Études écossaises最新文献

{"title":"Accès à la capacité légale pour les adolescents en Écosse et optimisation juridique de la frontière interne du Royaume‑Uni","authors":"Rodolphe Dumouch","doi":"10.4000/etudesecossaises.3975","DOIUrl":"https://doi.org/10.4000/etudesecossaises.3975","url":null,"abstract":"","PeriodicalId":152891,"journal":{"name":"Études écossaises","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123870708","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Macbeth déracinée, ou comment transmettre l’Écosse sans l’Écosse, dans les adaptations d’Orson Welles (1948) et de Joel Coen (2021)","authors":"Chloé Giroud","doi":"10.4000/etudesecossaises.4305","DOIUrl":"https://doi.org/10.4000/etudesecossaises.4305","url":null,"abstract":"","PeriodicalId":152891,"journal":{"name":"Études écossaises","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126104995","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Les Souvenirs d’Écosse de Frédéric Mercey, regards romantiques sur l’Écosse","authors":"Paolo Dias Fernandes","doi":"10.4000/etudesecossaises.4095","DOIUrl":"https://doi.org/10.4000/etudesecossaises.4095","url":null,"abstract":"","PeriodicalId":152891,"journal":{"name":"Études écossaises","volume":"2015 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128075571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Scottish Cinema’s Understated Linguistic Diversity: A Brief Overview of the Scottish Film Industry","authors":"K. Chick","doi":"10.4000/ETUDESECOSSAISES.3528","DOIUrl":"https://doi.org/10.4000/ETUDESECOSSAISES.3528","url":null,"abstract":"Scotland’s cultural revival of the last decades has been accompanied, in Scottish film, by an exponential increase in Scottish productions and co‑productions. However, the optimism with which we might greet this development is somewhat mitigated by a perceived lack of diversity.Researchers generally concur that the dominant discourses and representations of modern Scotland in film are of white urban working class heterosexual male experience (Sillars, 2009; Martin-Jones, 2009; Hill, 2000; Lea et Schoene, 2003; Morgan, 2003; Neely, 2008), despite the decline of the industries, growing unemployment and evolving demographics. Seldom noted but directly related and relevant is that the rich heterogeneity present in the set of language varieties known as Scots (whose status as a distinct language rather than as a ‘deviant’ variant of English has been steadily undermined since the Union of the Crowns) is also lacking, so that Scots is now a language that is often only spoken at the margins of Scottish films, and increasingly limited to stereotyped comical characters. Hence the multilingualism inherent throughout Scotland, where both Scots and English are widely spoken, is undervalued. However, this has not always been the case, as we will see with reference to the films of Douglas’s childhood trilogy (1972–1978), predominantly in Scots, and Radford’s Another Time, Another Place (1982), unique in Scottish film history as a bilingual film in Scots and non-subtitled Italian.Given the dominance of the three myths of Scotland (Tartanry, Kailyard and Clydesideism), coupled with the prevalence of English as a commercially viable and culturally dominant language of cinema, Scotland’s multilingualism is rarely showcased, but nevertheless a handful of filmmakers have brought either community languages (such as Urdu, Punjabi or Polish) or foreign languages (such as German, Italian or Arabic) to Scottish screens. In these films foreign languages are linked to the politics of power, and brought to rural Scottish communities as a consequence of war, whilst the presence of community languages are to be found in films that explore diasporic communities and syncretic ‘new’ ethnicities, particularly in the urban setting.The centrality of multilingualism in shaping and informing our evolving cultural identities and inter-cultural relations is often overlooked, to the extent that even when linguistic plurality is present in films, it is often passed over ‘in silence’. Accordingly, none of the Scots language films that will be discussed in this article are recognised as such in their technical production details in the industry. Similarly, the fact that filmmakers such as Douglas, Loach, Radford and Ramsay value foreign languages such as Arabic (Douglas), Italian (Radford), German (Douglas), Spanish (Ramsay), Urdu (Loach) has gone largely unnoticed. To understand and encourage further expression of multilingualism in Scotland, we might perhaps begin by admitting the linguis","PeriodicalId":152891,"journal":{"name":"Études écossaises","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117112620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Full-Day Experience: Representing and Re‑imagining Scotland in Online Narratives of the Film and TV Location Tour","authors":"Petra Pugar","doi":"10.4000/ETUDESECOSSAISES.3643","DOIUrl":"https://doi.org/10.4000/ETUDESECOSSAISES.3643","url":null,"abstract":"This article analyses how Scotland and Scottishness are represented and re‑imagined in selected online texts aimed at international tourists visiting its castles, cities and landscapes that double as locations for the TV‑series and films Outlander, Harry Potter and Trainspotting. In a dialectic relationship between consumerism, secondary-world building, spatial practices and concepts such as vision and authenticity, each particular moving-image genre is accompanied by a different set of images of Scotland brought forward in these texts, largely supporting the fixed representation of banal Scottishness and its romanticized tropes, with some exceptions that challenge these images and contribute to the type of culturalism seen in contemporary Scottish literature.","PeriodicalId":152891,"journal":{"name":"Études écossaises","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116061221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Le cerf en Écosse, emblème ou problème ? Confrontation de mémoires collectives réévaluant la dimension kitsch du cerf","authors":"Lauren Brancaz-McCartan","doi":"10.4000/ETUDESECOSSAISES.3694","DOIUrl":"https://doi.org/10.4000/ETUDESECOSSAISES.3694","url":null,"abstract":"Le cerf est l’un des cliches kitsch associes a l’Ecosse que l’on retrouve sur une multitude d’objets presentes comme typiquement ecossais, notamment des bouteilles de whisky, des coussins, des tasses et des boites de biscuits shortbread. Comment le cerf est‑il devenu un symbole national, quoique kitsch, qui contribua a forger une memoire collective rapprochant l’Ecosse du reste du Royaume‑Uni a partir du dix-neuvieme siecle ? En quoi la crise ecologique causee par la proliferation exponentielle des cervides tout au long du vingtieme siecle compromet‑elle, au contraire, l’image emblematique du cerf ? Comment conduit‑elle a l’emergence d’une memoire collective concurrente exprimant la volonte nationale de l’Ecosse de se distancier du Royaume‑Uni et des cliches kitsch ?","PeriodicalId":152891,"journal":{"name":"Études écossaises","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123865983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Au-delà du mur : l’Écosse dans les films de genre ultra-contemporains","authors":"Anne-Lise Marin-Lamellet","doi":"10.4000/ETUDESECOSSAISES.3619","DOIUrl":"https://doi.org/10.4000/ETUDESECOSSAISES.3619","url":null,"abstract":"La definition du cinema ecossais fait souvent debat, mais lorsqu’une identite ecossaise emerge a l’ecran, elle est davantage a rechercher dans les films de genre situes en Ecosse plutot que dans le canon habituellement etudie. Quels que soient les temporalites et genres abordes, tous mettent en avant un certain nombre de mythes associes a la scotticite, dont le fameux mur d’Hadrien. Symbole d’une frontiere irreductible renvoyant l’Ecosse a une eternelle figure de l’alterite, il temoigne avec d’autres tropes de la fascination toujours vivace exercee par l’Ecosse aupres des realisateurs autochtones comme etrangers. Les nombreux peplums, films d’aventures a caractere historique et films d’horreur tournes ces vingt dernieres annees peuvent parfois s’interpreter comme une volonte d’en passer par le mythe, neanmoins revisite, pour se reapproprier sa propre histoire, tout en proposant une reflexion sur des themes comme l’imperialisme/le neocolonialisme, le multiculturalisme et la construction de l’idee de nation.","PeriodicalId":152891,"journal":{"name":"Études écossaises","volume":"119 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129125056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mining the Mundane and Finding Gold: Reality, Imagination and the Magical in Jackie Kay’s Short Fiction","authors":"Ingibjörg Ágústsdóttir","doi":"10.4000/ETUDESECOSSAISES.3821","DOIUrl":"https://doi.org/10.4000/ETUDESECOSSAISES.3821","url":null,"abstract":"Many of the stories in Jackie Kay’s three short story collections engage with the lives of ordinary people on the margins of society, such as the elderly, the obese, the sick, the unloved, the mentally unstable, the exploited and victimized. In her stories, Kay explores themes of reality, memory, love and loss, among others. Often, imagination is shown to offer escape from unbearable reality for Kay’s characters. In the process, the boundaries between the real and the unreal, the physical and the spectral, the rational and the magical, are destabilized and blurred. This essay discusses Kay’s exploration of the above-mentioned themes and how her use of magical realism plays into the transposition of the ordinary and banal into realms of the extraordinary and fantastical.","PeriodicalId":152891,"journal":{"name":"Études écossaises","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126530481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"When Scotland Started to Speak (and Be Heard): UK and US Scottishness, 1934 and 1935","authors":"Jonathan Ritchie","doi":"10.4000/ETUDESECOSSAISES.3569","DOIUrl":"https://doi.org/10.4000/ETUDESECOSSAISES.3569","url":null,"abstract":"This paper researches representations and performances of Scottishness in UK and US cinema from 1934 and 1935. Utilising archive material in tandem with performance analysis this paper addresses questions of verisimilitude in these productions.The UK presents two very different Scotlands and different people. A Scotsman to be feared, savage and pious and afraid of outsiders in Hitchcock’s The 39 Steps is juxtaposed against the first truly modern screen Scotsman in Clair’s The Ghost Goes West.The US present adaptations of two of J. M. Barrie’s works, What Every Woman Knows and The Little Minister. Two films led by female characters, the US productions put the idea of a ‘real’ Scotland at their core.The paper concludes with a surprising revelation regarding verisimilitude in executions of performed Scottishness.","PeriodicalId":152891,"journal":{"name":"Études écossaises","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127837773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Hearing the Lost Voices of the Community. Distance and Contact Zones in the St Kilda Movies","authors":"P. Laplace","doi":"10.4000/ETUDESECOSSAISES.3596","DOIUrl":"https://doi.org/10.4000/ETUDESECOSSAISES.3596","url":null,"abstract":"This article examines how St Kilda was depicted in the only two fictional films about life on an island that has assumed mythical status since Martin Martin’s travel account (1698): Michael Powell’s The Edge of the World (1937) and Bill Bryden’s Ill Fares the Land (1983). After a presentation of St Kilda, I examine the artistic and ideological objectives of the directors. I then more specifically examine how both directors represent distance and how they present the irruption of what Deleuze and Guattari called striated forces. I describe in the following part the various contact zones where islanders and mainlanders meet in the two films. The notion of St Kilda’s lost voices is central to my article and allows us to see how these films tried to provide the St Kilda community with a means of expression.","PeriodicalId":152891,"journal":{"name":"Études écossaises","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121038168","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}