Download Scotland in Europe (SCROLL 7) (Scottish Cultural Review of by Tom Hubbard (editor), R.D.S. Jack (editor) PDF

By Tom Hubbard (editor), R.D.S. Jack (editor)

If there's ocht in Scotland that’s worthy ha’en there's nae distance to which it’s unattached (Hugh MacDiarmid) A realignment of Scottish literary stories is lengthy past due. the current quantity counters the relative overlook of comparative literature in Scotland by way of exploring the fortunes of Scottish writing in mainland Europe, and, conversely, the engagement of Scottish literary intellectuals with eu texts. many of the contributions draw at the on-line Bibliography of Scottish Literature in Translation ( jointly they display the richness of the artistic discussion, not just among writers, but additionally among musicians and visible artists after they flip their awareness to literature. The individuals to this quantity disguise so much of Europe, together with the German-speaking nations, Scandinavia, France, Catalonia, Portugal, Italy, the Balkans, Hungary, the Czech Republic and Russia. All Scotland's significant literary languages - Gaelic, Scots, English and Latin - are featured in a continent-wide labyrinth that would pay off additional exploration. members Ian RANKIN: Foreword Tom HUBBARD: creation: Coalescences Roger eco-friendly: George Buchanan’s Psalm Paraphrases in a eu Context R.D.S. JACK: Translation and Early Scottish Literature Norbert WASZEK: The Scottish Enlightenment in Germany, and its Translator, Christian Garve (1742–98) Christopher WHYTE: purposes for Crossing: ecu Poetry in Gaelic J. Derrick MCCLURE: ecu Poetry in Scots Margaret ELPHINSTONE: a few Fictions of Scandinavian Scotland Kirsteen MCCUE: Schottische Lieder ohne W?rter?: What occurred to the phrases for the Scots track preparations through Beethoven and Weber? Iain GALBRAITH: “Your Scottish dialect drives us mad”: A word at the Reception of Poetry in Translation, with an Account of the interpretation of modern Scottish Poetry into German Corinna KRAUSE: Gaelic Poetry in Germany Dominique DELMAIRE: Translating Robert Burns into French: Verse or Prose? Eilidh BATEMAN and Sergi MAINER: Scotland and Catalonia Zsuzsanna VARGA: Sporadic Encounters: Scottish-Portuguese Literary Contacts for the reason that 1500 Marco FAZZINI: Bridging Ineffable Gaps: MacDiarmid’s First Scots Poem into Italian Mario RELICH: Scottish Writers and Yugoslavia as Apocalyptic Metaphor Emilia SZAFFNER: Scottish Writers in Translation as released within the Hungarian journal Nagyvil?g Teresa Grace MURRAY: Small Voices within the tremendous photo Robert R. CALDER: Slavist as Poet: J.F. Hendry and the Epic of Russia (Some Footnotes from a private Memoir) Index

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Additional resources for Scotland in Europe (SCROLL 7) (Scottish Cultural Review of Language and Literature)

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25. ) [1948] 1958. The Poems of James VI of Scotland. 2 vols. Edinburgh: William Blackwood and Sons for the Scottish Text Society, Third Series. 22–26. F. 1898. Scottish Vernacular Literature: A History. London: David Nutt. Hubbard, Tom. 2003. “Early Scottish Internationalism through Translation: Landmark Records in the Bibliography of Scottish Literature in Translation (BOSLIT)” in Scottish Language 22: 36–45. S. 1972. The Italian Influence on Scottish Literature. Edinburgh: Edinburgh University Press.

But the Lord of heaven and earth alone will bring me certain aid. ) he, believe me, the guardian of the holy, keeps watch night and day; nor does he ever remove his eyes, overcome by the beguiling of sweet sleep. With his wings gently spread he flies over you like a shadow, lest the arrows of the violent sun burn your skin by day, lest the breath of the clouded moon make heavy your limbs by night. ] 1. Levavi oculos meos in montes, unde veniet auxilium mihi. 2. auxilium meum a domino, qui fecit caelum et terram.

The fortuna of Argenis nicely highlights the value and limitations of the present study. Viewing Scottish literature through the prism of translation offers an unaccustomed perspective. But once one accepts the problems inherent in its range and relativity the complementary value of this unique modal vision becomes evident. Most basically, these neglected “Cinderella” texts are, unusually, invited to the critical ball. If their presence there serves as a salutary reminder that diachronic precision and an openness to the many different artistic creeds available is one way of validly expanding the Scottish canon, a valuable goal has been attained.

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