reinvigorated an ailing Scottish film
industry, were secured. 2 Not surprisingly, therefore, Scottish literature and
culture came to have a more prominent role in school and college
curricula , and indigenously inspired reinterpretations of
Scottish political history and policy quickly ensued. When, Craig
concludes, the 1997 referendum cemented the reality of a Scottish
parliament and local government
(Lethem, 1995 : 8), the man who oneirically
controls Hatfork and Little America, and later in the
protagonist’s sudden endomorphic transformation at the hands of
Lucky, the former inmate of a local mental hospital who shapes the
dream-world of Vacaville, California (Lethem, 1995 :
229). To have the power to create and put flesh on metaphors that
everyone then recognises is to create a powerful hegemony
In May 1909, the Whitechapel Art Gallery (WAG) in the London borough of Stepney, was the venue for an historical pageant performed by 600 children from twenty-one local schools. Clad in historical costume, they danced, sang and enacted scripted episodes of local history to audiences drawn from East London and beyond. It was staged amidst a craze for historical pageants originated by the pageant master Louis N. Parker, and the organisers declared Stepney Children's Pageant ‘the first Children's Pageant ever held’.
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.
The Case of Mary Ashford and the Cultural Context of Late-Regency Melodrama
This paper examines the historical context of the publication and reception of three dramas related to the murder of a gardener‘s daughter, Mary Ashford in Sutton Coldfield in 1817. George Ludlam‘s The Mysterious Murder was countered by a play called The Murdered Maid whose anonymous author is likely to have been a local clergyman. Both plays were locally written and published. When the case reached a national arena, John Kerr‘s Presumptive Guilt provided a London-based comment on the case. The paper examines the relationship between these metropolitan and provincial print cultures and the way in which dramatic form was used as a mode of mediation between public and legal discourse.