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Playing Scotsmen in mainland Europe

Twenty-first-century Scottish play-acting draws depth and energy from a European and Western tradition of dreaming Scottish dreams, and this tradition dates back to at least the late eighteenth century, to the beginnings of European Romanticism. This book explores how contemporary celebrations of Scotland build upon earlier Scottish fantasies. The Scottish dreamscape is one of several pre-modern counter-worlds which have been approached through imitation in the past. The book examines the 'Scotland' that is on the play-actors' minds. The Scottish dreamscape was formed in an eighteenth- and nineteenth-century process now best known as Highlandism. It was then that Scotland became associated with the aesthetics and supposed characteristics of its Highland periphery. The book also explores the Scottish dreamscape's spread via the channels of the British Empire and American popular culture. It identifies five key carriers which helped to disseminate the Scottish aesthetic across the world, namely epic poetry, the Highland regiments, music hall entertainment, Hollywood films, and romance novels. The book further focuses on fieldwork conducted in 2009 and 2010. It sheds some light on the different forms of Scottish play-acting, on musicians, athletes, commemorators, and historical re-enactors. The pipers and athletes do not imitate the past; they perform in what they hope are old but living Scottish traditions. Commemorators and historical re-enactors have a different aim. They seek to recreate the past in the present. Finally, the book identifies some of the main reasons for the Scottish dreamscape's special resonance in northern and western Europe.

helped immensely to carry the image of the kilted Highlander into the far corners of the world. The dreamscape is older. It has been employed by artists, politicians, military men, and tourism entrepreneurs for over 250 years. Its origins lay in the second half of the eighteenth century, when Scottish thinkers and writers re-­imagined Scottish national identity at a time of drastic social and economic change. The image was perfected in Victorian Britain, during the high time of European Romanticism, and spread via the worldwide channels of the British Empire and its

in Warrior dreams

three hypotheses for Scotland’s remarkable success in what may be called the international market of historical counter-­worlds. First, the Scottish dreamscape is familiar. European thinkers have imagined Scotland as a land of living history from the very beginnings of European Romanticism. The notion of Scotland as Europe’s last wilderness was spread via the channels of the British Empire and American popular culture and established internationally. Secondly, the dreamscape promises pleasure. Its sartorial, musical, and athletic assets allow for satisfying

in Warrior dreams

departure from India. They are based on the numerous records, inscriptions, coins and translated local chronicles he had collected in Rajasthan. In his text he gives several quotations from British poets, among whom feature contemporary Romantic poets. More than his textual allusions to Romantic poetry, Tod’s work on the Rajputs contains several qualities that are associated with European Romanticism, for

in Knowledge, mediation and empire

, even when it spills into violence. This critique has historical affinities further back than Gandhi: with European Romanticism and even with the radical dissenting sects of the seventeenth century. (Charles Tripp has gone further to argue that much of the Islamist critique is a rebranding of Western sources.) For Bilgrami, academics writing on political issues for a public

in Islamic charities and Islamic humanism in troubled times
Daniel Muñoz Sempere

out that this should be a reference to Oscar, the son of Ossian, the legendary warrior poet who narrates the cycle of epic poems based on Gaelic mythology published by James MacPherson from 1760 on. The poems were very popular internationally as well as being central to the development of European Romanticism. 108 Algún  ciego91 alquilado para toda la noche, como la araña y la alfombra, y para descansarle un piano, tan piano92 que nadie lo consiguió oír jamás, eran la música del baile, donde nadie bailó. Poníanse, sí, de vez en cuando a modo de parejas la mitad de

in Artículos de costumbres

Suvorov set out to meet each other with Ossian on their minds. And they were not alone. In the period from c.1774 to 1830, the poems of Ossian captured the imagination of a great number of European readers, poets, and politicians. The mythical Scottish bard became one of the most celebrated figures of European Romanticism. Long before twenty-­ first-­ century play-­ actors would direct their yearning for roots towards Scotland, Ossian inspired European intellectuals to imagine their past in a Scottish manner. As Kidd and Coleman note: ‘Every nation, or aspirant nation

in Warrior dreams
Walker Evans’s polaroids

’s – abilities, p. 16. 15 John Tagg, ‘Melancholy Realism: Walker Evans’s Resistance to Meaning’, in Tagg, The Disciplinary Frame: Photographic Truths and the Capture of Meaning (Minneapolis, MN: University of Minnesota Press, 2009), p. 155. 16 Ibid. 17 Ibid., p. 171. 18 Ralph Waldo Emerson, ‘The American Scholar’ (1837), in The Portable Emerson, ed. Carl Bode (London: Penguin, 1946), p. 65. 19 Paul Hamilton, ‘Leopardi and the Logic of the Romantic Fragment’, in Hamilton, Realpolitik: European Romanticism and Politics (Oxford: Oxford University Press, 2013), p. 206. 20

in Mixed messages
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Brasilidade and the rise of the music documentary

themes, principally de Moraes’s status as a ‘true’ Brazilian and his tumultuous love life. The film advances the claim that de Moraes was not ‘really’ himself, or indeed Brazilian, until he embraced Brazilian popular music and its associated bohemian lifestyle. His initial formation as an erudite poet, heavily influenced by European Romanticism, is represented as a phase in which he proved his

in Screening songs in Hispanic and Lusophone cinema
Byron and the geography of Italy

77 4 The garden of the world: Byron and the geography of Italy Mauro Pala Geography as mindscape In La Nouvelle Héloïse, the protagonist Saint-​Preux contemplates the Swiss landscape to the point of identifying himself with it, inaugurating a characteristic tendency that runs throughout European Romanticism:  the seeking out of correspondences, partial or absolute, temporary or eternal, between observer and place. Earlier commentators on travel, of course, laid the ground for Rousseau. In his reading of the Grand Tour, for example, Addison maintains that the

in Byron and Italy