What did war look like in the cultural imagination of 1914? Why did men in Scotland sign up to fight in unprecedented numbers? What were the martial myths shaping Scottish identity from the aftermath of Bannockburn to the close of the nineteenth century, and what did the Scottish soldiers of the First World War think they were fighting for? Scotland and the First World War: Myth, Memory and the Legacy of Bannockburn is a collection of new interdisciplinary essays interrogating the trans-historical myths of nation, belonging and martial identity that shaped Scotland's encounter with the First World War. In a series of thematically linked essays, experts from the fields of literature, history and cultural studies examine how Scotland remembers war, and how remembering war has shaped Scotland.

A Critical Difference is a detailed study of perhaps the most intriguing and important literary-critical dialogue of the 1920s. Goldie places the critical writing of T. S. Eliot and John Middleton Murry firmly in the context of a contentious post-war literary culture and argues for the need to read their work as a series of interventions within that culture. The book traces the development of their criticism from early collaboration on the Athenaeum through to the rivalries between Eliot's Criterion and Murry's Adelphi. It explores the informing contexts of several of Eliot's better-known essays and sheds new light on his role as a polemicist and critical controversialist.

The SCOTNOTES booklets are a series of study guides to major Scottish writers and texts frequently used within literature courses, aimed at senior secondary school pupils and students in further education. The individual authors are not only experts on a particular writer or text but also experienced in teaching in schools or colleges. This SCOTNOTE Study Guide explores the responses of Scottish poets to the First and Second World Wars, from the sometimes jingoistic optimism of the early days of 1914, to the horrors of the trenches, to the massed and mechanised brutalities of total war - not forgetting, too, the experiences on the Home Front and the traumas of memory.

The first half of the Twentieth Century witnessed two catastrophic global conflicts, with suffering on a scale that - thankfully - later generations find hard to comprehend. The full story of what it was like to endure these wars might never be told, because many who survived chose not to speak - or could not speak - of what they saw and suffered. But some could turn to poetry, to try to make sense of what was happening. From the Line brings together the best of Scotland's poetry from the two World Wars: 138 poems, from fifty-six poets, are represented here, from both men and women, from battlefields across the world and from the Home Front, too. There is dread in these lines as poets reflect on the loss of peace, or mourn the death of friends and comrades. Some tell of traumas that can never be shaken off, others of an intensity that would never be found again - but there is hope, too, and moments of humour, compassion and decency that survived the worst.

What did war look like in the cultural imagination of 1914? Why did men in Scotland sign up to fight in unprecedented numbers? What were the martial myths shaping Scottish identity from the aftermath of Bannockburn to the close of the nineteenth century, and what did the Scottish soldiers of the First World War think they were fighting for? Scotland and the First World War: Myth, Memory and the Legacy of Bannockburn is a collection of new interdisciplinary essays interrogating the trans-historical myths of nation, belonging and martial identity that shaped Scotland's encounter with the First World War. In a series of thematically linked essays, experts from the fields of literature, history and cultural studies examine how Scotland remembers war, and how remembering war has shaped Scotland.