Scottish Literature

Reviewed by Ileana Baird 1 his collection is one of those rare treats of the academic genre: a page-turner brimming with learned stories of editorial wins and failures written by some of our fields most accomplished textual editors. More reflective than prescriptive in tone, its fourteen chapters are both impressively bookish and enjoyable to read, illuminating the labors and intricacies of scholarly annotation. While most of these chapters are lightly endnoted (a feature some readers may find refreshing), the text itself brims with erudition and narrative asides, providing invaluable insight into the art and craft of annotative theory and, above all, practice (xi). As such, it can be read as an informing guide to annotating modern editions of eighteenth-century texts, making a compelling case for annotative abundance and collaborative work. Whether engaged in revisiting or recuperating texts published in a century that was described by some as the age of annotations, this collective of academics-cum-editors has important lessons to share. The collection opens with Kate Bennetts chapter on the challenges of annotating John Aubreys Brief Lives for Oxford UP (2015). Bennett starts by explaining her choice of splitting the edition into two volumes (text and commentary). In her

Disciplinarity in the academy causes many problems. In the name of protecting and intensifying what is asserted to be a set of unique skills and methodologies, it reinscribes a professional hierarchy who tend to seek their own reproduction through the process of granting of tenure to their successors, and who police-sometimes rigidly-the boundaries of their own field of enquiry. Foucault's Surveiller et punir is often as true of the academy as of the state: disciplines and punishment go together. Innovation, increasingly necessary and desirable as it is seen to be in our wider society, is difficult to achieve in the Arts and Humanities, because arguably no area of the university is so intensively siloed, despite the importance of creating unified fields of enquiry. It is true that one can never underestimate the power of culture to define the questions and stories that lie at the heart of different societies, but cultural comparativism (and even comparative literature) are difficult areas to make reputations in, because they cut across the perceived methodologies of traditional disciplines. Yet when the United States has 77% recidivism among its huge (and costly) prison population and Norway has 20% among its much smaller per capita number of prisoners, it is clear that American culture's retributive instincts trump the data. 1 Culture defies the evidence that could change policy, and that is why its exploration is an imperative, one which is widely frustrated by the narrow territorialism of disciplinarity, which itself serves to threaten the very future of Arts and

Until 1945 or so, Scottish Literature���or rather, a fragmentary selection of its periods and authors���flourished to an extent under the rubric of junior partnership in the Union or local identity in Empire, or as part of a greater English Literature, as in the English Men of Letters series. Scott was taught in England's grammar schools and universities; Burns had only recently begun the catastrophic decline he was to suffer at the hands of Romanticism's new paradigm and the postwar distrust of the volkisch and autochthonous; even Ramsay was ...

fishing port, the third biggest in Britain by 1911. Scotland's urban growth was particular in character, rooted in shared national circumstances and part of international networks -Glasgow with the Americas in tobacco and cotton and, as the 'Second City of the Empire', with the world; Dundee with India; Edinburgh and Leith with Baltic Europe, the Low Countries and beyond. By the 1830s, the geography of urban Scotland was for many a geography of distress. Rapid urbanisation was accompanied neither by housing controls nor the management of sanitation. If nineteenth-century Scotland had a 'shock city', it was Glasgow. The population of the City of Glasgow increased nearly fourfold between 1831 and 1911. Suburbanisation, itself dependent upon the growth of the railway, had, as in Edinburgh, produced large dwellings for the better-off and a distinct residential segregation across the city. But in the wynds and closes of the inner city lay an unimproved Glasgow: overcrowded, dirty, disease ridden, perceived to be beyond moral and spiritual improvement and revealed, if at all, only through the agents of municipal philanthropism, the pens of radical journalists and the probing lenses of photographers like Thomas Annan. Improvements to the basic necessities of domestic geography came late to urban Scotland. Provision of fresh water to Glasgow followed the construction of the reservoir and dam at Loch Katrine in 1859. Fresh water to Dundee from the Sidlaws only came in 1875. National legislation informed by a passion for sanitary purity progressed from the Dwelling Houses and Nuisances Removal Act (1855) to the 1875 Artisans and Labourers Dwellings Improvement Act, where municipal authorities had the right to demolish 'nuisance areas', to the 1890 Housing of the Working Classes Act, which encouraged public housing construction. Scotland's principal cities each had improvement schemes, in effect, corporate demolition plans: Glasgow in 1866, Edinburgh in 1867, Dundee in 1871, Greenock in 1877 and Aberdeen in 1884, and new houses were built following these schemes. But the 'long nineteenth century' ended with working-class unrest in relation to housing -in the agitation of the Scottish Miners' Federation in 1909 and in the Glasgow rent strike of 1915, for example -and poor housing continued as a problem feature of Scotland's urban geography well into the twentieth century. By 1918 and for some decades before, Scotland's industry was factory-based, heavily capitalised and geographically concentrated. This was not always so. The countryside was for long the locus of industrial production. Scotland's principal manufactures in 1707 were linen and woollen cloths produced, largely, in domestic systems of production. The production of linen overtook that of woollen cloth during the eighteenth century. Both displayed regional, even local, specialisation. Galashiels produced yarns, for example, Kilmarnock and Stewarton concentrated upon bonnets and serges, Angus, Fife and Perth were the leading linen-producing counties. By the later eighteenth century, cotton was a leading industry and, initially, given the importance of clean water, it too was located in the countryside albeit in large manufactories as at Deanston and Stanley in Perthshire. From the early nineteenth century and in relation to urban growth, the demands of technical change and the availability of and need to concentrate labour, cotton production became concentrated in the west central Lowlands. By 1831, 91 per cent of Scotland's cotton mills were located in Glasgow, Renfrewshire and Lanarkshire. Woollen manufactures concentrated in the Borders towns. Further development of the west central Lowlands as Scotland's industrial heartland came with the nineteenth-century coal and iron age. In 1830, Scotland had twenty-seven furnaces producing pig iron. By 1860, there were 171. Coal output, a total of 7.5 million tons in 1854 -the product of 368 collieries spread across Ayrshire, Lanarkshire, the Lothians, Stirling and Fife -had doubled by 1873. From the last Further reading

Classical mythology has long served as a foundational narrative structure within Western literature, often framing women through reductive patriarchal archetypes-witches, monsters, obedient wives, or tragic victims. In recent decades, however, feminist writers and scholars have increasingly engaged in a radical reinterpretation of these myths, transforming them into acts of narrative resistance. This study explores how contemporary feminist retellings of classical myths reconfigure ancient narratives to reclaim female voice, agency, and subjectivity. Focusing on literary texts such as Madeline Miller's Circe, Pat Barker's The Silence of the Girls, and Natalie Haynes's Stone Blind, the research analyzes how mythic women-once silenced-are reimagined through strategies of narrative focalization, intertextual revision, and trauma representation. These novels, far from merely offering alternative perspectives, challenge the ideological scaffolding of classical texts and expose the gendered violence embedded within them. Additionally, the paper examines feminist reinterpretations across visual media, including Japanese manga, modern dance, and graphic novels, to highlight how cross-cultural and interdisciplinary approaches extend the scope of mythic subversion. The analysis is grounded in feminist literary theory, ecofeminism, and intersectionality, revealing how these retellings participate in broader cultural movements such as #MeToo and decolonial critique. Ultimately, the study demonstrates that feminist myth-making is not just a literary act but a political one-redefining myth as a dynamic site of resistance, memory, and reimagination.

The Glassary Stewarts descend from a family which emigrated about 1647 from Paisley to the parish of Kilmichael-Glassary in Argyll. Paisley was then a rural Lowland parish, while Glassary was a rural Highland parish about 70 km to the west. The cause of the emigration was war and pestilence. The family’s history after reaching Glassary, traced in this essay, shows that while its members were initially subsistence farmers, some later abandoned the land to work in the industrializing areas of Paisley and Glasgow. Others emigrated to Ontario in the nineteenth century and established large farms. Some went to Australia. Few remained in Glassary.

Kataraina is a sequel to Becky Manawatu's Aue. Aue is centred on the story of Taukiri and his nine years younger cousin/brother, Arama, and Taukiri's mother, Jade. Taukiri's father, Toko, was murdered in a gang related crime in 2005 when Taukiri was four years old.
Kataraina changes the focus to Taukiri's aunt and her life story including her own early traumas and her battle for joy and redemption.

As with several other Morrison novels and her short story 'No Letters, Please', The Gowk Storm has been broadcast on BBC Radio." Morrison's historical biographies were also well received, Mary Queen of Scots (1960) winning an American Literary Guild Award. In her biographies it was her novelist's insight that was praised rather than any attempt at scholarly historiography, for her intention seems to have been to give 'life' to her subjects, to continue her aim of psychologising history discussed in Chapter 1 of this thesis.

As with several other Morrison novels and her short story 'No Letters, Please', The Gowk Storm has been broadcast on BBC Radio." Morrison's historical biographies were also well received, Mary Queen of Scots (1960) winning an American Literary Guild Award. In her biographies it was her novelist's insight that was praised rather than any attempt at scholarly historiography, for her intention seems to have been to give 'life' to her subjects, to continue her aim of psychologising history discussed in Chapter 1 of this thesis.

'Modern Korean Engagements with Scottish Writers: Exploring the Literary and Intellectual History of Korean-Scottish Relations' (with John M. Frankl)

The literary and intellectual relationships between Scotland and Korea have developed considerably in recent years. In 2019, for example, the Scottish Centre for Korean Studies was established at the University of Edinburgh. Many Scots are interested in Korean culture, both academics and the general public. Engagements between Scottish and Korean writers extend back into the late 19th and early 20th Centuries, however, during Korea’s ‘opening’ to Western nations during the ‘Gaehwa’ period. Scottish Enlightenment political economy and conjectural history/stadial theory were of major interest to Koreans in a time of huge transformations in East Asia. Christianity also made a significant impact due to the influence of missionaries, especially on education. Our paper connects these trends by examining the impact of Scottish writers in Korea from the late Chosun era, through the colonial period, and down to the present.

RESUMO Numa perspectiva literária, este estudo pretende analisar, dentro da produção literária brasileira, em exclusivo a obra Iracema, um romance de carácter indianista, "a figura do Índio no Romantismo Brasileiro". Tal perspectiva assenta no pressuposto do ideal nacionalista e o processo de construção da nação brasileira empreendida pela relevância e perseverança do movimento romântico no início do século XIX. O romance "Iracema" foi publicado em 1865 e pertence ao movimento Romântico Brasileiro e o estilo que apruma é da actualidade dada a relevância que exerce no bloco das literaturas nativistas e orientada por uma exaltação da identidade patriótica. A par deste cenário, faz-se uma incursão em torno do encontro intercultural entre dois mundos adversos, ou seja, cruzamento de polos diferentes "o europeu e o índio", pondo em evidência as relações de homogeneização, que contribuem para o fracasso do processo de construção da nação mestiça "Brasil". Nesse contexto, dada a natureza desta pesquisa, para a concretização do objectivo delineado neste artigo, recorreu-se ao método de análise de conteúdo e recorreu-se também ao método bibliográfico. Para tal, convocou-se, para este estudo, várias obras, mas com maior primazia às obras de Aguiar e Silva (2011); Alencar (2007) e Buescu (1997).

For Patrick McCabe, and as seen in his novels, the condition of Ireland in the 20 th century and the first years of the 21 st is that of widespread and permanent dislocation: dysfunctional families, political and personal violence, child abuse and childhood traumas, insanity, commodified affects and sexuality, you name it. More often than not, McCabe's protagonists occupy a liminal space in between hallucinatory psychosis and reality. Most of them suffer from an acute sense of loss: father, mother, lover, wife or child, love objects which they find impossible to mourn, and this inability places them in a position of endless melancholia (Davis 2007: 132, 155), thus giving way to nihilistic narrative endings that do not resolve their conflicts, so that normalcy is never completely recovered 1 . But, why is it that these fictional characters are unable to mourn their lost love objects? In my opinion, this derives from the fact that their love objects have never existed in the first place. What the characters long for are just ideal images that may cover up the fact that their sense of loss is in fact a sense of lack. These 1 The exception here maybe Breakfast on Pluto (1998), a novel which does not have a conventional "happy ending" either, but where at least the transvestite protagonist reaches a certain level of contentment. Of all the protagonists of McCabe's novels, Patrick "Pussy" Braden is also the one more likely to trigger the reader's empathy.

Until recently, scholarly rhetoric concerning oral tradition has hinged on 'simplicity', 'nature', and 'artlessness', words prominent in essentialist criticism of women's writing. Like so-called 'peasant poets' such as Robert Burns, women have been perceived as refl ecting an artlessness which is authentic, part of their nature. 1 Artlessness has been constructed as an admirable quality, attractive to Romantic conceits of original genius and spontaneous composition, most frequently associated with women, children, a supposedly naive, unsophisticated underclass, and with their characteristic types of expression. While in some societies oral tradition may function as cultural capital, it also imposes constraints, discernible in the cluster of meanings linking 'artlessness' to nature and the culturally feminine. A profound ambivalence, coexisting since the eighteenth century, is encoded in defi nitions of the word: 'artless' has been glossed as 'devoid of art or skill'; 'unpractised, inexperienced, unskilful'; 'unskilled, ignorant'; or 'uncultured' but also as meaning 'lacking artifi ce, natural, simple'; or, in yet another sense, 'sincere, guileless, ingenuous'. 2 It can be used to describe oral narratives, songs, and ballads as authentic and unaffected, but also limited in their intellectual range. Conversely, literary history shows male writers praised as artless if the writer is able to affect simplicity and guilelessness, as in John Dryden's assertion, 'Such Artless beauty lies in Shakespear's wit'. Concerning his substantial expansion of the ballad 'The Child of Elle' 4 (7F), eighteenth-century antiquarian Thomas Percy asks that the reader evaluate his additions on the basis of how diffi cult it is to imitate 'the affecting simplicity and artless beauties of the original'. Artlessness is nevertheless acknowledged as a powerful and signifi cant aesthetic force: in a lecture on the nature of poetry, Hugh Blair writes, 'It is no wonder [. . .] that in the rude and artless strain of the fi rst poetry of all nations, we should often fi nd somewhat that captivates and transports the mind.' 6 Women occupy a central position in this aesthetic: in 1893, The Critic quoted Edmund Gosse as saying, 'The border ballads have no art, and yet are exquisite; and the history of poetry is adorned by certain

Article submitted to Wikipedia on 8/24/2025 by Kathleen McCook.
Marcus Allen McCorison (1926–2013) was a prominent American bibliographer, librarian, and historian specializing in American printing and book history. Born in Lancaster, Wisconsin, he served in the U.S. Naval Reserve during World War II and the U.S. Army in Korea, earning degrees from Ripon College (1950), the University of Vermont (1951), and Columbia University (1954). His career began at the Kellogg Hubbard Library in Montpelier, Vermont, followed by a role as chief of rare books at Dartmouth College in 1955. In 1960, he joined the American Antiquarian Society (AAS) as librarian, later becoming president, where he earned the moniker "Grand Acquisitor" for expanding the collection by 115,000 items, implementing a machine-readable catalog system, establishing scholar fellowships, and growing the endowment. Described by the Wall Street Journal as a relentless rare-book hunter, McCorison also served as trustee for institutions like Fruitlands Museum, Old Sturbridge Village, and Historic Deerfield.

He held leadership positions in organizations such as the Bibliographical Society of America, Research Libraries Group, and Independent Research Libraries Association, and consulted for entities including the National Endowment for the Humanities and Library of Congress. McCorison was affiliated with numerous societies, including the Grolier Club, Club of Odd Volumes, and Massachusetts Historical Society, and received honorary memberships in groups like the New-York Historical Society and Roxburghe Club.

Awards included the Samuel Pepys Medal, Maurice Rickard Award, American Printing History Association laureate, distinguished alumnus honors from Ripon and Columbia, and honorary degrees from several universities. A prolific author, he published extensively in the Proceedings of the American Antiquarian Society and authored works on topics like early American printing, obscene libel trials, Vermont papermaking, and book trade history, including edited volumes and bibliographies spanning from 1961 to 2012.

Ian Hamilton Finlay (1925Finlay ( -2006) ) was a Scottish poet, artist, and publisher whose work spans multiple disciplines and media. Over the course of five decades, he developed a practice that moved from traditional lyric poetry to concrete and visual poetry, and ultimately to sculptural and environmental art. Finlay's work is driven by a sustained inquiry into how poetic meaning emerges through the interplay of language, form, and spatial context. For Finlay, poetry is not confined to the printed page but can inhabit and transform physical environments. Finlay first gained recognition in the early 1960s as a leading figure in the international concrete poetry movement. His early experiments with typographic form, such as "acrobats" (1964) and "wave/rock" (1966), used minimal language and spatial arrangement to create visual poems that were as much about silence and structure as they were about meaning. These works placed him in dialogue with concrete poets like Eugen Gomringer and Mary Ellen Solt, though Finlay's approach was more understated and reflective. Through his founding of Wild Hawthorn Press and the journal Poor. Old. Tired. Horse., Finlay helped introduce British audiences to an international range of experimental poets and artists. But his ambitions extended far beyond publishing. In the 1970s, he began transforming a rural property in the Pentland Hills into Stonypath, later renamed Little Sparta, a garden that became his most ambitious and enduring work. There, poetry took the form of inscriptions, sculptures, and carefully designed landscapes, creating a space where classical references, political symbols, and natural forms coexisted in deliberate tension. Finlay's work is notable for its precision, clarity, and formal discipline. Whether working with type, stone, wood, or soil, he treated each medium as a way of thinking about language, history, and the role of the artist in the modern world. His legacy endures in the expanded field of poetics he helped to shape, which challenges conventional boundaries between text, object, and environment. Finlay's artistic development unfolded across several interrelated domains: poetry, publishing, visual art, and landscape design. He began his career in the 1950s writing short stories and lyrical poems, often rooted in Scottish rural life. These early works, such as those collected in The Dancers Inherit the Party (2004), reflect a sensitivity to rhythm, tone, and the natural world. However, by the early 1960s, Finlay had

This paper studies Neel Mukherjee’s novel A State of Freedom (2017) through the lenses of Subaltern Studies, postcolonial theory. It argues that Mukherjee’s fragmented narrative centers the lives of marginalized characters—such as Milly, Lakshman, Renu, and Ramlal—to critique the structural constraints on India’s ‘subaltern’ populations. Each section of the novel foregrounds a different subaltern subject, challenging conventional narrative hierarchies. Through interconnected storylines, Mukherjee illustrates how caste, class, gender and globalizing neoliberal forces converge to deny dignity and agency, aligning with Gramsci’s notion of subaltern fragmentation and Spivak’s question ‘Can the Subaltern Speak?’. The analysis draws on theorists including Ranajit Guha (Subaltern historiography), Edward Said and Dipesh Chakrabarty (colonial legacies), and feminist scholars (Crenshaw’s intersectionality, Mohanty on “Third World women”, and Scott on everyday resistance).

Lucy Hutchinson and Maciej Kazimierz Sarbiewski’s Epigram 34. The Puritan Poetess as a Translator of Neo-Latin Poetry Between Cultures, Between Languages, 2020 The paper presents a less known episode in the life of the Puritan poetess and diarist Lucy Hutchinson - a translation of an epigram written by the Polish Jesuit poet Maciej Kazimierz Sarbiewski - in the context of Hutchinson's life and work.
Fordoński, Krzysztof. “Lucy Hutchinson and Maciej Kazimierz Sarbiewski’s Epigram 34. The Puritan Poetess as a Translator of Neo-Latin Poetry”, in: Szymańska, Izabela and Agnieszka Piskorska (eds.) Between Cultures, Between Languages, Warszawa: Semper, 2020, pp. 56-64.

The new and first complete edition of the works of Allan Ramsay (1684-1758) in six volumes is beginning to draw renewed attention towards this important poet. This essay examines one of the key unexamined puzzles of his career: how an Edinburgh wigmaker apparently without any advantage of birth and connexions, succeeded in gathering an enormously distinguished subscription list-including nearly sixty peers and eight dukes-for his first key collection of poems. The answer lies both in the powerful and interlocking networks which Ramsay had inherited, cultivated or adopted, and in the particular culture and political moment in post-Union Edinburgh in which he came to maturity. Ramsay's key network groups are discussed under four headings: Jacobites, Friends and Clubs, Local dignitaries, family links, professionals and merchants; patronage and wider artistic networks.

The imaginative spirit and moral compass of our current age owes much to the creative genius of Scottish author, poet, and minister-theologian, George MacDonald. As the founder of the modern fantasy genre MacDonald inspired pioneers of fantasy J.R.R. Tolkien, C.S. Lewis, Frank Baum, and Lewis Carroll. As a man of sincere compassion, moral duty, and deep conscience, MacDonald influenced the thought and work of social critics and reformers including G.

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As a comparative study of four minority language literatures, this article offers an analysis of the work of four vanguard writers. The study is undertaken from Casanova’s perspective that work written in minority languages by authors originating from late nineteenth or early twentieth century emergent nations should be regarded as “littératures combatives”. Following the analysis of their early works written, the strategies of Frisian author Kalma, Welsh playwright Lewis, Scots poet MacDiarmid and Breton writer Hemon are compared. The study argues that the four authors had to take a step backwards in order to leap forward into the post-Great War era.

IN THIS paper I examine the photographic self-portrait as a genre which engages various modalities of identity agency. Appealing to examples of photographic portraits and selfportraits by Charles Lutwidge Dodgson (Lewis Carroll), I intend to show the performative function of the portrait photography in dialogue with paradigms of painting, with culturally marked identities, and with the textual modes of self-reference. In numerous verbal portraits Dodgson's narrating subjects ascribe agency to participation in acts of exposure. Yet, in photographic self-representations, Dodgson conceals his identity of a light writer. Employing photographic self-portraiture to claim a site of his personal pursuit, he lays claim to another sense of self. Dodgson foregrounds exteriority and generalizes the artistic intention informed by socially validating conventions. The art of portraiture is the art of drawing forth, of revealing, of making likeness, and prolonging (Oxford English Dictionary). 1 Portraiture, and especially self-portraiture, is a form of visual life writing. The invention of photography certainly provided new ways for individuals to portray themselves, to present themselves, to assume and feel agency, also to change it, and to 1. Susan S. Williams suggests that the portrait "not only imitates but also reveals, making manifest something hidden. It is both a public document of fact and an agent of private revelation" (1997, 6). Williams notes that the etymology of the word "portrait" points to "the Latin word protrahere, to draw forth, reveal, extend, or prolong," and to "the French pourtraire, to fashion or represent" (1997, 6).

Very interesting and pretty persuasive, bearing in mind the need for symbolic corroboration.
Excellent material and I hope
to see it in print.

You have done a great job in extending and deepening references and examples, Temple Newsam,
Lady Hervey, Charlie Trees
and much more.

Professor Murray Pittock MAE FRSE
Bradley Professor and
Pro Vice Principal University of Glasgow

~~~~~~~~~~~~~~~~~~~~~

A very pleasant exploration of
un-noticed and under noticed, Jacobite decorations and silverware.

You have some good stuff here and it should be better known.

Professor Daniel Szechi
Professor early modern history,
University of Manchester
Prolific Author on Jacobitism

Decisions 24 Write as Well as You Can SOURCES INDEX writers worse. Good writers know that very few sentences come out right the first time, or even the third time or the fifth time. For them the word processor was a rare gift, enabling them to fuss endlessly with their sentences-cutting and revising and reshaping-without the drudgery of retyping. Bad writers became even more verbose because writing was suddenly so easy and their sentences looked so pretty on the screen. How could such beautiful sentences not be perfect? E-mail pushed that verbosity to a new extreme: chatter unlimited. Its a spontaneous medium, not conducive to slowing down or looking back. That makes it ideal for the never-ending upkeep of personal life: maintaining contact with far-flung children and grandchildren and friends and long-lost classmates. If the writing is often garrulous or disorganized or not quite clear, no real harm is done. But e-mail is also where much of the world s business is now conducted. Millions of e-mail messages every day give people the information they need to do their job, and a badly written message can cause a lot of damage. Employers have begun to realize that they literally cannot afford to hire men and women who can't write sentences that are tight and logical and clear. The new information age, for all its high-tech gadgetry, is, finally, writingbased. E-mail, the Internet and the fax are all forms of writing, and writing is, finally, a craft, with its own set of tools, which are words. Like all tools, they have to be used right. On Writing Well is a craft book. That's what I set out to write 25 years ago-a book that would teach the craft of writing warmly and clearly-and its principles have never changed; they are as valid in the digital age as they were in the age of the typewriter. I don't mean that the book itself hasn't changed. I've revised and expanded it five times since 1976 to keep pace with new trends in the language and in society: a far greater interest in memoirwriting, for instance, and in writing about business and science and sports, and in nonfiction writing by women and by newcomers to the United States from other cultural traditions.

Prose fiction is the most popular of the genres of literature in contemporary times. Its recognition stems from the fact that it captures human experiences in a narrative form. The study of prose fiction is very important. Appreciating or critiquing the literary and socio-political values that are retained in prose works across different categories requires being familiar with the basic concepts and principles in literature. Therefore, this chapter discusses these concepts and principles across the categories with reference to the definition, characteristics, evolution, functions, forms, and elements of prose fiction. It also attempts a literary appreciation of selected novels, using the listed categorisations as necessary templates.

LANARK is a novel of splits. Much of Alasdair Gray’s work is occupied by dualism; be itwithin a character, inherent to the narrative, or drawn clearly in his visual art, his work often exists in its opposing balances. Lanark is also complicated by its parts being strewn about within its cover’s confines: Books One and Two are encased by Books

The present work describes and analyses the causes and the course of the revival of Gaelic traditional music in Scotland in the 20th century, in particular using the musicological and cultural theoretical models by Tamara Livingston and Owe Ronström. The work focuses on the music of the groups Runrig and Capercaillie, both of which, embedded in the sociocultural
and cultural-political changes of the “Gaelic Renaissance” in the 1970s and under the influence of Anglo-American popular musical styles, began to create their own hybrid musical forms of expression which can be dubbed with the genre names “Folk Rock” and “Electric Folk”. The music of both bands is examined in its hybrid structure, whereby it is found that the folk rock music of Runrig is significantly influenced by the traditional Gaelic music through a process in this work termed “traditionalisation”. Furthermore, the musical and social influence of the band Runrig in particular is emphasized, which is mainly due to their production of new Gaelic songs causing an increase in the cultural self-confidence of the partially still marginalised Gaelic community. However, the work comes to the conclusion that the revival of Gaelic traditional music, despite an institutionalisation process since the beginning of the 1980s, has not yet reached a stable and secure state, which requires an ongoing promotion but also creative engagement by actors from the community with Gaelic culture.

Am Beispiel romantischer Übersetzungen Sc(h)ottischer Balladen untersucht der Beitrag, u.a. in Auseinandersetzung mit den Schriften Achim von Arnims, Jacob und Wilhelm Grimms und Henriette Schubarts, die Formen und Funktionen des balladesken Transfers zwischen den Sprachen, Druck- und Sammlungsformaten und fragt nach den damit verknüpften Textmodifikationen, die sich von der Ästhetik der Texte bis hin zu ihrer Bezeichnung erstrecken. Nach kurzen Überlegungen zum Verhältnis von Migration und Balladentradition im Allgemeinen, mit Blick auf die Romantik im deutschsprachigen Raum im Speziellen, wird anhand der „romantic ballads“ "The Cruel Sister", "Earl Richard", "The Lass of Lochroyan" und "The Gay Goss Hawk" und ihren Übertragungen gezeigt, wie (a) der textuelle Transfer von mündlicher Tradierung zur schriftlichen Textur, (b) von englischsprachiger Vorlage zur deutschen Übersetzung funktioniert und (c) von diversen Übersetzungs- und Herausgeberinstanzen funktionalisiert wird.

This essay analyses Louisa Hall’s Reproduction (2023), which contrasts two very different ways of becoming pregnant and mothering: the narrator’s natural pregnancies and her friend Anna’s, scientifically achieved with recourse to gene editing techniques.
The shadow of Mary Shelley’s Frankenstein is pervasive in Hall’s Reproduction, with the narrator’s journey often paralleling that of Mary Shelley herself and that of Walton, the Arctic explorer, while Anna’s is reminiscent of Frankenstein’s efforts to build a Creature and of Walton’s ambition to go into uncharted territories by genetically tinkering with her embryos to make them viable and healthy, but also introducing new and beneficial traits, in what could be regarded as eugenics and bioenhancement. Indeed, Hall’s Reproduction engages in the debate about polygenic screening, with Anna arguing that if she can choose the best possible traits for her baby then it would be immoral not to do so. Her experimental procedure, however, could be seen as gravitating towards an ethical slippery slope that might lead to unregulated eugenics and “designer babies”.
These and related thematic concerns will be analysed with recourse to recent work on the bioethics pertaining to polygenic embryo screening and the moral implications of editing embryos, as well as different ways of navigating a pregnancy, embodied by Anna and the narrator, a “woman Frankenstein” and a “woman Walton” (2023: 204), respectively.

This thesis is an examination of the poetry of Edwin Morgan. It is a cultural analysis of Morgan\u27s poetry as representation of the Scottish people. Morgan\u27s poetry represents the Scottish people as determined and persistent in dealing with life\u27s adversities while maintaining hope in a better future

is a modern writer who has distinguished himself in such a way so as to stand out among his contemporaries. Like his predecessors and 1 contemporaries, Morgan strives to present his own individuality, as well as that of his countrymen while still showing a pride and affection for the land in which he was raised. Morgan was born in a suburb of Glasgow, Scotland, known as the West End in 1920. He grew up in Pollokshields and Rutherglen, two. other suburbs of Glasgow, and demonstrated a fondness for reading at a very young age. This fondness bordered on obsession, which worried his mother and father. Morgan's parents were'political conservatives and Presbyterian churchgoers who created a "loving but rigorous home life for their son" (McCarra 2). Morgan's voracious appetite, for books influenced his writing. However, what was perhaps his greatest .influence was the ongoing modernization of the city in which he lived, as is demonstrated, in his poems such as "Message Clear" and "Archives." The arrival of more streamlined architecture and the hope for a more technologically advanced future pervaded Glasgow throughout much of Morgan's life. Kevin McCarra, in his brief essay about Morgan's life, points out that "childhood and adolescence left Morgan with the conviction that the future should be something more

I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last Name: Arzu Büşra KUMBAROĞLU

This is the definite list of self-taught and labouring-class poets, with almost 2,400 entries and well over half a million words. Entries vary in length and style, as it is very much a work in progress, from simple basic entries to substantial essays. It mainly covers British and Irish poets of the eighteenth and nineteenth century but increasingly extends outwards in time and place. About a hundred of the entries are written by others, but mainly it is my own work as general editor and principal writer. (John Goodridge)

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI Ly. Sunarsih, my sister Melan, my brother Agus, ( †) grandmother and my cousin Eko for the support, pray, care, help, love and attention. I would like to thank Gabriel Fajar Sasmita Aji, S.S., M.Hum, my advisor and my co-advisor Dewi Widyastuti, S.Pd., M.Hum. for the guidance, advice, and patience that helped me finish this undergraduate thesis. My thanks also go to mbak Ninik and all the lecturers and the administrative staffs of Department of English Letters for the years of my study. My gratitude also goes to Mudika friends: mbak Nia, mbak Erna, Irine, Niken, mas Gunawan, mas Sigit, Teguh, Rina, Agnes, mas Plerik, Aditya, Dewi and all mudika friends for the help, spirit and suggestions, my friends in boarding house: mbak Teti, mbak Hendri, mbak Anna, Vita, Irine, Eky, Mapy, mbak Rere, and Eveline for the supports, helps remind me finishing this thesis and for lovely moments living together in three years. For my best friends -in English Letters Department 2004: Monic, Ani, Susan, Diah, Adi, Bayu, Bendhot really thank you for the supports, helps and everything, also for the pleasant moments we have shared together. I would like to thank Eka, Soni and Aditya PBI USD 2004 for the kindness and helps. Last, I thank everyone whose name can not be mentioned one by one in helping me to finish this undergraduate thesis.

Interview with Dr. Tracy Prince about Portland Center for Public Humanities' lunch and lecture to celebrate her Culture Wars in British Literature book. "The last 100 years have brought dramatic changes to Britain."  She analyzes how British literature reflects evolving ideas of “Britishness” and what it means to be British, and how literary anthologies do not reflect these changes. “The teaching of 20th and 21st century British literature tends to remain focused mostly on Anglo-English writers.” She first became interested while studying at the University of Oxford in the early ’90s as she studied British literature and history. She found few writers of color or writers from Scotland, Wales or Northern Ireland represented in British bookstores.