jshs.2011.0022.

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33

Tett, Lyn, Kirstin Anderson, Fergus Mcneill, Katie Overy, and Richard Sparks. "Learning, rehabilitation and the arts in prisons: a Scottish case study." Studies in the Education of Adults 44, no. 2 (2012): 171–85. http://dx.doi.org/10.1080/02660830.2012.11661631.

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34

Hibberd, Lynne. "Review of Scottish Arts Council Report,Taking Part in Scotland 2008." Cultural Trends 18, no. 4 (2009): 333–36. http://dx.doi.org/10.1080/09548960903268154.

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Howard, Deborah. "Reflexions of Venice in Scottish Architecture." Architectural History 44 (2001): 123. http://dx.doi.org/10.2307/1568741.

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Malcomson, Scott L. "Modernism Comes to the Cabbage Patch: Bill Forsyth and the "Scottish Cinema"." Film Quarterly 38, no. 3 (1985): 16–21. http://dx.doi.org/10.2307/1212539.

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Demoor, Michael J. "The Philosophy of Art in Reid's Inquiry and Its Place in 18th-Century Scottish Aesthetics." Journal of Scottish Philosophy 4, no. 1 (2006): 37–49. http://dx.doi.org/10.3366/jsp.2006.4.1.37.

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It is argued that the scattered remarks on the fine arts made in Reid's Inquiry into the Human Mind (1764) present a conception of the relation between perception and the fine arts that is at once compatible with and different from Reid's mature theory of art in Of Taste (1785). This alternative account of art-relevant perception also points beyond the limits of a philosophy of art developed according to the traditional theory of taste dominant in 18th-century Scottish aesthetic thought, and anticipates certain 20th-century theories.

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deV. Renwick, Roger, David Buchan, Rita Pedersen, and Flemming G. Andersen. "A Book of Scottish Ballads." Western Folklore 46, no. 3 (1987): 201. http://dx.doi.org/10.2307/1499527.

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Murray, Jonathan. "Scotch Missed: Play for Today and Scotland." Journal of British Cinema and Television 19, no. 2 (2022): 194–216. http://dx.doi.org/10.3366/jbctv.2022.0617.

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This article explores Scotland's relationship with and contribution to the Play for Today series. In order to quantify these, it proposes a working definition of ‘Scottishness’ based on representational content. This generates a body of 21 Scottish Plays for Today, which the article further breaks down into two sub-sets: seven plays produced outside Scotland and fourteen within. Noting that the externally produced plays are far better remembered and much more easily accessible than their locally produced peers, the article asks: do the external plays alone offer a reliable synecdoche for the t

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Gray, Shirley, Justine MacLean, and Rosemary Mulholland. "Physical education within the Scottish context." European Physical Education Review 18, no. 2 (2012): 258–72. http://dx.doi.org/10.1177/1356336x12440019.

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In 2010, schools in Scotland implemented a new curriculum, a Curriculum for Excellence, and for physical education (PE), this represented a move from the ‘Expressive Arts’ to ‘Health and Wellbeing’ (HWB). To understand this new position, we explored the thoughts of those who were directly involved in the construction of the policy text for PE within HWB ( n = 10). All of the participants supported the position of PE within HWB, accepting that PE has an important role to play in improving pupils’ health and wellbeing, although there was some concern that teachers might misinterpret the role of

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41

Lee, Maurice. "Scottish Puritanism, 1590-1638 (review)." Catholic Historical Review 87, no. 2 (2001): 326–28. http://dx.doi.org/10.1353/cat.2001.0069.

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Markus, Thomas A. "DOMES OF ENLIGHTENMENT: TWO SCOTTISH UNIVERSITY MUSEUMS." Art History 8, no. 2 (1985): 158–77. http://dx.doi.org/10.1111/j.1467-8365.1985.tb00157.x.

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MACINNES, R. "'Rubblemania': Ethic and Aesthetic in Scottish Architecture." Journal of Design History 9, no. 3 (1996): 137–51. http://dx.doi.org/10.1093/jdh/9.3.137.

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Gale, Richard. "Archibald MacLaren's “The Negro Slaves” and the Scottish Response to British Colonialism." Theatre Survey 35, no. 2 (1994): 77–93. http://dx.doi.org/10.1017/s0040557400002805.

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As the end of the eighteenth century approached, Britain experienced many changes in power and prestige: the American colonies had broken away; the philosophy of expansionism and imperial domination was being attacked from within and without, and the primacy of the British fleet and trade organizations was fast becoming a thing of the past. All of these factors, and others, forced a mood of re-evaluation upon the British government and people. Throughout the empire and its colonies the discussion of the merits and morality of the slave trade, for example, reached previously unheard of proporti

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Shrock, Christopher A. "Thomas Reid on the Improvement of Knowledge." Journal of Scottish Philosophy 17, no. 2 (2019): 125–39. http://dx.doi.org/10.3366/jsp.2019.0232.

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Thomas Reid often seems distant from other Scottish Enlightenment figures. While Hume, Hutcheson, Kames, and Smith wrestled with the nature of social progress, Reid was busy with natural philosophy and epistemology, stubbornly loyal to traditional religion and ethics, and out of touch with the heart of his own intellectual world. Or was he? I contend that Reid not only engaged the Scottish Enlightenment's concern for improvement, but, as a leading interpreter of Isaac Newton and Francis Bacon, he also developed a scheme to explain the progress of human knowledge. Pulling thoughts from across R

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46

Makhrov, Alexei. "Earth Construction in Russia: A Scottish Connexion." Architectural History 40 (1997): 171. http://dx.doi.org/10.2307/1568673.

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Stein, Jock. "Two poems." Theology in Scotland 28, no. 2 (2021): 78–80. http://dx.doi.org/10.15664/tis.v28i2.2331.

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Theology in Scotland on arts and culture is a new section which we hope will have a regular appearance in the journal, featuring creative work of Scottish artists, theologians and practitioners of faith. On this occasion, Jock Stein, a Church of Scotland minister who took up writing poetry in his retirement, shares two poems which speak of his own hopes for COP26 and beyond.

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48

Emerson, R. L. "Richard Sher's Bookish Scottish Enlightenment." Eighteenth-Century Life 33, no. 1 (2009): 61–66. http://dx.doi.org/10.1215/00982601-2008-026.

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49

Knight, Malcolm. "Scottish puppet theatre: The reality behind the revival." Contemporary Theatre Review 1, no. 1 (1992): 75–81. http://dx.doi.org/10.1080/10486809208568251.

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50

Mcaleer, J. Philip. "Review: Scottish Medieval Churches by Stewart Cruden." Journal of the Society of Architectural Historians 48, no. 1 (1989): 84–85. http://dx.doi.org/10.2307/990411.

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