Scottish Identity Research Articles

Reflection of Scottish national identity in explanatory and encyclopaedic dictionaries (with reference to the “Collins Encyclopaedia of Scotland”)

Reflection of Scottish national identity in explanatory and encyclopaedic dictionaries (with reference to the “Collins Encyclopaedia of Scotland”)

Representation strategies of the “internal” Other image in the early 21<sup>st</sup> century British literature

The article examines historical novels by the early 21 st century British writers where the authors turn to images of “internal” Others: Welsh, Irish and Scots. For each of these regions, we can identify topics that are associated specifically with them. Thus, the Welsh component is connected, first of all, with Celtic culture and social issues. Ireland is associated with religious theme, and Scotland is associated with a historical component. Edward Rutherfurd’s dilogy on Ireland “Dublin: Foundation” (2004) and “Ireland Awakening” (2006), presents the history of the Christianity development in Ireland. The writer emphasizes the continuity of paganism and Christianity. The following series of works analyzed in this article is dedicated to one of the most significant historical figures in Scotland, Robert the Bruce. The novels “Insurrection” (2010), “Renegade” (2012) and “Kingdom” (2014) examine the period of Scottish identity formation exemplified by King Robert and his opposition to the English monarchy. In Ken Follett’s trilogy “Century”, which includes “Fall of Giants” (2010), “Winter of the World” (2012) and “Edge of Eternity” (2014), we can note the socio-political issues associated, first of all, with the Welsh characters. At the same time, the idea common to all these works is the Celtic peoples’ community and their opposition to the English.

Recovering Scottish History: John Hill Burton and Scottish National Identity in the Nineteenth Century, by Craig Beveridge

<i>Recovering Scottish History: John Hill Burton and Scottish National Identity in the Nineteenth Century</i>, by Craig Beveridge

A Scot an’ a Sassenach scrieve aboot leid: A three-pairt Scotoethnography

This autoethnography is written in three parts and is influenced by layered account writing principles. In part one, the first author develops his “Scotoethnography.” In a poetic and prose mixture of Scots and Standard English, he critically explores his early socialization away from Scots toward Standard English. With examples from his lived experience, his published autoethnographic work, literary texts, and personal communication, he advocates for his use of Scots as an extra conceptual and linguistic resource. In part two he describes his research into the theoretical and empirical grounding of the article. Part three is a critically focused dialogue between the authors. It ranges across defining “Scotoethnography” and the first author’s motivation for crafting the paper; the emerging political and cultural implications of othering, colonization, and silencing of Scottish identity; the passion and creativity inherent in Scots relative to Standard English; and, finally, the implications for autoethnographers who wish to rescue their regional dialects from monolinguistic entrapment in Standard English.

‘The Scottish Warrior’ Drew McIntyre: celebrity-commodity, symbolic ethnicity and authenticity

ABSTRACT While domestic articulations of Scottish identity represent a shifting and complex arena for political discourse, North American articulations of Scottishness often rely on stereotypes. Enter Drew McIntyre, The Scottish Warrior of WWE fame. The performance of McIntyre’s identity has (re)deployed symbolic ethnicity as a prominent marker of his Scottishness. Symbolic identities are commonly used in professional wrestling to define and articulate performed selves as special or unique. Yet, by voluntarily drawing upon, and amplifying, iconic elements of Scottish culture, such as Tartanry and Kailyard, McIntyre’s Scottishness has become simultaneously authentic and inauthentic in nature. This discursive effect mediates the wrestling celebrity over the recognition of the individuated self. In reducing McIntyre to a series of mediated ethnic symbols, WWE produces an objectified version of McIntyre, The Scottish Warrior, which functions as a celebrity-commodity that has converted McIntyre into a product for exchange. As such, and by means of a case study of the mediascape surrounding McIntyre’s recent WWE run, this article explores how WWE use symbolic ethnicity in the construction of The Scottish Warrior as an easily communicable celebrity-commodity, unpacking the intersection of ethnicity, symbolism and (in)authenticity in the commodification of Andrew Galloway.

SEPARATISM IN SCOTLAND AS A CHALLENGE OF GREAT BRITAIN’S POST-BREXIT UNITY

The article deals with the ontological aspects finding out of the separatist movement in Scotland as a phenomenon of political separatism, which contains the existing differences of ethnic units and state-political entities. The problem of separatism in the historical part of the Great Britain (country), Scotland, which since 2014 has chosen to leave the country, is considered. Attention is drawn to the fact that in the political life of modern British society, separatist sentiments in this country are the product of a long historical and political process, the conflicting pages of which are actively used by the “adult” elite of this region in the struggle for power. A distinctive feature of the modern Scottish separatism is its economic basis, which feeds the political strategy of the Scottish National Party. Considerable weight in the process of secession also belongs to the spiritual and cultural sphere, which over a long historical period formed a stable Scottish identity. It is stated that the Scottish version of separatism embodies the paradigm of political separatism in a distinct region, within which regional and local authorities, spiritual-cultural and socio-economic components function, which gives an additional leverage to the regional elite in the pursuit of independence from London. The factor that has accelerated the process of secession was Brexit, which has been opposed by the Scottish government. Keywords: separatism, Brexit, Scotland, Great Britain, Scottexit, independence, Scottish National Party.

Interactions among national and supranational identities: mobilizing the independence movement in Scotland

As nationalism rises worldwide, understanding the relevance of national identities is at a premium in both the study of mass political behavior and the analysis of social movements. Drawing on research in social psychology, this study explores interactions among national and supranational identities using the concepts of identity interference (i.e., negative interactions) and identity complementarity (i.e., positive interactions). These interactions extend beyond the direct effects of identity considered in many previous studies. Focusing on interactions centers the analysis on the contextual aspects of identity during nationalist mobilizations. Survey data from Scotland demonstrate that interactions among Scottish, British, and European identities were consequential for mobilizing support for Scottish independence in 2019. Strong evidence indicates interference between Scottish and British identities. European and Scottish identities complement one another among independence supporters but not in the general population. The possibility of interference between European and British identities is backed by only mixed results. The timing of this study in the aftermath of the Brexit referendum was likely relevant to its findings on European identity. Overall, this research illustrates the benefits of widening the empirical examination of multiple identities in the social sciences.

Exploring Sir Walter Scott's Notions of Scottish Identity in the Context of Brexit and Scottish Independence

Numerous studies have investigated the concept of the nation and Scottish identity in the prose fiction of Sir Walter Scott. These studies have traditionally highlighted Scott’s role in reshaping public perceptions of the Scottish Highlands, their culture, and the suffering of the Highlanders under the British Empire, through his detailed knowledge of Scottish history and culture. However, it is essential to reconsider this issue in light of recent historical and political developments in Scotland after Brexit and the calls for independence by various Scottish thinkers, writers, and political leaders, aiming to join the European Union. This study revisits Scott’s concept of the Scottish nation and identity in his two texts, “The Highland Widow” and “The Two Drovers”. The findings suggest that the nationalist sentiment in Scott's writings is relevant to the social and political changes occurring in Scotland, Europe, and globally. It can be argued that much of the contemporary discourse on Scottish independence can be traced back to Scott's works, indicating a recurring historical pattern. Scott expressed concern for the loss of Scottish national identity and the right of self-determination. His texts vividly demonstrate the interconnection of past and present events, embodying both historical and contemporary perspectives.

Identity construction and collusion in documentary of the Gaelic-speaking community: A filmmaker’s perspective

If Gaelic has been symbolically appropriated to represent Scotland, then it follows that we need to look more closely at the part played by documentary film both of and from the Scottish Hebrides, in furthering the dissemination of what is an idealised and contested identity. As documentary is a negotiated contract between the producer and those they ‘represent’, the discussion needs to consider whether the representation of a Hebridean identity, and by extension a mythical Scottish identity, is constructed by the filmmaker, and if so, how filmic constraints and practices inform this representation. Within this framework is an acknowledgement of the extent to which Hebridean identity has been mediated by books, photographs and films for the past 300 years. This article will deliver the findings of a research project undertaken in the in the Outer Hebrides (also known as the Western Isles and Lewis &amp; Harris). The research investigates the extent to which interviewees themselves collude with documentary makers in presenting a view of the Gael that reflects the Gaelic-speaker’s own self-assigned role as guardian of the land and traditions. As this research marries practice with research, it will present it in a semi-autobiographical style.

Formation of Scottish Ethnic Identity through the Historical and Social Events

The present article represents the process of formation and development of the Scottish identity through the events that have been occurring since IIIrd century. The aim of the research is the study of the ethnic identity development as emotional and cognitive process of identification with the ethnos. The article is based on the foreign and Russian researchers’ studies covering issues about Scottish history, ethnic identities, text pertaining to the important historic events that influenced the ethnic identity formation and articles written by Scottish sociologists as members of the ethnic group. On the basis of definitional, conceptual and event history analyses sphere of concepts SCOTTISH IDENTITY is formulated. The conclusion about the existence of two types of identity (ethnic and national) in the Scots consciousness is formulated. Event history analysis shows the emergence of the ethnic identity, that is changes in the identifications in the course of historical events and life conditions. The relevance in the research is in the formation of the ethnic identity representation in the Scots consciousness in the frame of its long period of formation and development. This article is of interest because of the second referendum on Scottish independence that is planned to be held in autumn 2023.

The Importance of Old and New Symbolism in Modern Scottish National Identity

This paper considers the use of myths and symbols, and the culture and values that underpin contemporary Scottish Identity. Symbols and myths play very important role in contemporary Scottish national identity, and many have a centuries- old tradition and are clearly associated with Scottishness, while others, created much later, are an important element of national belonging for Scots. Interestingly, some of these symbols and myths are so prominent and expressive that they are associated with Scottishness around the world. Others, on the other hand, are less recognisable worldwide, but have significant efficacy in Scotland. The importance of symbols that underpin, define and re-enforce Scottish national identity cannot be understated. They are evidence of pride in being Scottish and of belonging to the Scottish nation. Symbols and myths enable Scots, both old and new to express their national belonging. Furthermore, they provide an important element of national cohesion and a sense of national identity in turbulent times. We consider the issue of the song, dress, land and flag of the nation, and how they contribute to a sense of Scottishness at home (and abroad) today.

루이스 그래식 기본의 『스코틀랜드 서』

This essay aims at two academic goals by analyzing Scottish writer Lewis Grassic Gibbon’s A Scots Quair. First, a study of Scottish literature, especially the Scottish Renaissance during the early twentieth century, will help to rethink England-oriented studies of British literature in South Korea and to widen the horizon of studying twentieth-century English literature and modernism. It is only recently that scholars began to appreciate how the primary writers associated with the Scottish Renaissance resisted regressive nationalism or idyllic regionalism. Although the Scottish Renaissance rarely received critical attention in South Korea, it had arisen to reestablish Scottish identity within the ever more complex relationship with the British Empire after the First World War and thus offers an invaluable position to investigate the inner contradictions of British literature. Second, this essay’s study of Gibbon’s masterpiece will focus on its ecological imagination and the ways in which it helps to design more inclusive and just social relations. The protagonist Chris’s ecological attitude and imagination allow her a critical stance toward a series of humanistic beliefs that seek to remodel humanity on their ideals; however, the novel never compromises its realistic recognition of grueling social conditions at the time in Scotland which made it difficult for her vision to be actualized. This powerful ecological imagination combined with the uncompromising historical consciousness creates a narrative tension in this magnum opus and helps to maximize its artistic greatness.

Jerome of Moray: a Scottish Dominican and the evolution of Parisian music theory 1220–1280

ABSTRACTThis article examines the Tractatus de musica of Jerome of Moray (‘de Moravia’), affirming his Scottish identity, as proposed by Michel Huglo in 1994. It argues that the Tractatus de musica presents an important overview of Parisian music theory in the thirteenth century, relating to both chant and mensurable music in that century, because it combines the views of several generations: the Positio discantus vulgaris, which he says was used ‘among the nations’; the De mensurabili musica of John of Garland, who corrected its deficiencies; and the treatises of Franco of Cologne and Petrus Picardus. It considers Jerome's career in three phases: his exposure to music and music theory in Scotland; his studies in Paris, most likely under John of Garland, perhaps at the cathedral school of Notre-Dame; and his involvement in the liturgical reforms within the Dominican Order, implemented by its Master, Humbert of Romans in 1256. Rather than assigning Franco's Ars cantus mensurabilis to 1280 (as proposed by Wolf Frobenius) and Jerome's Tractatus to sometime after this, I suggest that Jerome was exposed to John of Garland's teaching in the 1240s and that the Franconian system may have started to gain ground in the 1250s. Jerome compiled his Tractatus over a period of time, adding an excerpt about cosmic music from the commentary of Thomas Aquinas on Aristotle's De caelo perhaps as early as 1271 or 1272, in response to the criticisms of John of Garland and his followers being made by Johannes de Grocheio.

"Yaralı Bir Dünyada" Hayatta Kalmak: David Greig'in Outling Island Oyununda Çevresel Etik

David Greig, one of the pioneering playwrights of the contemporary Scottish theater, deals with such issues as Scottish identity, globalization, war, and the environment in his plays. His play Outlying Islands mobilizes these issues together to question the ethics of the human-nature relationship. It demonstrates humanity’s adverse impact on nature through a military anthrax test to be conducted on an island before the WWII. The aim of this paper is to display the stances of the characters in terms of environmental ethics by using Aldo Leopold’s ‘land ethic’ and Arne Naess’ deep ecological thought as a theoretical framework. Their notions provide a convenient perspective for the exegesis of the play, for they deny the image of humanity as independent of nature. Within this framework, this paper discusses whether the characters adopt an intrinsic value system for the nonhuman beings, and the role of science and religion in the formation of their value systems is demonstrated.

ГЕНДЕРНЫЕ АЛЛЕГОРИИ ШОТЛАНДСКОЙ НАЦИИ В ТВОРЧЕСТВЕ А. ГРЕЯ

Being an ardent patriot and Scottish nationalist Alasdair Gray has created a whole gallery of national allegories in his fiction. Until recently, researchers’ attention (K. Stirling, I. Platt, C. Blomeley) has been mainly focused on female national figures. Nevertheless, one of the basic categories of Scottish cultural identity has always been masculinity rather than femininity. Consequently, the key cultural trope of national literature is considered the “hard man”. The aim of this research is to provide a comprehensive analysis of male characters in A. Gray’s fiction based on J. Homberg-Schramm’s classification of national masculinity types: traditional man, compensatory man, and the man in transition. In his novels, traditional masculinity is associated with the generation of “fathers”, and is hugely criticized as a relic of the past. Toxic masculinity is embodied in the figures of “justified sinners” (misfits, and men suffering from mental disorders) whose viciousness results from colonial trauma. In order to fight degrading national stereotypes A. Gray has produced a number of positive images of male characters who, interestingly enough, serve as an illustration of writer’s changing views on Scottish masculinity. The given article may be of special interest to scholars whose expertise lies in the area of contemporary British fiction as well as Postcolonial and Gender Studies.

The National (Hippo)Drama: Empire and the Nineteenth-Century Scottish Touring Circus

This article demonstrates how nineteenth-century Scottish touring circus sits at the intersection of the National Drama and the imperial spectacle of the circus. It offers a timely analysis of how Scottish (inter)nationalism and nation formation were interwoven with imperialist discourse in popular public imaginaries. By analysing the deployment of and investment in Unionist-nationalist Scottish imagery in playbills, newspapers, and life-writing accounts, and in archives this article newly brings to light, I argue two things: firstly, that the continuities between rural touring and metropolitan permanent circuses helped bridge the historic cultural and ethnic divide between Highland and Lowland communities; and secondly, that this creation of a unified Scottish identity engendered and reflected an (inter)nationalist and imperial sentiment in diverse Scottish audiences. This article, therefore, complicates current conceptions and historiographies of Scottish nationalism which overlook how commitment to Unionism and the empire was often a prerequisite for nationalist feeling.

“The Overlap of Myth and History”: Scottish Identity through Walter Scott to James Robertson in the Testament of Hideon Mack

The aim of this paper is to look at the works of Walter Scott and James Robertson through the lens of Scottish identity representation, and study Scott´s influence on The Testament of Gideon Mack by Robertson. The work takes a postcolonial approach to conceptualizing national identity. Scott´s influence on Robertson´s novel can be traced at different levels. Gérard Genette´s theory of transtextuality is used to discover all types of literary dialogue between the two authors. The analysis of The Testament of Gideon Mack is performed with the purpose of identifying the echoes and connections with Scott, on the one hand, and Robertson´s original techniques of portraying Scottish identity, on the other.

Образ шотландского горца в творчестве Вальтера Скотта

The period of the middle of the 18th century and the early 19th century was notable for the extraordinary development of archaeology, antiquarianism explosion and primitivism domination, which contributed significantly to raising the interest in history and culture of Celtic nations; those were seen as indigenous people of the British Isles and were highly idealized. However, within official colonial discourse of the Crown of England the other side of primitivism was inculcated. Namely, they were stereotypically considered as ‘noble savages', who forewent any opportunity for growth. During this time, The Highlands of Scotland still remained a stronghold of wildness and barbarity. In this study the author made an afford, from one hand, to identify and trace how extrinsic ethos of Highlanders has transformed in the estimation of the public on the basis of visual sources of information. On the other hand, comparison of this notion with Walter Scott's Highlanders characters forms a significant part of the research. In the course of thy study the following conclusions were reached: despite the fact that the writer endorsed some of the stereotypes, that were common among Englishmen, he established a romantic and heroic image of a native of the Highlands of Scotland as a symbol of freedom and the personification of Scottish cultural identity.

Robert Burns and the Refashioning of Scottish Identity through Song

Robert Burns contributed to the collection, compilation, and editing of several song collections, most notably The Scots Musical Museum (1797–1803), although he did not live to see it published. Attribution has proven to be a sticky point of consideration for literary scholars as Burns moved through this conceptual musical museum like a curator: changing, editing, and wholly rewriting sections of song texts to fit his poetic sensibilities. Some tunes were indeed traditional and even Scottish in origin, appearing as they had in earlier collections, while others were almost completely changed, with Burns altering the original text and subverting the traditional message. This, however, had been the traditional art of the ballad maker, and Burns embraced this role, changing both texts and tunes as part of a living, oral tradition. The study focuses on two tunes out of his larger collections, “Greensleeves” and “Ye Jacobites by Name.” “Greensleeves” was a well-known English tune, and “Ye Jacobites by Name” was a ballad that had been used both to attack and justify Scottish resistance to Hanoverian rule. Neither piece would seem to be a particularly promising representation of Scottish culture c. 1800. These pieces, however, highlight an aspect of Burns’s work that not only illuminates his attention to the musicality of these pieces—in an age when most song collections were still printed without notated music—but also his efforts to curate these works, refashioning them to suit a new, proto- Romantic Scottish identity.

Coltman, Viccy. Art and Identity in Scotland: A Cultural History from the Jacobite Rising of 1745 to Walter Scott.

Coltman, Viccy. <i>Art and Identity in Scotland: A Cultural History from the Jacobite Rising of 1745 to Walter Scott</i>.