This article proposes that the popularly held model of ‘Gothic’ writings emergence in the Eighteenth Century is too partial: it tends to privilege prose fiction written in England in the latter part of the century. As a corrective, the article looks at poetry written in Scotland across the century, seeking not origins for ‘the Gothic’ as a transhistorical literary mode of expression, but emergent treatments of the supernatural that fed back into the literature of the period. It argues that poetry in eighteenth-century Scotland develops well-established indigenous supernatural tropes, especially that of the ‘ghaist’ or ghost.
James Robertson‘s well-deserved reputation as a historical novelist has obscured the role that the Gothic plays in his work. Manifesting itself in distinctively Scottish fashion, Robertson‘s Gothicism is tied to the ‘broader national culture’ in general and to post-devolutionary Scotland in particular. Not only does his transformation of the Gothic into the historical novels uncanny other resist the modern novels tendency towards increasing privatisation. It also results in work that diverges from much post-devolutionary Scottish fiction in that his stories and novels are, by virtue of the density of their Scottishness, deeply connected to the local and to folk culture.
This short essay draws on research undertaken by the curator of the Scottish Screen Archive on the few surviving films credited to Greens Film Service of Glasgow in the teens and twenties. The research revealed a dynamic family business, born out of the travelling cinematograph shows of the late nineteenth century, growing to assume a dominant role in the Scottish cinema trade in the silent era, across exhibition, distribution and production. One small part of a lost film history waiting for rediscovery – early cinema in Scotland.
Glasgow Corporation had been sponsoring films for almost twenty years when in 1938 its Public Health Department commissioned seven silent films. This marked new relations between the Corporation and the emerging Scottish documentary film movement and a change of approach towards the films’ audiences and the city itself. The essay traces the Corporation‘s film sponsorship from the late 1930s to 1978 when the final images of Glasgow‘s Progress, the Corporation‘s last sponsored film - on its urban renewal projects were taken. By then the Corporation had been amalgamated into Strathclyde Regional Council, the century-long social project of reform had come to an end and television had made its own documentary impact. It argues that over time Corporation films served a variety of political and institutional purposes and often prefigured the fortunes of the city and its people.
at the income-generating activities that our interlocutors engage in during the (literal or perceived) absence of their husbands. The fourth section asks how middle-aged women juggle their economic roles with more traditional duties as matchmakers, grandmothers and mothers-in-law. Methodology and Study Participants This project was funded by the Scottish Funding Council’s (SFC) Global Challenges Research Fund (GCRF) Internal Pump Priming Fund at the
events and real people, but the text is written as a fiction novel to allow for a degree of artistic licence. 4 TR writes about his experience as one of the emergency medical responders to the bombing of Pan Am Flight 103 on 21 December 1988 while over the Scottish town of Lockerbie. 5 Classification and Minimum Standards for Emergency Medical Teams (2021, electronic version) (Geneva: World Health Organization). 6 All NHS employees who come into contact with patients must satisfactorily complete the disclosure and barring service (DBS) check to
This article examines Denise Mina‘s treatment of Scottish identity and the gothic tradition in her run on Hellblazer, an American horror comic about an English occultist, John Constantine. Mina takes Constantine to Glasgow to confront the deadly “empathy plague” which forces victims to emphasise with others. Mina argues that the Scots revel in the misery of others, making them easy victims for this malady. However, this failing becomes a means for victory, as everyone is united in an outpouring of shameful joy at the story‘s conclusion. Mina‘s Scotland is a home away from home for Constantine – haunted, embittered and lost – and her image of Scotland mirrors representations seen in other Scottish Gothic texts.
This essay seeks to define a Gothic tendency in the ‘viscerality’ of some recent and prominent Scottish women writers: Janice Galloway, Alison Kennedy and Louise Welsh. The argument addresses an alienating tension in this ‘viscerality’ between a fabular form and the impression of a new realism of social surfaces. This is a Gothic of cruelty and violent representation of the body, which opens a Scottish urban culture, portrayed as a synecdoche for divided consciousness, to fables of sexual and political alienation.
The journey North is a recurrent motif throughout the Gothic literary tradition, often representing a journey back in time to a more primitive location where conventional rules do not apply. Within the context of contemporary Scottish Gothic this journey continues to involve a temporal regression. The North of Scotland, and specifically the Highlands, is still a Gothic location, allowing for an interrogation of the homogenising notion of ‘national identity’. In this article the journey North is explored in the work of contemporary writers and film directors including Iain Banks, Alan Warner, David Mackenzie, and Neil Marshall.
This essay examines the proliferation of visual representations of Robert Louis Stevenson‘s Strange Case of Dr Jekyll and Mr Hyde (1886), considering the question of what links contemporary (Scottish?) Gothic to its problematic origins. After a survey of cinematic and graphic adaptations, the essay focuses on Steven Moffatt‘s Jekyll (BBC, 2007), which combines the post-Darwinian anxieties surrounding Stevensons tale of human regression with a much more contemporary interrogation of the ‘human’ against the backdrop of complex globalised scientific conspiracies. Significantly, the production draws on the Scottish origin of the text, re-proposing the question of (national) identity and authenticity against the threat of globalisation.