The Mainstream Companion to Scottish Literature

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Used Hardcover Quantity Available: 1. Published by Mainstream Publishing, reprint, Published by Mainstream The Mainstream companion to Scottish literature Royle, Trevor. Published by Mainstream. Seller Image. Used Soft cover Quantity Available: 1. Published by Mainstream, Edinburgh There are 7 more copies of this book View all search results for this book. As writers such as George Douglas Brown railed against the " Kailyard school " that had come to dominate Scottish letters, producing satiric, realist accounts of Scottish rural life in novels like The House with the Green Shutters , Scots language poets such as Violet Jacob and Marion Angus undertook a quiet revival of regionally inflected poetry in the Lowland vernacular.

The aforementioned Patrick Geddes would continue his foundational work in town and regional planning, developing the triad "Place - Work - Folk" as a matrix for new thinking about the relationships between people and their local environments. In the realm of visual arts, John Duncan would refine his Celtic myth inspired Symbolist painting to include an increasing emphasis on collage and the flatness of the image. In architecture and the decorative arts, the towering figures of Charles Rennie Mackintosh and the Glasgow Four would give Scotland its very own "school" of modern design and help create the " Glasgow style ".

Scotland in the early 20th century was experiencing an efflorescence of creative activity, but there was not yet a sense of a particular shared movement or an overt national inflection to all of this artistic effort. It was not until the literary efforts of Hugh MacDiarmid that the Scottish Renaissance can properly be said to have begun.

https://senjouin-renkai.com/wp-content/spyware/handy-ueberwachung-drogen.php Starting in , C. This had an electrifying effect on the literary landscape of the time. Other writers soon followed in MacDiarmid's footsteps and also wrote in Lallans, including the poets Edwin Muir — and William Soutar — , who pursued an exploration of identity, rejecting nostalgia and parochialism and engaging with social and political issues.

The Glaswegian poet Edwin Morgan — became known for translations of works from a wide range of European languages. He was also the first Scots Makar the official national poet , appointed by the inaugural Scottish government in The Scottish Renaissance increasingly concentrated on the novel, particularly after the s when Hugh MacDiarmid was in isolation in Shetland and its leadership moved to novelist Neil Gunn — Gunn's novels, beginning with The Grey Coast , and including Highland River and The Green Isle of the Great Deep , were largely written in English and not the Scots preferred by MacDiarmid, focused on the Highlands of his birth and were notable for their narrative experimentation.

There were also a large number of female authors associated with the movement, who demonstrated a growing feminine consciousness. Cronin is now often seen as sentimental, but his early work, particularly his first novel Hatter's Castle and his most successful The Citadel were a deliberate reaction against the Kailyard tradition, exposing the hardships and vicissitudes of the lives of ordinary people, [12] He was the most translated Scottish author in the twentieth century.

Eric Linklater produced comedies of the absurd including Juan in America dealing with prohibition America, and a critique of modern war in Private Angelo Lewis Grassic Gibbon, the pseudonym of James Leslie Mitchell, produced one of the most important realisations of the ideas of the Scottish Renaissance in his trilogy A Scots Quair Sunset Song , , Cloud Howe , and Grey Granite , , which mixed different Scots dialects with the narrative voice. Hendry 's —86 Fernie Brae They all focused on the issues of exile, the fate of the Gaelic language and bi-culturalism.


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The ideas of a distinctive modern Scottish art were expressed in the inter-war period by figures including Stanley Cursiter — , William McCance — , William Johnstone — and J. Fergusson — He went on to be a major painter of the coastline of his native Orkney, director of the National Gallery of Scotland and proposed the creation of a National Gallery of Modern Art in His interest in machine imagery can be seen in paintings like Damaged Destroyer William McCance's early work was in a bold post-impressionist style.

Under these influences his work became increasingly abstract and influenced by vorticism, as can be seen in Women on an Elevator and The Engineer and his Wife Scott and met MacDiarmid while a student at Edinburgh. He studied cubism, surrealism and was introduced to new American art by his wife the sculptor Flora Macdonald. He moved towards abstraction , attempting to utilise aspects of landscape, poetry and Celtic art.

His most significant work, A Point in Time —38 , has been described by art historian Duncan Macmillan as "one of the most important Scottish pictures of the century and one of the most remarkable pictures by any British painter in the period".

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Both were influenced by surrealism and the work of Bruegel and focused on landscape, as can be seen in McIntosh Patrick's Traquair House and more overtly Baird's The Birth of Venus Before his success in painting, McIntosh Patrick gained a reputation as an etcher. Leading figures in the field in the inter-war period included William Wilson —72 and Ian Fleming The ideas of the Scottish Renaissance were brought to classical music by Francis George Scott — , MacDiarmid's former teacher, who set to music several of the poet's works.

Stevenson developed a musical idiom derived from Scottish music, creating settings of folk songs including concertos for his instrument, the piano and The influence of Dmitri Shostakovich — was evident in the initials used in his large-scale piano work Passacaglia on DSCH Robin Orr — and Cedric Thorpe Davie — were influenced by modernism and Scottish musical cadences. Together they created several ballets, including The Forsaken Mermaid He was also instrumental in the foundation of the Active Society for the Propagation of Contemporary Music, for which he brought leading composers to Glasgow to perform their work.

Although many of the participants were to live until the s and later, the truly revolutionary aspect of the Scottish Renaissance can be said to have been over by the s, when it became eclipsed by various other movements, often international in nature. The most famous clash was at the Edinburgh Writers Festival, where Hugh MacDiarmid denounced Alexander Trocchi , a younger Scottish writer, as "cosmopolitan scum", and Trocchi claimed "sodomy" as a basis for his own writing. This is often seen as a clash of the generations, although it is rarely reported that the two writers corresponded with each other later, and became friends.

Both were controversialists of sorts. The Scottish Renaissance also had a profound effect on the Scottish independence movement, and the roots of the Scottish National Party may be said to be firmly in it.


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