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Articles de revues sur le sujet « Arts, Scottish »

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Auteur : Grafiati
Publié le 27 juillet 2024
Mis à jour le 29 juillet 2024

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1

Bell, Barbara. « The National Drama ». Theatre Research International 17, no 2 (1992) : 96–108. http://dx.doi.org/10.1017/s0307883300016205.

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The National Drama was a nineteenth-century dramatic genre unique to Scotland, dealing with Scottish characters in Scottish settings. It has been neglected this century by scholars of theatre and of Scottish history in general. This is a curious oversight given the importance of the National Drama in the development of the Scottish theatre and to the image of Scotland as a nation at home and abroad. The omission may have been the result of a too close association with Sir Walter Scott in the minds of many for whom the phrase ‘High Tory Romanticism’ summed up Scott's career and influence. But, the National Drama is worthy of fresh consideration because, although it is true that dramatizations of some of Scott's Scottish works formed the core of the national repertoire, the National Drama comprised a wide variety of pieces from a range of sources and its influence over the Scottish theatre was considerable.
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2

Bort, Eberhard. « Review : Scottish Arts and Crafts ». Scottish Affairs 63 (First Serie, no 1 (mai 2008) : 163–69. http://dx.doi.org/10.3366/scot.2008.0027.

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3

Williamson, Hilary. « The Scottish Visual Arts Group ». Art Libraries Journal 28, no 3 (2003) : 11–14. http://dx.doi.org/10.1017/s0307472200013183.

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The Scottish Visual Arts Group is a relatively young co-operative of art librarians. However there is a significant history to the group, a substantial list of achievements and a whole new future just about to commence.
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4

Stenhouse, David. « Arts Policy and a Scottish Parliament ». Scottish Affairs 17 (First Serie, no 1 (novembre 1996) : 1–10. http://dx.doi.org/10.3366/scot.1996.0050.

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McKinstry, Sam, et Marie Fletcher. « THE PERSONAL ACCOUNT BOOKS OF SIR WALTER SCOTT ». Accounting Historians Journal 29, no 2 (1 décembre 2002) : 59–89. http://dx.doi.org/10.2308/0148-4184.29.2.59.

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This study examines the personal account books of Sir Walter Scott, the world-renowned Scottish author, a topic not explored before by Scott scholars or accounting historians. It sets the account books in the context of Scott's accounting education and experience, which took place at the time of the Scottish Enlightenment, an 18th century movement which saw a great flowering of writings on accountancy in Scotland as well as considerable progress in the arts and sciences. The style, layout and content of the account books is also studied from the point of view of elucidating Scott's domestic financial arrangements and expenditure patterns. These are seen as confirming the insights of Vickery [1998], who posits a liberated role for women such as Mrs Scott in ‘genteel’ households, which Scott's undoubtedly was. The study also establishes that Scott's personal expenditures, and indeed his accounting practices, otherwise conformed to the general patriarchal pattern identified by Davidoff and Hall [1987]. The final part of the article uses what has been discovered about Scott's personal accounting to revisit the question of his financial imprudence (or otherwise) in business. It concludes that Scott's risk-taking in business was not unreasonable, and was informed by his bookkeeping knowledge and practices.
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McKerrell, Simon. « Traditional arts and the state : The Scottish case ». Cultural Trends 23, no 3 (11 juin 2014) : 159–68. http://dx.doi.org/10.1080/09548963.2014.925281.

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7

Munro, Robert. « Scottish cinema now ». Studies in European Cinema 13, no 3 (septembre 2016) : 270–72. http://dx.doi.org/10.1080/17411548.2016.1234833.

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Munro, Robert. « Performing the National ? Scottish Cinema in the Time of Indyref ». Journal of British Cinema and Television 17, no 4 (octobre 2020) : 425–48. http://dx.doi.org/10.3366/jbctv.2020.0541.

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This article examines Scottish cinema during the period 2012–17, assessing the ways in which the nation's constitutional debate, Scottish–English relations and discourses of national identity were engaged with thematically by films produced in this period. It argues that Scottish cinema in this period ‘performs the national’, in that a number of films flag their national status and engage with discourses of national identity at a distance, unburdened by any serious demand for national representativeness, as might be the case with a ‘national cinema’. From a corpus of texts in the period which offer the possibility of being read through discourses of the nation, two genre films, White Settlers and Sunshine on Leith, are analysed in detail for their differing narrative takes on Scottish–English relations in the contemporary moment. The article concludes by surmising that while film criticism in Scottish cinema has historically been overly determined by an ideologically driven pursuit of national representativeness, perhaps the welcome emphasis which has been placed in contemporary criticism on broadening the scope of Scottish cinema studies beyond the national has implied a false dichotomy between the two, whereas it is more likely that we can locate Scottish cinema somewhere in between.
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9

Scullion, Adrienne. « Self and Nation : Issues of Identity in Modern Scottish Drama by Women ». New Theatre Quarterly 17, no 4 (novembre 2001) : 373–90. http://dx.doi.org/10.1017/s0266464x00015001.

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The creation of the devolved Scottish parliament in 1999, argues Adrienne Scullion, has the potential to change everything that has been understood and imagined or thought and speculated about Scotland. The devolved parliament shifts the governance of the country, resets financial provisions and socio-economic management, recreates Scottish politics and Scottish society – and affects how Scotland is represented and imagined by artists of all kinds. The radical context of devolution should also afford Scottish criticism an unprecedented opportunity to rethink its more rigid paradigms and structures. Specifically, this article questions what impact political devolution might have on the rhetoric of Scottish cultural criticism by paralleling feminist analysis of three plays by women premiered in Scotland in 2000 with the flexible, even hybrid, model of the nation afford by devolution, resetting identity within Scottish culture as much less predictable and much more inclusive than has previously been understood. An earlier versions was delivered by the author on 5 March 2001 to the Royal Society of Edinburgh in receipt of the biennial RSE/BP Prize Lectureship in the Humanities. Adrienne Scullion teaches in the Department of Theatre, Film and Television Studies at the University of Glasgow, where she is also the academic director of the Centre for Cultural Policy Research.
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10

Turnbull, Alison. « Review of Scottish Arts Council'sQuality Framework – guidelines for arts organisations(2nd ed.), 2009 ». Cultural Trends 20, no 2 (juin 2011) : 185–91. http://dx.doi.org/10.1080/09548963.2011.563913.

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Stevenson, David. « Scottish cultural policy ». Cultural Trends 23, no 3 (11 juin 2014) : 133–35. http://dx.doi.org/10.1080/09548963.2014.925277.

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12

Maudlin, Daniel. « Architecture and Identity on the Edge of Empire : The Early Domestic Architecture of Scottish Settlers in Nova Scotia, Canada, 1800–1850 ». Architectural History 50 (2007) : 95–123. http://dx.doi.org/10.1017/s0066622x00002896.

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In the early nineteenth century thousands of Scots emigrated to Nova Scotia, Canada, settling there principally in Pictou and Antigonish Counties. This article considers the transformation of the domestic architecture of emigrants from the Scottish Highlands, from earth and random-rubble-walled ‘black houses’ to Classically ornamented and proportioned timber-framed houses. It demonstrates that, in contrast to the transferable traditions of Lowland Scottish settlers, virtually no element of the Scottish Highland vernacular building tradition was established in Nova Scotia, and that Scottish Highland emigrants adopted a new architecture with near total uniformity. These changes in architectural practice are described here in some detail, and then interpreted as indicators of changed social practice within the immigrant Highland community.
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13

Scullion, Adrienne. « Scottish theatre and the impact of radio ». Theatre Research International 17, no 2 (1992) : 117–31. http://dx.doi.org/10.1017/s0307883300016229.

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Histories of broadcasting in Britain tend to have a distinct London bias–in other words they all but completely ignore developments in Scotland –and yet the early broadcasting infrastructure ensured that each regional centre could advance the boundaries of radio in more exciting and challenging ways (certainly in different ways) than the production centre in London. This critical bias, however, is perhaps only symptomatic of a more general social tendency to displace diversity within British culture and to focus on a metropolitan vision, a core-legitimized version of culture which discounts the regional and the local as parochial. This tendency is thrown into relief at the end of the nineteenth and beginning of the twentieth century when social and cultural requirements, technological and political contexts reset the role of the state and its institutions (and the BBC is one of the most powerful in the system) as fundamental to the dissemination of culture. In this indigenous and local cultural activities may fall outwith the legitimized cultural capital of the state, and yet be fundamental to the identity used and referred to by the region. This is the perceived lack for ‘Scottish culture’ within the context of British arts. Increased centralization and bureaucratization of the arts community and cultural institutions towards the metropolitan core can produce an intractable gap between the respectable culture of the centre and the barbaric, parochial, dangerous arts of the periphery: a periphery which may then be recast as ‘other’. Within that context, however, the same technological, political and social advances are imposed and experienced but they will be interpreted and used with reference to the local and the indigenous as well as to the national and the international. To discount the distinctiveness of much of Scottish culture is, within a centralist model, justified.
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14

Young, Katharine, et David Buchan. « Scottish Tradition : A Collection of Scottish Folk Literature ». Journal of American Folklore 99, no 393 (juillet 1986) : 341. http://dx.doi.org/10.2307/540825.

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15

Matheson, Ann. « Libraries working together : a Scottish perspective ». Art Libraries Journal 20, no 1 (1995) : 12–16. http://dx.doi.org/10.1017/s0307472200009172.

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Cooperation between libraries is time-consuming, but is both ‘worthwhile and essential. Scottish research libraries commenced active cooperation in 1977: the Scottish Confederation of University and Research Libraries now has 15 active members. More recently, libraries in Scotland have been encouraged to work together following the creation of the Scottish Library and Information Council. The National Library has a key role to play, but in partnership with other libraries rather than invariably taking the lead. Cooperation between Scottish art libraries can be traced back to the 1950s and to the development, under the auspices of the National Library, of a union catalogue of art books in Edinburgh. This project is being extended and it will eventually become a national database. The group of libraries responsible for the project has taken on a wider role and an expanded membership as the Scottish Visual Arts Group, one of several subject groups under the umbrella of the Scottish Confederation of University & Research Libraries. The Group will work closely with the Scottish Library and Information Council, and with ARLIS/UK & Ireland in the wider framework of the United Kingdom. (This article is the revised text of a paper presented to the ARLIS/UK & Ireland 25th Anniversary Conference in London, 7th-10th April 1994).
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16

Jasper, David. « Re-imagining religion : Scottish writers and the breadth of religion ». Theology in Scotland 29, no 1 (6 mai 2022) : 78–86. http://dx.doi.org/10.15664/tis.v29i1.2422.

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To tie in with this issue’s theme of theology and imagination, this review essay reflects on four relatively recent works by Scottish authors in order to explore the ubiquitous and often deeply unsettling experience of Scottish religion in literature and the arts. Reviewed works: Meg Bateman, Robert Crawford and James McGonigal, eds., Scottish Religious Poetry: From the Sixth Century to the Present (Edinburgh: Saint Andrew Press, 2000) Edwin Morgan, A.D.: A Trilogy of Plays on the Life of Jesus (Manchester: Carcanet Press, 2000) James Robertson, News of the Dead (London: Hamish Hamilton, 2021) David Brown, God and Grace of Body: Sacrament in Ordinary (Oxford: Oxford University Press, 2007)
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17

Clarke, Pamela, et Lee Knifton. « The Scottish Mental Health Arts and Film Festival ‐ promoting social change through the arts ». A Life in the Day 13, no 3 (10 août 2009) : 10–13. http://dx.doi.org/10.1108/13666282200900025.

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18

Jackson, Tony, et Barbara Illsley. « Using sea to mainstream sustainable development : Some lessons from Scottish practice ». Spatium, no 17-18 (2008) : 31–37. http://dx.doi.org/10.2298/spat0818031j.

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Strategic environmental assessment (SEA) is now a requirement for virtually all new Scottish public sector strategies, plans and programmes (SPPs), whether of a statutory or of a voluntary nature, which are deemed likely to have significant environmental effects. This major extension of the EU SEA Directive by the Scottish Government has been deliberately designed to mainstream sustainable development in Scottish policy formulation. The paper reviews current progress in this direction, raising some issues of principle and practice in the use of SEA before considering how SEA can be combined with environmental modeling techniques to deliver the challenging climate change targets adopted by Scottish public bodies. .
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19

Marshalsay, Karen Anne. « ‘The Quest for a Truly Representative Scottish Native Drama’ : The Scottish National Players ». Theatre Research International 17, no 2 (1992) : 109–16. http://dx.doi.org/10.1017/s0307883300016217.

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The Scottish National Players were the most interesting and important group in Scottish theatre in the 1920s, and the ‘national drama’ which they produced defined Scottish theatre for almost two decades. The SNP, as they were known, became the focus for the aspirations of young people wanting to progress to a professional career within theatre and were responsible for training a whole generation of Scottish actors. Later theatre groups, such as the Curtain and the Gateway, were greatly influenced by the Scottish National Players, who also made a major contribution to the early years of broadcasting in Scotland. Though mainly an amateur group, the SNP recognized the necessity for a national theatre company to tour as widely as possible, and in doing so helped to fire the enthusiasm for amateur drama which swept Scotland in the thirties. Many of the problems and debates which confronted them in their attempt to provide Scotland with a national theatre, such as the vexed question of whether production should be restricted to Scottish plays, irrespective of quality in the hope of better things to come, are still relevant issues.
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20

Reid, Steven John. « Aberdeen's ‘Toun College’ : Marischal College, 1593–1623 ». Innes Review 58, no 2 (novembre 2007) : 173–95. http://dx.doi.org/10.3366/e0020157x07000054.

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While debate has arisen in the past two decades regarding the foundation of Edinburgh University, by contrast the foundation and early development of Marischal College, Aberdeen, has received little attention. This is particularly surprising when one considers it is perhaps the closest Scottish parallel to the Edinburgh foundation. Founded in April 1593 by George Keith, fifth Earl Marischal in the burgh of New Aberdeen ‘to do the utmost good to the Church, the Country and the Commonwealth’,1 like Edinburgh Marischal was a new type of institution that had more in common with the Protestant ‘arts colleges’ springing up across the continent than with the papally sanctioned Scottish universities of St Andrews, Glasgow and King's College in Old Aberdeen.2 James Kirk is the most recent in a long line of historians to argue that the impetus for founding ‘ane college of theologe’ in Edinburgh in 1579 was carried forward by the radical presbyterian James Lawson, which led to the eventual opening on 14 October 1583 of a liberal arts college in the burgh, as part of an educational reform programme devised and rolled out across the Scottish universities by the divine and educational reformer, Andrew Melville.3
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Pavlovich, Kristina K. « V. Scott’s novel “Puritans” in the context of I.A. Goncharov’s novel “Oblomov” ». Philological Sciences. Scientific Essays of Higher Education, no 6 (novembre 2023) : 94–100. http://dx.doi.org/10.20339/phs.6-23.094.

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The article describes the study of typological connections between the novel Puritans by Walter Scott and Oblomov by Ivan Goncharov. For the first time, these literary texts are considered through the prism of depiction as an artistic and aesthetic category, based on the genre system of fine arts. The name of the “Scottish sorcerer” is found in every novel of Goncharov’s trilogy (Ordinary History (1847), Oblomov (1859), The Precipice (1869). Most often, numerous landscapes can be found both on the pages of Scott’s and Goncharov’s novels. These landscape paintings are brought together by the plasticity of the image, decorativeness, careful detailing, epic manner and coloristic features. When creating idyllic landscapes, the Russian writer is guided by Scott’s style, combining both “high” poetic and everyday life within the framework of one image. Important in this regard are the landscapes of the famous ninth chapter of Oblomov’s Dream and as well as the pictures of Scott’s nature scattered throughout the text. In addition to the interdisciplinary genre of landscape, the authors have similar portrait descriptions (Oblomov and Milnwood). A special place in these novels is occupied by everyday scenes that convey the color of everyday life, the poeticization of reality , which is an important aesthetic category for both Russian and Scottish writers. They are in the spirit of the Flemish tradition. In addition, both novels are related by the typological similarity of storylines and characters (main and secondary).
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SCHWEITZER, MARLIS. « ‘The Canny Scot’ : Harry Lauder and the Performance of Scottish Thrift in American Vaudeville ». Theatre Research International 36, no 3 (30 août 2011) : 254–68. http://dx.doi.org/10.1017/s0307883311000484.

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Scottish vaudevillian Harry Lauder epitomized Scottishness in the Anglo-American cultural imaginary for much of the twentieth century. Yet Lauder's Scottishness was a carefully crafted performance, a collaborative effort between Lauder and his American agent, William Morris, centred on Lauder's embodiment of the ‘canny Scot’ stereotype. The article argues that this performance served two primary objectives within the context of early twentieth-century vaudeville. First, stories of Lauder's ‘characteristic’ Scottish thrift worked to deflect commentary about the star's status as a highly paid foreign commodity. By planting stories and arranging interviews that represented Lauder as a skilled and cunning Scot, Morris addressed growing anxieties that men, as well as women, were becoming mere cogs in the machine of corporate Broadway capital. Second, Morris's representation of Lauder as the epitome of all things Scottish guaranteed the loyal patronage of the Scottish diaspora and supported expressions of nationalist pride that were not antithetical to Scottish membership within the Union.
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Galloway, Susan, et Huw David Jones. « The Scottish dimension of British arts government : a historical perspective ». Cultural Trends 19, no 1-2 (juin 2010) : 27–40. http://dx.doi.org/10.1080/09548961003695981.

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McAuley, Andrew. « Entrepreneurial Instant Exporters in the Scottish Arts and Crafts Sector ». Journal of International Marketing 7, no 4 (décembre 1999) : 67–82. http://dx.doi.org/10.1177/1069031x9900700405.

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25

Fomin, Maxim. « Maritime Memorates and Contemporary Legends of Storm Apparitions and Storm Making in Folklore Traditions of Ireland and Scotland* ». Armenian Folia Anglistika 7, no 2 (9) (17 octobre 2011) : 154–62. http://dx.doi.org/10.46991/afa/2011.7.2.154.

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The present article examines the folklore genre of maritime memorates of Irish and Scottish origin. It describes the maritime traditions of Gauls when various supernatural creatures and inanimate objects appeared from the sea, as well as the spells and magic tricks producing winds. The article studies contemporary legends which tell about omens and visions bewitching a storm. * This contribution is based upon the findings of the research project ‘Stories of the Sea: A Typological Study of Maritime Memorates in Modern Irish and Scottish Gaelic Folklore Traditions’ supported by the Arts and Humanities Research Council (AHRC, UK).
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26

Valentine, Jeremy. « The politics of temporal sovereignty and the subaltern MA ». Arts and Humanities in Higher Education 18, no 2-3 (mai 2019) : 99–119. http://dx.doi.org/10.1177/1474022218811622.

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This paper explains the emergence of an MA in Culture and Creative Enterprise at a Scottish University by locating it within a policy context characterised by the attempt of the Scottish Government to establish ‘temporal sovereignty’ through ‘fast policy’. The argument of the paper is that the MA is an outcome of the Scottish Government’s attempt to establish the sovereignty of a ‘future present’ over political and economic temporalities through the inscription of the figure of the entrepreneur in economic, educational and cultural policy. The paper demonstrates that the MA acts as a subaltern vehicle for that project and uses conceptual and empirical research to critically analyse the politics of the entrepreneur within it. The paper concludes with a discussion of the extent to which that policy assemblage has unravelled.
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Dzyubinskaya, K. D. « Welcoming speeches of Scottish subjects during the great progress of King James I Stuart to Edinburgh in 1617 ». Shagi / Steps 9, no 2 (2023) : 123–47. http://dx.doi.org/10.22394/2412-9410-2023-9-2-123-147.

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This article analyzes the welcoming speeches made by Scottish intellectuals during the journey of James VI and I Stuart to Scotland in 1617. These speeches, composed by the intellectuals themselves, reflected Scottish renaissance ideas on the status of Scotland. On the one hand, through such adresses Scottish intellectuals obtained the possibility to communicate with the crown and to express their attitude to the union of the two crowns and the king’s desire to reform the Scottish church. The author of the article pays special attention to the fact that Scottish intellectuals acknowledged the union of Scotland and England but perceived it as a union of two autonomous kingdoms. Using narratives drawn from Scottish history, intellectuals depicted for King James VI and I Stuart the historical independence of Scotland from English kings and the freedom of the Scottish Kirk from the influence of Rome. On the other hand, King James VI and I Stuart himself was part of this intellectual Scottish community, acting as patron for universities, colleges, and the intellectual community itself. In conclusion we notice that the welcoming speeches were similar in their content, depicting the glorious history of Scotland with the aim to extol Scottish culture and their Scottish King James VI and I Stuart.
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Loranger, David, et Eulanda A. Sanders. « Highland haberdashery : Scottish kiltmaking in the twenty-first century ». Critical Studies in Men???s Fashion 8, no 1 (1 octobre 2021) : 5–28. http://dx.doi.org/10.1386/csmf_00028_1.

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The Scottish kilt is one of the world’s most renowned cultural garments, and the Highland dress industry contributes £350 million annually to the Scottish apparel industry. However, outsourcing and deceptive marketing tactics have negatively impacted the kiltmaking industry. The purpose of this study was to investigate Scottish kiltmakers’ knowledge and experiences as a basis for industry protection. A qualitative, phenomenological method employed interviews, observations, video and artefact analysis and prototyping to understand participant’s (n=17) experiences with learning and practising kiltmaking. Findings indicated that: (1) kiltmakers’ experience life-long learning through scaffolding, (2) kilt customers are not well informed of quality differences between genuine Scottish kilts and imports, (3) gender plays a role in pay inequality, lack of respect and quality of life issues for female kiltmakers and (4) kiltmakers agree that protection is necessary, however, they are unsure of how it would be realized.
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Jones, Huw D., et Susan Galloway. « Arts Governance in Scotland : the Saga of Scottish Opera, 1962–2007 ». Journal of Scottish Historical Studies 31, no 2 (novembre 2011) : 220–41. http://dx.doi.org/10.3366/jshs.2011.0022.

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Tett, Lyn, Kirstin Anderson, Fergus Mcneill, Katie Overy et Richard Sparks. « Learning, rehabilitation and the arts in prisons : a Scottish case study ». Studies in the Education of Adults 44, no 2 (septembre 2012) : 171–85. http://dx.doi.org/10.1080/02660830.2012.11661631.

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31

Hibberd, Lynne. « Review of Scottish Arts Council Report,Taking Part in Scotland 2008 ». Cultural Trends 18, no 4 (décembre 2009) : 333–36. http://dx.doi.org/10.1080/09548960903268154.

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Howard, Deborah. « Reflexions of Venice in Scottish Architecture ». Architectural History 44 (2001) : 123. http://dx.doi.org/10.2307/1568741.

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Arshad, Rowena, et Sheila Riddell. « Managing Disability Equality in Scotland : Tensions between Social Audit and Disability Equality ». Social Policy and Society 10, no 2 (24 février 2011) : 229–38. http://dx.doi.org/10.1017/s1474746410000576.

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This paper focuses on the implications of adopting social audit approaches in order to implement equality policies in Scotland, exploring the tension between surface compliance and deep institutional engagement. Drawing on data from an evaluation of pubic sector bodies’ disability equality schemes, the paper provides examples of different levels of engagement, ranging from surface compliance (some education authorities) to institutional permeation of an equalities ethos (the Scottish Arts Council). The paper concludes by considering the future potential of single equality schemes to promote equality across Scottish society. It is argued that unless there is stronger support and challenge from Scottish government, there is a danger that equality schemes may become paper exercises rather than opportunities for institutional reflection and planning. At the same time, it would be a mistake to dismiss equality planning as merely an exercise in managerialism, since measuring the extent of inequality over time is an essential first step in the long process of achieving institutional change.
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Jamieson, Ruth, Ruth Donnelly et Jim White. « ‘Laff Yer Heid Aff’ : The role of comedy inincreasing public awareness of common mental health problems ». Clinical Psychology Forum 1, no 187 (juillet 2008) : 55–58. http://dx.doi.org/10.53841/bpscpf.2008.1.187.55.

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STEPS, a Glasgow primary care mental health team, has supported a comedy event held as part of the Scottish Mental Health Film and Arts Festival. The comedy event, which took place on World Mental Health Day (10 October 2007) marked the launch of a new STEPS mental health promotion comedy DVD.
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deV. Renwick, Roger, David Buchan, Rita Pedersen et Flemming G. Andersen. « A Book of Scottish Ballads ». Western Folklore 46, no 3 (juillet 1987) : 201. http://dx.doi.org/10.2307/1499527.

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Milne, Rachel. « The beautiful and the damned : Depictions of Scottish childhoods in Small Deaths and Gasman ». Short Film Studies 11, no 2 (1 septembre 2021) : 177–82. http://dx.doi.org/10.1386/sfs_00052_1.

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This article explores the function of poetic child realism in two of Lynne Ramsay’s short films, Small Deaths (1996) and Gasman (1998). Investigating the role of the orphaned child embedded in Scottish film culture, this article considers the ways in which the intersection of social and familial realities is portrayed through the subjective viewpoints of female children. Through an examination of the films’ aesthetic and narrative elements, alongside a discussion of the role of industrial iconography and spaces, I argue that Lynne Ramsay’s films deviate from and subvert a traditionally masculine and patriarchal representation of working-class Scottish life on-screen.
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Gray, Shirley, Justine MacLean et Rosemary Mulholland. « Physical education within the Scottish context ». European Physical Education Review 18, no 2 (22 mai 2012) : 258–72. http://dx.doi.org/10.1177/1356336x12440019.

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In 2010, schools in Scotland implemented a new curriculum, a Curriculum for Excellence, and for physical education (PE), this represented a move from the ‘Expressive Arts’ to ‘Health and Wellbeing’ (HWB). To understand this new position, we explored the thoughts of those who were directly involved in the construction of the policy text for PE within HWB ( n = 10). All of the participants supported the position of PE within HWB, accepting that PE has an important role to play in improving pupils’ health and wellbeing, although there was some concern that teachers might misinterpret the role of PE within HWB. However, all of the participants believed that this new position for PE would encourage other professionals to value PE more highly. We conclude by suggesting that there should be a greater involvement of teachers in the reform process so that future curricular innovations are more closely aligned with the knowledge and practice of teachers. This may enable them to understand policy more clearly and implement policy more effectively.
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Malcomson, Scott L. « Modernism Comes to the Cabbage Patch : Bill Forsyth and the "Scottish Cinema" ». Film Quarterly 38, no 3 (1985) : 16–21. http://dx.doi.org/10.2307/1212539.

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Lee, Maurice. « Scottish Puritanism, 1590-1638 (review) ». Catholic Historical Review 87, no 2 (2001) : 326–28. http://dx.doi.org/10.1353/cat.2001.0069.

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Markus, Thomas A. « DOMES OF ENLIGHTENMENT : TWO SCOTTISH UNIVERSITY MUSEUMS ». Art History 8, no 2 (juin 1985) : 158–77. http://dx.doi.org/10.1111/j.1467-8365.1985.tb00157.x.

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MACINNES, R. « 'Rubblemania' : Ethic and Aesthetic in Scottish Architecture ». Journal of Design History 9, no 3 (1 janvier 1996) : 137–51. http://dx.doi.org/10.1093/jdh/9.3.137.

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Murray, Jonathan. « Scotch Missed : Play for Today and Scotland ». Journal of British Cinema and Television 19, no 2 (avril 2022) : 194–216. http://dx.doi.org/10.3366/jbctv.2022.0617.

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This article explores Scotland's relationship with and contribution to the Play for Today series. In order to quantify these, it proposes a working definition of ‘Scottishness’ based on representational content. This generates a body of 21 Scottish Plays for Today, which the article further breaks down into two sub-sets: seven plays produced outside Scotland and fourteen within. Noting that the externally produced plays are far better remembered and much more easily accessible than their locally produced peers, the article asks: do the external plays alone offer a reliable synecdoche for the terms of Scotland's contribution to Play for Today and the images and understandings of Scotland that Play for Today created and/or confirmed? Through extended comparative textual analysis of two externally produced plays – Just Another Saturday and The Elephants’ Graveyard – and two locally produced ones – Degree of Uncertainty and The Good Time Girls – the article demonstrates that the answer to this question is in the negative. The analyses presented here highlight the extent to which the 1970s work of writer Peter McDougall is far more formally and tonally complex than its contemporary popular and critical reputations might suggest. They also highlight the existence of an extended engagement with feminist gender politics and identities within Scottish screen fiction from an earlier date than conventionally identified within the established scholarly consensus. In these ways, the article addresses multiple aspects of Scottish screen and cultural studies’ long-term neglect of television's position and significance within modern Scottish culture and cultural history.
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Demoor, Michael J. « The Philosophy of Art in Reid's Inquiry and Its Place in 18th-Century Scottish Aesthetics ». Journal of Scottish Philosophy 4, no 1 (mars 2006) : 37–49. http://dx.doi.org/10.3366/jsp.2006.4.1.37.

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It is argued that the scattered remarks on the fine arts made in Reid's Inquiry into the Human Mind (1764) present a conception of the relation between perception and the fine arts that is at once compatible with and different from Reid's mature theory of art in Of Taste (1785). This alternative account of art-relevant perception also points beyond the limits of a philosophy of art developed according to the traditional theory of taste dominant in 18th-century Scottish aesthetic thought, and anticipates certain 20th-century theories.
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Gale, Richard. « Archibald MacLaren's “The Negro Slaves” and the Scottish Response to British Colonialism ». Theatre Survey 35, no 2 (novembre 1994) : 77–93. http://dx.doi.org/10.1017/s0040557400002805.

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As the end of the eighteenth century approached, Britain experienced many changes in power and prestige: the American colonies had broken away; the philosophy of expansionism and imperial domination was being attacked from within and without, and the primacy of the British fleet and trade organizations was fast becoming a thing of the past. All of these factors, and others, forced a mood of re-evaluation upon the British government and people. Throughout the empire and its colonies the discussion of the merits and morality of the slave trade, for example, reached previously unheard of proportions, as the newly-rediscovered sciences of free-trade economics, moral philosophy, and cultivation technology turned towards the examination of slavery. Nowhere was this more active and adamant than in the Scottish university cities, which had become the centers of intellectual and scientific thought and practice. Thus it is no surprise to find this thematic focus upon the newly strengthened and emboldened Scottish stage. One manifestation was Archibald MacLaren's The Negro Slaves, a play in which can be found the seeds and fruits of the Scottish Enlightenment as it relates to the British abolitionist movement, the economic shift in overseas trade, and the overall milieu of colonial perception.
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Makhrov, Alexei. « Earth Construction in Russia : A Scottish Connexion ». Architectural History 40 (1997) : 171. http://dx.doi.org/10.2307/1568673.

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Emerson, R. L. « Richard Sher's Bookish Scottish Enlightenment ». Eighteenth-Century Life 33, no 1 (1 janvier 2009) : 61–66. http://dx.doi.org/10.1215/00982601-2008-026.

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Shrock, Christopher A. « Thomas Reid on the Improvement of Knowledge ». Journal of Scottish Philosophy 17, no 2 (juin 2019) : 125–39. http://dx.doi.org/10.3366/jsp.2019.0232.

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Thomas Reid often seems distant from other Scottish Enlightenment figures. While Hume, Hutcheson, Kames, and Smith wrestled with the nature of social progress, Reid was busy with natural philosophy and epistemology, stubbornly loyal to traditional religion and ethics, and out of touch with the heart of his own intellectual world. Or was he? I contend that Reid not only engaged the Scottish Enlightenment's concern for improvement, but, as a leading interpreter of Isaac Newton and Francis Bacon, he also developed a scheme to explain the progress of human knowledge. Pulling thoughts from across Reid's corpus, I identify four key features that Reid uses to distinguish mature sciences from prescientific arts and inquiries. Then, I compare and contrast this scheme with that of Thomas Kuhn in order to highlight the plausibility and originality of Reid's work.
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Knight, Malcolm. « Scottish puppet theatre : The reality behind the revival ». Contemporary Theatre Review 1, no 1 (novembre 1992) : 75–81. http://dx.doi.org/10.1080/10486809208568251.

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Mcaleer, J. Philip. « Review : Scottish Medieval Churches by Stewart Cruden ». Journal of the Society of Architectural Historians 48, no 1 (1 mars 1989) : 84–85. http://dx.doi.org/10.2307/990411.

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Stein, Jock. « Two poems ». Theology in Scotland 28, no 2 (22 octobre 2021) : 78–80. http://dx.doi.org/10.15664/tis.v28i2.2331.

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Theology in Scotland on arts and culture is a new section which we hope will have a regular appearance in the journal, featuring creative work of Scottish artists, theologians and practitioners of faith. On this occasion, Jock Stein, a Church of Scotland minister who took up writing poetry in his retirement, shares two poems which speak of his own hopes for COP26 and beyond.
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