FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W847646866> ?p ?o ?g. }

• W847646866 endingPage "9" @default.
• W847646866 startingPage "1" @default.
• W847646866 abstract "This guest-edited issue of Scottish Language emerged from the proceedings of the ASLS annual Language Conference held in Edinburgh in November 2013 on the theme of 'Scottish Languages on Stage'. The editors of this issue, Ian Brown and Chris Robinson, were the conveners of this conference. They were struck not only by the range and variety of papers presented, but by the ways in which each paper offered a fresh, and often original, perspective on how Scottish languages had been used on the Scottish stage. They proposed to Robert McColl Millar, the editor of Scottish Language, that a selection of these papers, if further developed, might constitute a coherently themed issue of this journal. Professor Millar kindly agreed to this proposal. While it was not possible to draw on all the papers presented at the conference, the editors were able to invite five of the contributors to develop their conference papers through further thought and research so that they might properly constitute articles within the peer-reviewed context of Scottish Language. The articles contained in this issue represent the result of that process. Before addressing the nature of the articles and the ways in which their themes reflect one another, it would be appropriate to consider for a moment what is the importance of the use of different Scottish languages on the stages of Scotland--and, of course, furth of Scotland. With regard to the use of Scots, the Scots-language playwright Alexander Reid famously said in 1958: The return to Scots is a return to meaning and sincerity. We can only grow from our own roots and our roots are not English [...] If we are to fulfil our hope that Scotland may some day make a contribution to World Drama [...] we can only do so by cherishing, not repressing our national peculiarities (including our language), though whether a Scottish national drama, if it comes to birth, will be written in Braid Scots or the speech, redeemed for literary purposes, of Argyle Street, Glasgow, or the Kirkgate, Leith, is anyone's guess (Reid 1958: xii-xiii). There are problems associated with the use of such loose terms as 'meaning and sincerity' in this context, but the underlying point that Reid makes is surely that the dramatic use of Scots, the native language of many playwrights and audience members, not to mention actors and directors, in Scotland might lead to an empowering sense of cultural authority. As Cairns Craig and Randall Stevenson observed in 2001, talking about Robert Kemp's edited version of David Lindsay's sixteenth-century masterpiece: That early [1948] Festival production of Ane Satyre of the Thrie Estaitis established proximities between stage and audience which were not only physical, but above all linguistic, reminding its audiences--and a generation of writers, actors and directors--of the continuing vitality of Scots as a dramatic medium. Guthrie's production helped consolidate for the drama particular powers of writing in Scots which authors of the Scottish Renaissance movement had developed in other ways for poetry and the novel in the 1920s, and to establish in the theatre a kind of unique and naturally political performative space for Scots language and identity. In the theatre, the Scottish voice could be heard, live and direct, and not silent on the page as in poetry, or interpreted and masked by the 'standard' speech of a narrator (Craig and Stevenson 2001: x). Craig and Stevenson reflect in their analysis of the impact of Guthrie's production something of the 'return to meaning and sincerity' to which Reid refers. Others have talked of this as a return to linguistic reality or social realism, although John Corbett reminds us 'the real' and language may have a vexed relationship: The main weapon in the armoury of the supporters of vernacular writing, particularly the urban vernaculars, is that it is 'real'--in the often-repeated words, it more accurately represents 'the language of the people'. …" @default.
• W847646866 created "2016-06-24" @default.
• W847646866 creator A5027145822 @default.
• W847646866 creator A5030873927 @default.
• W847646866 date "2014-01-01" @default.
• W847646866 modified "2023-09-24" @default.
• W847646866 title "Scottish languages on stage" @default.
• W847646866 hasPublicationYear "2014" @default.
• W847646866 type Work @default.
• W847646866 sameAs 847646866 @default.
• W847646866 citedByCount "0" @default.
• W847646866 crossrefType "journal-article" @default.
• W847646866 hasAuthorship W847646866A5027145822 @default.
• W847646866 hasAuthorship W847646866A5030873927 @default.
• W847646866 hasConcept C111919701 @default.
• W847646866 hasConcept C136197465 @default.
• W847646866 hasConcept C138885662 @default.
• W847646866 hasConcept C144024400 @default.
• W847646866 hasConcept C154945302 @default.
• W847646866 hasConcept C166957645 @default.
• W847646866 hasConcept C2779307921 @default.
• W847646866 hasConcept C2779343474 @default.
• W847646866 hasConcept C33566652 @default.
• W847646866 hasConcept C41008148 @default.
• W847646866 hasConcept C41895202 @default.
• W847646866 hasConcept C95457728 @default.
• W847646866 hasConceptScore W847646866C111919701 @default.
• W847646866 hasConceptScore W847646866C136197465 @default.
• W847646866 hasConceptScore W847646866C138885662 @default.
• W847646866 hasConceptScore W847646866C144024400 @default.
• W847646866 hasConceptScore W847646866C154945302 @default.
• W847646866 hasConceptScore W847646866C166957645 @default.
• W847646866 hasConceptScore W847646866C2779307921 @default.
• W847646866 hasConceptScore W847646866C2779343474 @default.
• W847646866 hasConceptScore W847646866C33566652 @default.
• W847646866 hasConceptScore W847646866C41008148 @default.
• W847646866 hasConceptScore W847646866C41895202 @default.
• W847646866 hasConceptScore W847646866C95457728 @default.
• W847646866 hasLocation W8476468661 @default.
• W847646866 hasOpenAccess W847646866 @default.
• W847646866 hasPrimaryLocation W8476468661 @default.
• W847646866 hasRelatedWork W1541424874 @default.
• W847646866 hasRelatedWork W186490200 @default.
• W847646866 hasRelatedWork W1968004251 @default.
• W847646866 hasRelatedWork W2137539838 @default.
• W847646866 hasRelatedWork W2309189077 @default.
• W847646866 hasRelatedWork W2319207847 @default.
• W847646866 hasRelatedWork W241429439 @default.
• W847646866 hasRelatedWork W2561895111 @default.
• W847646866 hasRelatedWork W2607481541 @default.
• W847646866 hasRelatedWork W2929021637 @default.
• W847646866 hasRelatedWork W642255990 @default.
• W847646866 hasRelatedWork W820618876 @default.
• W847646866 hasRelatedWork W843633851 @default.
• W847646866 hasRelatedWork W865364694 @default.
• W847646866 hasRelatedWork W915847861 @default.
• W847646866 hasRelatedWork W184125061 @default.
• W847646866 hasRelatedWork W2188681038 @default.
• W847646866 hasRelatedWork W2290285707 @default.
• W847646866 hasRelatedWork W2586409645 @default.
• W847646866 hasRelatedWork W639401865 @default.
• W847646866 hasVolume "33" @default.
• W847646866 isParatext "false" @default.
• W847646866 isRetracted "false" @default.
• W847646866 magId "847646866" @default.
• W847646866 workType "article" @default.