Scottish Nationality gives a full survey of the Scottish political identity from the earliest times. It is both a concise history of Scotland as a nation and a study of the development of national feeling, covering the growth of the Scottish National Party and Scotland's relationship with England and the wider world.

This work explores the idea of the Celt and the definition of the so-called "Celtic Fringe" over the last 300 years. It is an in-depth study of the literary and cultural representation of Ireland, Scotland and Wales over this period, and is based on a wide-ranging grasp of issues of national identity and state formation. The idea of the Celt and Celticism is once again highly fashionable. Is there such a common Celtic heritage? What is the place of the "Celtic Fringe" in British identity? Pittock begins by assessing the term "Celtic" itself, by questioning its validity, going on to examine its historic uses and heroic notions of Scotland's past. The Celtic Revival of the late 19th century is examined in detail together with its impact on Irish nationalism. Pittock asks how far the "Celtic" experience in Britain can be described as a colonial one, and examines the importance of the Celtic languages in preserving a sense of identity. Contemporary issues such as the literary language of the Troubles in Northern Ireland and the growth of modern Scottish nationalism are also considered. -- .

Sir Walter Scott (1771-1832) had an immense impact throughout Europe. His historical fiction, which brought the ideas of Enlightenment to bear on the novel, created for the first time a sense of the past as a place where people thought, felt and dressed differently. His writing influenced Balzac, Dostoevsky, Flaubert, Tolstoy, Dumas, Pushkin and many others; and Scott's interpretation of history was seized on by Romantic nationalists, particularly in Eastern Europe. This book gives for the first time a comprehensive account of the impact of Scott in Europe, from the early and highly influential translations of Defauconpret in France to the continued politicization and censorship of the novels in modern East Germany and Franco's Spain. Generic chapters examine Scott's presence in art and opera, two cultural forms which were deeply affected by his novels. This exciting collection of essays by an international team of leading scholars demonstrates the depth of Scott's impact on European translation, fiction and culture from 1814 to the present. It will be an indispensable research resource for Romanticists everywhere.

An engaging and authoritative history of Scotland’s influence in the world and the world’s on Scotland, from the Thirty Years’ War to the present day   Scotland is one of the oldest nations in the world, yet by some it is hardly counted as a nation at all. Neither a colony of England nor a fully equal partner in the British union, Scotland has often been seen as simply a component part of British history. But the story of Scotland is one of innovation, exploration, resistance—and global consequence.   In this wide-ranging, deeply researched account, Murray Pittock examines the place of Scotland in the world. He explores Scotland and Empire, the rise of nationalism, and the pressures on the country from an increasingly monolithic understanding of “Britishness.� From the Thirty Years’ War to Jacobite risings and today’s ongoing independence debates, Scotland and its diaspora have undergone profound changes. This groundbreaking account reveals the diversity of Scotland’s history and shows how, after the country disappeared from the map as an independent state, it continued to build a global brand.

The 1890s, the Naughty Nineties, was an exciting and flamboyant time in British life and literature. First published in 1993, this title traces the genesis of the literary culture of the 1890s through some of the popular novels and literary texts of the period. By examining works by such writers as Oscar Wilde, Bram Stoker, W. B. Yeats, and Walter Pater, Murray Pittock analyses the nature of the 'Decadent era' and the artistic theories of Symbolism and Aestheticism. Significantly, he provides a full assessment of the lasting impact that the thought of the period has had on our own understanding of our cultural past. Spectrum of Decadence explores the confrontations between art and science, sex and mortality, desire and virtue, which, the author argues are as much a part of modern society's fin-de-siecle as they were of the nineteenth century's. This reissue bridges the gap between literary texts, historical context, and contemporary critical theory.

James Hogg's "Jacobite Relics"--originally commissioned by the Highland Society of London in 1817--is an important addition to "The Collected Works of James Hogg." It created a canon for the Jacobite song which had an enormous influence on subsequent collections, and was of great importance in defining the relationship between the Scottish song tradition and its Romantic editors and collectors. From the first publication of the Relics in 1819, there has been speculation about how many of them were authored or at least substantially altered by Hogg. Murray Pittock has conducted extensive research in this area since 1987, and has identified several previously unknown sources from which Hogg would have worked as he developed his collection. The introduction to volume one includes the crucial issue of Hogg's relationship to the Jacobite song tradition, and the place of the Relics within Hogg's career and personal context, facilitating further interpretations of Hogg's range of creative strategies. Both volumes one and two provide considerable annotation to accurately communicate the context of the songs and Hogg's relationship to the textuality of Jacobite culture. Volume one also includes a bibliography and glossary. The introduction to volume two deals with the genesis of the text and Hogg's relationship with the Highland Society.

James Hogg's Jacobite Relics - originally commissioned by the Highland Society of London in 1817 - is an important addition to The Collected Works of James Hogg. It created a canon for the Jacobite song which had an enormous influence on subsequent collections, and was of great importance in defining the relationship between the Scottish song tradition and its Romantic editors and collectors. From the first publication of the Relics in 1819 the majority of scholars have argued about how many of them were authored or at least substantially altered by Hogg. Professor Murray Pittock has conducted extensive research in this area since 1987, and has identified many previously neglected or unknown sources from which Hogg would have worked as he developed his collection. He has identified contemporary 17th- and 18th-century sources for the majority of the songs in the edition. This has implications not only for Hogg's integrity as a writer, but for our understanding of the history of the Scottish song as a whole. The introduction to volume one includes the crucial issue of Hogg's relationship to the Jacobite song tradition, and the place of the Relics within Hogg's career and personal context, facilitating further interpretations of Hogg's range of creative strategies. Considerable annotation accurately communicates the context of the songs and Hogg's relationship to the textuality of Jacobite culture. The introduction to volume two deals with the genesis of the text and Hogg's relationship with the Highland Society. This volume will be available from November 2002.

The battle of Culloden lasted less than an hour. The forces involved on both sides were small, even by the standards of the day. And it is arguable that the ultimate fate of the 1745 Jacobite uprising had in fact been sealed ever since the Jacobite retreat from Derby several months before. But for all this, Culloden is a battle with great significance in British history. It was the last pitched battle on the soil of the British Isles to be fought with regular troops on both sides. It came to stand for the final defeat of the Jacobite cause. And it was the last domestic contestation of the Act of Union of 1707, the resolution of which propelled Great Britain to be the dominant world power for the next 150 years. If the battle itself was short, its aftermath was brutal - with the depredations of the Duke of Cumberland followed by a campaign to suppress the clan system and the Highland way of life. And its afterlife in the centuries since has been a fascinating one, pitting British Whig triumphalism against a growing romantic memorialization of the Jacobite cause. On both sides there has long been a tendency to regard the battle as a dramatic clash, between Highlander and Lowlander, Celt and Saxon, Catholic and Protestant, the old and the new. Yet, as this account of the battle and its long cultural afterlife suggests, while viewing Culloden in such a way might be rhetorically compelling, it is not necessarily good history.

The 1890s, the Naughty Nineties, was an exciting and flamboyant time in British life and literature. First published in 1993, this title traces the genesis of the literary culture of the 1890s through some of the popular novels and literary texts of the period. By examining works by such writers as Oscar Wilde, Bram Stoker, W. B. Yeats, and Walter Pater, Murray Pittock analyses the nature of the Decadent era and the artistic theories of Symbolism and Aestheticism. Significantly, he provides a full assessment of the lasting impact that the thought of the period has had on our own understanding of our cultural past. "

Spectrum of Decadence" explores the confrontations between art and science, sex and mortality, desire and virtue, which, the author argues are as much a part of modern society s "fin-de-siecle" as they were of the nineteenth century s. This reissue bridges the gap between literary texts, historical context, and contemporary critical theory."

Scottish and Irish Romanticism is the first single-author book to address the main non-English Romanticisms of the British Isles. Murray Pittock begins by questioning the terms of his chosen title as he searches for a definition of Romanticism and for the meaning of "national literature." He proposes certain determining "triggers" for the recognition of the presence of a national literature, and also deals with two major problems which are holding back the development of a new and broader understanding of British Isles Romanticisms: the survival of outdated assumptions in ostensibly more modern paradigms, and a lack of understanding of the full range of dialogues and relationships across the literatures of these islands. The theorists whose works chiefly inform the book are Bakhtin, Fanon and Habermas, although they do not define its arguments, and an alertness to the ways in which other literary theories inform each other is present throughout the book.
Pittock examines in turn the historiography, prejudices, and assumptions of Romantic criticism to date, and how our unexamined prejudices still stand in the way of our understanding of individual traditions and the dialogues between them. He then considers Allan Ramsay's role in song-collecting, hybridizing high cultural genres with broadside forms, creating in synthetic Scots a "language really used by men," and promoting a domestic public sphere. Chapters 3 and 4 discuss the Scottish and Irish public spheres in the later eighteenth century, together with the struggle for control over national pasts, and the development of the cults of Romance, the Picturesque and Sentiment: Macpherson, Thomson, Owenson and Moore are among thewriters discussed. Chapter 5 explores the work of Robert Fergusson and his contemporaries in both Scotland and Ireland, examining questions of literary hybridity across not only national but also linguistic borders, while Chapter 6 provides a brief literary history of Burns' descent into critical neglect combined with a revaluation of his poetry in the light of the general argument of the book. Chapter 7 analyzes the complexities of the linguistic and cultural politics of the national tale in Ireland through the work of Maria Edgeworth, while the following chapter considers of Scott in relation to the national tale, Enlightenment historiography, and the European nationalities question. Chapter 9 looks at the importance of the Gothic in Scottish and Irish Romanticism, particularly in the work of James Hogg and Charles Maturin, while Chapter 10, "Fratriotism," explores a new concept in the manner in which Scottish and Irish literary, political and military figures of the period related to Empire.

Scottish and Irish Romanticism is the first single-author book to address the main non-English Romanticisms of the British Isles. Murray Pittock begins by questioning the terms of his chosen title as he searches for a definition of Romanticism and for the meaning of 'national literature'. He proposes certain determining 'triggers' for the recognition of the presence of a national literature, and also deals with two major problems which are holding back the development of a new and broader understanding of British Isles Romanticisms: the survival of outdated assumptions in ostensibly more modern paradigms, and a lack of understanding of the full range of dialogues and relationships across the literatures of these islands. The theorists whose works chiefly inform the book are Bakhtin, Fanon and Habermas, although they do not define its arguments, and an alertness to the ways in which other literary theories inform each other is present throughout the book.
Pittock examines in turn the historiography, prejudices, and assumptions of Romantic criticism to date, and how our unexamined prejudices still stand in the way of our understanding of individual traditions and the dialogues between them. He then considers Allan Ramsay's role in song-collecting, hybridizing high cultural genres with broadside forms, creating in synthetic Scots a 'language really used by men', and promoting a domestic public sphere. Chapters 3 and 4 discuss the Scottish and Irish public spheres in the later eighteenth century, together with the struggle for control over national pasts, and the development of the cults of Romance, the Picturesque and Sentiment: Macpherson, Thomson, Owenson and Moore are among the writers discussed. Chapter 5 explores the work of Robert Fergusson and his contemporaries in both Scotland and Ireland, examining questions of literary hybridity across not only national but also linguistic borders, while Chapter 6 provides a brief literary history of Burns' descent into critical neglect combined with a revaluation of his poetry in the light of the general argument of the book. Chapter 7 analyzes the complexities of the linguistic and cultural politics of the national tale in Ireland through the work of Maria Edgeworth, while the following chapter considers of Scott in relation to the national tale, Enlightenment historiography, and the European nationalities question. Chapter 9 looks at the importance of the Gothic in Scottish and Irish Romanticism, particularly in the work of James Hogg and Charles Maturin, while Chapter 10, 'Fratriotism', explores a new concept in the manner in which Scottish and Irish literary, political and military figures of the period related to Empire.

The battle of Culloden lasted less than an hour. The forces involved on both sides were small, even by the standards of the day. And it is arguable that the ultimate fate of the 1745 Jacobite uprising had in fact been sealed ever since the Jacobite retreat from Derby several months before. But for all this, Culloden is a battle with great significance in British history. It was the last pitched battle on the soil of the British Isles to be fought with regular troops on both sides. It came to stand for the final defeat of the Jacobite cause. And it was the last domestic contestation of the Act of Union of 1707, the resolution of which propelled Great Britain to be the dominant world power for the next 150 years. If the battle itself was short, its aftermath was brutal - with the depredations of the Duke of Cumberland followed by a campaign to suppress the clan system and the Highland way of life. And its afterlife in the centuries since has been a fascinating one, pitting British Whig triumphalism against a growing romantic memorialization of the Jacobite cause. On both sides there has long been a tendency to regard the battle as a dramatic clash, between Highlander and Lowlander, Celt and Saxon, Catholic and Protestant, the old and the new. Yet, as this account of the battle and its long cultural afterlife suggests, while viewing Culloden in such a way might be rhetorically compelling, it is not necessarily good history.

The Myth of the Jacobite Clans was first published in 1995: a revolutionary book, it argued that British history had long sought to caricature Jacobitism rather than to understand it, and that the Jacobite Risings drew on extensive Lowland support and had a national quality within Scotland. The Times Higher Education Supplement hailed its author's 'formidable talents' and the book and its ideas fuelled discussions in The Economist and Scotland on Sunday, on Radio Scotland and elsewhere. The argument of the book has been widely accepted, although it is still ignored by media and heritage representations which seek to depoliticise the Rising of 1745. Now entirely rewritten with extensive new primary research, this new expanded second edition addresses the questions of the first in more detail, examining the systematic misrepresentation of Jacobitism, the impressive size of the Jacobite armies, their training and organization and the Jacobite goal of dissolving the Union, and bringing to life the ordinary Scots who formed the core of Jacobite support in the ill-fated Rising of 1745. Now, more than ever, The Myth of the Jacobite Clans sounds the call for an end to the dismissive sneers and pointless romanticisation which have dogged the history of the subject in Scotland for 200 years.

The Scots Musical Museum is perhaps the core canonical collection of Scottish song, with over 200 of its 600 songs claimed for Robert Burns. This is the first research edition of the Scots Musical Museum in its entirety in over two centuries, and the first ever edition of the first edition of any kind, unearthing hundreds of previously unacknowledged variants between the first and 1803 editions. It will claim that up to fifty songs should be removed from the Burns canon. It is a landmark text for understanding the history and development of Scottish song and music. A full and detailed introduction sets out the social, textual, musical and historical context in which Robert Burns and James Johnson worked, while extensive notes on the songs provide a detailed history and context of each one, and a brief critical analysis of some of the most famous of these songs. There is a comprehensive glossary based, where available, on contemporary dictionary definitions and ample appendices. The items included here have never before been published complete together.

This is a study of Enlightenment in Edinburgh like no other. Using data and models provided by urban innovation and Smart City theory, it pinpoints the distinctive features that made Enlightenment in the Scottish capital possible. In a journey packed with evidence and incident, Murray Pittock explores various civic networks - such as the newspaper and printing businesses, the political power of the gentry and patronage networks, as well as the pub and coffee-house life - as drivers of cultural change. His analysis reveals that the attributes of civic development, which lead to innovation and dynamism, were at the heart of what made Edinburgh a smart city of 1700.

This is a study of Enlightenment in Edinburgh like no other. Using data and models provided by urban innovation and Smart City theory, it pinpoints the distinctive features that made Enlightenment in the Scottish capital possible. In a journey packed with evidence and incident, Murray Pittock explores various civic networks - such as the newspaper and printing businesses, the political power of the gentry and patronage networks, as well as the pub and coffee-house life - as drivers of cultural change. His analysis reveals that the attributes of civic development, which lead to innovation and dynamism, were at the heart of what made Edinburgh a smart city of 1700.

Sir Walter Scott (1771-1832) had an immense impact throughout Europe. His historical fiction, which brought the ideas of Enlightenment to bear on the novel,created for the first time a sense of the past as a place where people thought, felt and dressed differently. His writing influenced Balzac, Dostoevsky, Flaubert, Tolstoy, Dumas, Pushkin and many others; and Scott's interpretation of history was seized on by Romantic nationalists, particularly in Eastern Europe. This book gives for the first time a comprehensive account of the impact of Scott in Europe, from the early and highly influential translations of Defauconpret in France to the continued politicization and censorship of the novels in modern East Germany and Franco's Spain. Generic chapters examine Scott's presence in art and opera, two cultural forms which were deeply affected by his novels. This exciting collection of essays by an international team of leading scholars demonstrates the depth of Scott's impact on European translation, fiction and culture from 1814 to the present. It will be an indispensable research resource for Romanticists everywhere

The Edinburgh History of Scottish Literature General Editor: Ian Brown Co-editors: Thomas Owen Clancy, Susan Manning and Murray Pittock The Edinburgh History of Scottish Literature offers a major reinterpretation, re-evaluation and repositioning of the scope, nature and importance of Scottish Literature, arguably Scotland's most important and influential contribution to world culture. Drawing on the very best of recent scholarship, the History contributes a wide range of new and exciting insights. It takes full account of modern theory, but refuses to be in thrall to critical fashion. It is important not only for literary scholars, but because it changes the very way we think about what Scottishness is. The Edinburgh History of Scottish Literature, Volume 1: From Columba to the Union (until 1707) Period Editors: Thomas Owen Clancy and Murray Pittock General editor: Ian Brown Co-editor: Susan Manning The History begins with the first full-scale critical consideration of Scotland's earliest literature, drawn from the diverse cultures and languages of its early peoples. The first volume covers the literature produced during the medieval and early modern period in Scotland, surveying the riches of Scottish work in Gaelic, Welsh, Old Norse, Old English and Old French, as well as in Latin and Scots. New scholarship is brought to bear, not only on imaginative literature, but also law, politics, theology and philosophy, all placed in the context of the evolution of Scotland's geography, history, languages and material cultures from our earliest times up to 1707. The other volumes in the History are: The Edinburgh History of Scottish Literature, Volume 2: Enlightenment, Britain and Empire (1707-1918) The Edinburgh History of Scottish Literature, Volume 3: Modern Transformations: New Identities (from 1918) Key Features: * Original - presents new approaches to what is literature and what is Scottishness. * Inclusive - Gaelic and diasporic writing, Latin writing, theological writing, legal writing, and context chapters. * Comprehensive - provides the fullest coverage of Scottish literature ever and the first survey for almost 20 years. * Distinguished contributors from many countries. * Influences the agenda for critical debate on Scottish writing in the twenty-first century.

The Edinburgh History of Scottish Literature General Editor: Ian Brown Co-editors: Thomas Owen Clancy, Susan Manning and Murray Pittock The Edinburgh History of Scottish Literature offers a major reinterpretation, re-evaluation and repositioning of the scope, nature and importance of Scottish Literature, arguably Scotland's most important and influential contribution to world culture. Drawing on the very best of recent scholarship, the History contributes a wide range of new and exciting insights. It takes full account of modern theory, but refuses to be in thrall to critical fashion. It is important not only for literary scholars, but because it changes the very way we think about what Scottishness is. The Edinburgh History of Scottish Literature, Volume 2: Enlightenment, Britain and Empire (1707-1918) Period Editor: Susan Manning General Editor: Ian Brown Co-editors: Thomas Owen Clancy and Murray Pittock Between 1707 and 1918, Scotland underwent arguably the most dramatic upheavals in its political, economic and social history. The Union with England, industrialisation and Scotland's subsequent defining contributions throughout the eighteenth and nineteenth centuries to the culture of Britain and Empire are reflected in the transformative energies of Scottish literature and literary institutions in the period. New genres, new concerns and whole new areas of interest opened under the creative scrutiny of sceptical minds. This second volume of the History reveals the major contribution made by Scottish writers and Scottish writing to the shape of modernity in Britain, Europe and the world. The other volumes in the History are: The Edinburgh History of Scottish Literature, Volume 1: From Columba to the Union (until 1707) The Edinburgh History of Scottish Literature, Volume 3: Modern Transformations: New Identities (from 1918) Key Features * Original - presents new approaches to what is literature and what is Scottishness. * Inclusive - Gaelic and diasporic writing, Latin writing, theological writing, legal writing, and context chapters. * Comprehensive - provides the fullest coverage of Scottish literature ever and the first survey for almost 20 years. * Distinguished contributors from many countries. * Influences the agenda for critical debate on Scottish writing in the twenty-first century.

The first ever edition of The Tea-Table Miscellany, the seminal collection in defining eighteenth-century Scottish song Detailed examination of the musical archaeology for each of the songs, providing for the first time comprehensive antecedents for almost all the songs in this critical contribution to the establishment of a Scottish song 'tradition' Uniquely comprehensive survey of early sources for the tunes of Ramsay's songs Detailed collation of texts against all extant manuscript sources and relevant printed editions and comprehensive explanatory annotations offering new insights into Ramsay's cultural, historical, political, literary and theatrical contexts This edition of The Tea-Table Miscellany is the first ever produced, bringing together the four volumes of this collection of songs published between 1723 and 1737. The Tea-Table Miscellany combines traditional Scottish song, works by Allan Ramsay and his contemporaries, together with material from D'Urfey, Playford and the English stage and broadside, in a collection of 399 songs. This edition offers, for the first time, annotations, background, and a study of origins for all the songs and tunes examining both Ramsay's categorisation of the authorship and origin of the song texts and tunes to which it was most likely he was referring. As such, the edition consists of a detailed introduction, the clearly presented song texts, notes on the songs that identify both their print and musical antecedents, musical illustrations that show major variations in the contemporary tunes with which the songs are associated, illustrations of the title pages, and the main design features and ornaments used in Ruddiman's original edition.

Robert Burns (1759 -1796), Scotland's national poet and pioneer of the Romantic Movement, has been hugely influential across Europe and indeed throughout the world. Burns has been translated seven times as often as Byron, with 21 Norwegian translations alone recorded since 1990; he was translated into German before the end of his short life, and was of key importance in the vernacular politics of central and Eastern Europe in the nineteenth century. This collection of essays by leading international scholars and translators traces the cultural impact of Burn's work across Europe and includes bibliographies of major translations of his work in each country covered, as well as a publication history and timeline of his reception on the continent.

Robert Burns has been a key figure in Scottish identity globally since his death in 1796. But he has always been much more than that. In America, his admirers have included Emerson, President Lincoln, Maya Angelou and many others, for Burns was long held to be a friend to the American way of life, an opponent of kings and tyranny, and someone who proved that the values that built the United States were not extinct in Europe. In Europe itself, Burns was seen as both an authentic voice of the people-a representative of their way of life-and a progressive, informed and radical writer. In the British Empire and later the Commonwealth, he was a symbol of Scottish nationality and sociability abroad. In more recent times he has been seen as a poet of universal brotherhood and sisterhood. It takes a great poet to be all things to all people, and to be interpreted so variously worldwide. One of the extraordinary things about Burns is that while his books were sold globally, while he remains the second most translated Scottish author of all time, and when even the USSR issued a stamp in his honor, the postwar academic world turned away from a poet whom it had previously recognized as a major figure. Burns disappeared from accounts of Romanticism, and such meager helpings of critical attention as he received were often directed towards his supposed status as a laboring class or dialect poet, a status which is completely at odds with Burns' sophisticated control of register. Robert Burns in Global Culture is an ambitious book. Drawing on the work of leading experts from Scotland, England, North America, France, Germany and Spain, it analyses the reasons for Burns' critical decline, examines the phenomenon of Burns' global influence on areas from Italian politics to American identity, and places Burns' influence, reputation and unique qualities as a poet within a framework of reference which blends rigorous intellectual inquiry into the poet and his poetry with analyses of popular culture.

The Myth of the Jacobite Clans was first published in 1995: a revolutionary book, it argued that British history had long sought to caricature Jacobitism rather than to understand it, and that the Jacobite Risings drew on extensive Lowland support and had a national quality within Scotland. The Times Higher Education Supplement hailed its author's 'formidable talents' and the book and its ideas fuelled discussions in The Economist and Scotland on Sunday, on Radio Scotland and elsewhere. The argument of the book has been widely accepted, although it is still ignored by media and heritage representations which seek to depoliticise the Rising of 1745. Now entirely rewritten with extensive new primary research, this new expanded second edition addresses the questions of the first in more detail, examining the systematic misrepresentation of Jacobitism, the impressive size of the Jacobite armies, their training and organization and the Jacobite goal of dissolving the Union, and bringing to life the ordinary Scots who formed the core of Jacobite support in the ill-fated Rising of 1745. Now, more than ever, The Myth of the Jacobite Clans sounds the call for an end to the dismissive sneers and pointless romanticisation which have dogged the history of the subject in Scotland for 200 years.