George MacDonald's last major work of fiction, Lilith, was published in 1895, but the first version of the romance was written in March of 1890. Lilith is an account of the unintentional journey of the protagonist into another world populated by both mythological figures drawn from the Judeo-Christian tradition and by horrific personifications of the psychological horrors of the protagonist's own mind. The story of Lilith describes the protagonist's experiences in this other world which bring him to the point of repentance. The manuscript of the first version, known now as Lilith A, is housed in the British Library along with seven other typed revisions and printer's proofs. Taken together, the A-H manuscripts of Lilith represent the complete production history textual evolution of what is arguably MacDonald's greatest literary work. The body of this paper contains the 161 page transcription of Lilith A produced from the original manuscript and a microfilm photographic reproduction provided by the British Library. The introduction of this paper outlines the history of Lilith A, describes it's similarities and differences with the published version, provides a bibliographic description of the manuscript, and outlines the editorial principles used in producing the transcript of the text. The introduction is followed by a transcription of the title page created for the manuscripts of Lilith by Winifred Louisa, Lady Troup, who was MacDonald's daughter and amanuensis. This title page is followed by the transcription of Lilith A. / Master of Arts

Migrant (1959-1960) and Poor.Old.Tired.Horse.(1962-1967) were two little magazines edited respectively by British poets Gael Turnbull and Ian Hamilton Finlay. This thesis aims to explore the magazines’ contributions to the diversification of British poetry in the 1960s, via their commitment to transnational exchange and publication of innovative poetries. My investigation is grounded on the premise that little magazines, as important but neglected socio-literary forms, provide a nuanced picture of literary history by revealing the shifting activities and associations between groups of writers and publishers. Drawing on Pierre Bourdieu and Pascale Casanova, I argue that Migrant and Poor.Old.Tired.Horse were exceptionally outward-looking publications bringing various kinds of poetic forms, both historical and contemporary, local and international, to new audiences, and creating literary networks in the process. A brief overview of the post-war British poetry scene up until 1967, and the role of little magazines within this period, will contextualize Turnbull’s and Finlay’s activities as editors and publishers. Migrant is examined as a documentation of Turnbull’s early years as a poet-publisher in Britain, Canada, and the US. I argue that Turnbull’s magazine is at once a manifestation of the literary friendships he forged, a negotiation of American poetic theories, and a formulation of a new British-American literary network. Identifying Charles Olson’s ‘Projective Verse’ manifesto as a particular influence on Turnbull, I examine aspects of Olson’s conceptualization of poetry as a dynamic process of unfolding in the content and ethos of Migrant. Finlay’s attitudes to internationalism and use of vernacular speech in poetry are compared to those of Hugh MacDiarmid to demonstrate that Poor.Old.Tired.Horse. emerged out of both a rejection and engagement with an older generation of Scottish writers. The content and organisation of the magazine, I argue, bear Finlay’s consideration of art as play. Drawing on Ludwig Wittgenstein’s positing of language as games, I examine the magazine as a series of playful procedures where a variety of formal experimentations were enacted.

The novels of George Mackay Brown have often been read as upholding a traditional ideal of community as that which is singular and complete, a community which exists outside time and history. As this thesis will show, however, Brown emphasises themes of community, history and myth in his work not in order to validate them without reservation, but to question what use these ideas may have in contemporary life. By reading his novels in conjunction with the work of continental theorists ranging from Martin Heidegger to Jean-Luc Nancy, it becomes apparent that Brown critically explores a post-Kantian modernity in which metaphysical or faith-based foundations are no longer possible. Brown's greatest theme throughout his work is not only how community is built and maintained, but also how it is destroyed, and what life remains after that destruction. Brown continually problematises the idea of community in order to show both its relevance and impossibility in modern society. In separately regarding each of Brown's novels in length, this thesis will highlight the various approaches Brown takes to community: the potentially romantic view of community in Beside the Ocean of time; the centrality of sacrifice for the establishing of community in Magnus; and the interections between community and history in Time in a Red Coat, and Vinland. The thesis then turns directly to the question of the relation between individuals and community in Greenvoe, and ends with a discussion of the way in which Brown portrays his own relation to community in his nonfiction and autobiographical writings. Throughout the thesis, the prevailing notion of Brown as a parochial or naive writer will be continually questioned. In addition, by integrating a wide variety of continental theorists into a discussion of Brown's work, this thesis will explore new opportunities for the general study of contemporary Scottish fiction. By revealing Brown to be a more nuanced thinker of the relation between modernity and community than previous critics have allowed, this thesis will both offer a new perspective on Brown's novels and open new paths for the discussion of the role of community in modern literature.

According to Pierre Nora, “[m]emory and history, far from being synonymous, appear now to be in fundamental opposition”. Drawing on theories of memory and psychoanalysis, my thesis examines the role of memory as a narrative of the past in late twentieth-century and twenty-first-century Scottish literature. I challenge Nora’s supposition that memory and history are fundamentally opposed and I argue that modern Scottish literature uses a variety of forms of memory to interrogate traditional forms of history. In my Introduction, I set the paradigms for my investigation of memory. I examine the perceived paradox in Scottish literature between memory and history as appropriate ways to depict the past. Tracing the origins of this debate to the work of Walter Scott, I argue that he sets the precedent for writers of modernity, where the concerns are amplified in late twentieth and twenty-first century literature and criticism. While literary criticism, such as the work of Cairns Craig and Eleanor Bell, studies the trope of history, Scottish fiction, such as the writing of Alasdair Gray, James Robertson, and John Burnside, asserts the position of memory as a useful way of studying the past. Chapter One examines the transmission of memory. Using George Mackay Brown’s Greenvoe, I consider the implications of three methods of transferring memory. Mrs McKee’s refusal to disclose her experience indicates a refusal to mourn loss and to transmit memory. Skarf’s revision of historical narratives indicates a desire to share experience. The Mystery of the Ancient Horsemen demonstrates the use of ritual in the preservation and the communication of the past for future generations. Chapter Two studies the Gothic fiction of Emma Tennant and Elspeth Barker. I examine sensory experience as indicative of the interior and non-linear structure of memory. I argue that the refusal to accept personal and familial loss reveals problematic forms of memory. Chapter Three traces unacknowledged memory in Alice Thompson’s Pharos. I use Nicolas Abraham’s theory of the transgenerational phantom to consider the effects of this undisclosed memory. I argue that the past and its deliberate suppression haunt future generations. Chapter Four considers the use of nostalgia as a form of memory. I investigate the perceptions and definitions of nostalgia, particularly its use as a representation of the Scottish national past. Using Neil Gunn’s Highland River, I identify nostalgia’s diverse functions. I examine nostalgia as a way in which, through the Scottish diaspora, memory is transferred and exhibited beyond national boundaries. Chapter Five builds on the previous chapter and extends the analysis of the ways nostalgia functions. I study nostalgia’s manifestations in the diasporic Scottish-Canadian literature of Sara Jeanette Duncan, John Buchan, Eric McCormack, and Alastair MacLeod.

This dissertation examines the use of images of graveyards and death in the writings of the ‘Blackwood’s group’, a coterie of authors and poets who published their writing either within the influential Tory periodical Blackwood’s Edinburgh Magazine or with the publisher William Blackwood and Sons in the early decades of the nineteenth century. I argue that Blackwoodian texts like Lights and Shadows of Scottish Life (1822) by John Wilson imagined the rural Scottish graveyard as a repository for the traditional values and social structures which appeared to be under threat in the rapidly modernising British nation. In these texts the kirkyard functions as a key symbolic space, creating an imagined national ‘home’ for British readers in the idealised Scottish village graveyard. This nostalgic pastoral image of the eternal kirkyard is however in opposition to Blackwood’s Magazine’s reputation for violent, urbane wit and sensational gothic stories. The Noctes Ambrosianae and Tales of Terror articulate a modern, masculine and elite image of the magazine which seem at odds with the domestic, pastoral Scottishness offered in the ‘Scotch novels’ and regional tales. William Blackwood’s publishing house and magazine are at once synonymous with two apparently opposing world views and target readerships, and this tension is most strongly articulated in the tidy Scots graves and unburied corpses of the magazine’s fiction. I examine works published by John Wilson, J.G. Lockhart, James Hogg, D.M. Moir, Henry Thomson, Robert McNish, John Galt, Samuel Warren, James Montgomery and Thomas de Quincey, between the magazine’s foundation in 1817 and the increasing defection of these original Blackwoodians to other periodicals and the retirement of the Noctes Ambrosianae series in the late 1830s. I identify a series of conventions associated with an idealised Blackwoodian rural death before examining the ways in which tales where the conventions of this 'good death' and burial are disrupted by crime, bodysnatching, epidemic disease and suicide challenge or reinforce the world view the rural texts articulated. Chapter one focuses on eighteenth-century ideas about death and sociability. Looking at a group of texts which span from Robert Blair’s The Grave (1746) to Edmund Burke’s revolutionary period writings of the 1790s, it traces what Ester Schor has termed a ‘transition from the “natural” sympathies of the Enlightenment to the “political” sympathies of a revolutionary age’ (75). I argue that in particular Edmund Burke’s creation of a conservative image of nation based on tradition and ancestry acted as a foundation for the type of politicised engagement with the dead which characterised the work of the Blackwood’s group. Chapter two builds upon recent identifications of a Blackwoodian regional tale tradition by highlighting the crucial role of death and the kirkyard in this provincial fiction. Placing John Wilson’s highly popular story series Lights and Shadows of Scottish Life in relation to contemporary debates about Evangelical religion, readership and nation, reveals a series of ideas and conventions which can be identified in other rural writing by John Galt, J.G. Lockhart and James Hogg. Having established an image of what a ‘good death’ might look like and stand for within the Blackwoodian imagination, I turn my attention to deaths which do not follow these conventions. Chapter three explores Blackwood’s Edinburgh Magazine’s well-documented fascination with spectacular violence in three of the magazine’s signature Tales of Terror and Thomas De Quincey’s ‘On Murder’ essays (1827, 1839). Chapter four looks at three stories from the magazine which feature bodysnatching, focusing on the role which doctors and provincial communities play within these texts. Chapter five compares responses to the 1832 cholera epidemic by James Montgomery and James Hogg. Finally, Chapter six argues for a reading of James Hogg’s Confessions of a Justified Sinner (1824) which foregrounds the role of the suicide’s body within the narrative based on the representations of suicide in contemporary discussion and in Galt’s Annals of the Parish (1821).

This thesis is a study of the representation of emigration to Canada in Scottish Romantic periodicals and fiction, and of the relationship between these genres and the little-studied genre of the emigrant's guide. Chapter One tracks the Edinburgh Review and Quarterly Review's reviews of books on Canadian topics and demonstrates how the rival quarterlies respond to, and intervene in, the evolving public debate about emigration. Chapter Two examines depictions of Canada in Blackwood's Magazine and Fraser's Magazine, and reveals connections between these magazines' engagement with Canadian affairs and the concurrent reception of Scottish Romanticism in early Canadian literary magazines. Chapter Three argues for an understanding of the emigrant's guide as a porous form that acts as a bridge between nonfictional and fictional representations of emigration. Chapter Four reads novels with emigration plots in relation to the pressures of American, Canadian and transatlantic canon formation, arguing that these novels trouble the stark division between the American and Canadian emigrant experiences which was insisted upon by contemporary commentators and which continues to underpin criticism of transatlantic literary works. Chapter Five considers the relationship between Scottish Romanticism and nineteenth-century Canadian literature, a relationship which has often been framed in terms of the portability of a 'Scottish model' of fiction associated most strongly with Walter Scott. Overall, this thesis contends that foregrounding the literature of emigration allows for greater understanding of the synchronicity of Scottish Romanticism and the escalation of transatlantic emigration, offering an alternative to conceptions of Canada's colonial and transatlantic belatedness.

'Aspects of Modern Scottish Literature and Ecological Thought' argues that the science and philosophy of 'ecology' has had a profound impact on Scottish literature since the mid-nineteenth century to the present day, and relates the work of successive generations of Scottish writers to concurrent developments in ecological thought and the environmental sciences. Chapter One suggests that, while Romantic ways of thinking about the natural world remained influential in nineteenth-century culture, new environmental theories provided fresh ways of perceiving the world, evident from the writings of Scottish mountaineers. Chapter Two explores the confrontation of modernity and wilderness in the fiction and travel writings of Robert Louis Stevenson, and some contemporaries such as John Muir. Chapter Three suggests that ecologically-sensitive local and global concerns, rather than 'national' ones per se, are central to the work of Hugh MacDiarmid, Lewis Grassic Gibbon and others, while Chapter Four demonstrates that post-war 'rural' writers including Nan Shepherd, Neil Gunn, Edwin Muir and George Mackay Brown, often viewed as peripheral, are actually central and of international relevance, and challenges the assumption that there is a fundamental divide between Scottish rural and urban writing. Finally, Chapter Five argues that contemporary writers John Burnside, Kathleen Jamie and Alan Warner are not only reviewing human relationships with nature, but also the role writing has to play in exploring and strengthening that relationship, helping to determine the ecological 'value' of poetry and fiction. By looking at Scottish literature through the lens of ecological thought, and engaging with international discourses of 'Ecocriticism', this thesis provides a fresh perspective in contrast to the dominant critical views of modern Scottish literature, and demonstrates that Scottish writing constitutes a heritage of ecological thought which, in this age of environmental awareness, should be recognised as not only relevant, but vital.

This thesis presents a history of the Saltire Society Literary Awards and examines their status and role within Scotland’s literary and publishing culture. The Society was founded at a critical inter-war period during which Scottish writers, artists and cultural commentators were re-imagining Scotland’s political and cultural identity. The Society, therefore, was a product of this reformative era in Scotland’s modern history. The Society’s identity and position within this inter- and post-war reformation is reflected in the Literary Awards, which are a means by which the Society attempts to accomplish some of its constitutional aims. The purpose of this thesis is three-fold. Firstly, it has filled a conspicuous gap in modern Scottish cultural history by offering a historically accurate description of the founding of the Saltire Society in 1936 and the development of the Society’s Literary Awards up until 2015. Secondly, this thesis demonstrates how the Society’s Literary Awards function in relation to key critical discourses pertinent to contemporary book award culture, such as forms of capital, national identity and gender. Finally, this thesis proffers an in-depth analysis of book award judgment culture. Through an analysis of the linguistic and social interactions between Saltire Society Literary Award judges, this thesis is the first study of its kind which considers exactly how literary award judging panels facilitate the judgement process. What this thesis reveals is how, despite often being plagued by problems regarding finances and personnel, the Society’s Literary Awards have endured as a key feature of Scottish literary and publishing culture, so much so that they are now the only series of awards dedicated to awarding Scottish fiction, non-fiction, poetry and first books, as well as academic history and research books. Due to the persistence and enthusiasm of the Society’s administrators and literary award judges the awards have continued to thrive and evolve to accommodate developments and demands within Scottish literary culture.

This thesis, which is written in French, examines the problems of translating modem Scottish literature into French. To illustrate them, a case study on The Crow Road by lain Banks will be undertaken. A short introduction first establishes the content of the thesis, its different parts and the strategy that we have adopted to tackle our main problem. This is identified as the cultural "otherness" of Scottish writing, which has been to a greater or lesser degree occulted in French translations of Scottish Literature. Chapter I looks at theoretical aspects of translation from a thematic point of view ranging from a philosophical approach, through a linguistic one to various cultural approaches, with specific reference to Eugene Nida and Lawrence Venuti. Chapter II examines Scotland as a nation and as a country with important linguistic and cultural differences from its southern neighbour. We will see how important this separation is in literature and how some theorists have dealt in particular with the problem of translating the vernacular. Chapter III is devoted to the analysis of the French translations of four Scottish authors, James Kelman, William McIlvanney, Irvine Welsh and lain Banks. It examines passages from the texts but also emphasises the strategies adopted by the translators. Chapters IV and V focus on respectively on lain Banks and The Crow Road in order to provide thorough social and cultural contextualisation before considering ways of translating the novel. Chapter VI considers a number of potential strategies for translating sections of The Crow Road: a 'domesticated' one, a Nabokov style, the use of a French dialect and finally one using Venuti's concepts. The conclusion suggests that translators are free to choose between competing strategies, or even to mix them, but that what is crucial is to have a thorough knowledge of the source culture, and a conscious and apparent strategy, before approaching works as culturally laden as contemporary Scottish novels. The Translator may have to have the courage to offend against existing French translation norms if translation is to be truly trans cui tural.

Where and how can the live experience 'being there' be positioned in Scottish live art culture? Such transformatively liminal corporeity is situated in three examples of performative objects intrinsically linked to readings of Scottish identity. By collating a 'blood culture imprint' of 1970s performance art with Scottish live artist Alastair McLennan's positioning of the artist body as art, the thesis presents a revised understanding of how and where the live can be placed within Highland Gaelic culture. The specificity of this frame is intrinsically linked to the 'blood culture imprint' of Culloden and as such presents a liminal outworking in the three examples chosen which collectively portray an object body in the form of a textual anatomy of 'Scotland' or 'Alba'. Using contemporary live art discourse, the ontological origins of performance art in Scotland are situated as potentially live within the transfixed frame of the thesis itself, thereby positioning the authorship and readership of its contents as a revivifying act per se, reflecting the theoretical argument. I will argue that despite a seeming lack of performance art tradition in Scotland, this 'blood culture imprint' of the 1970s can be used to define Culloden and post- Culloden culture as necessarily animated by instances of live art. The examples chosen are James Clerk Maxwell's first colour photograph of a tartan ribbon, scalping survivor Scotsman Robert McGee's cabinet card and James MacPherson's Ossian repositioned as a post-genocide numinous wish text. Each performative object betrays its ontological origins, displaying a textual anatomy which argues that collating a performer body of 'Alba' can demonstrate a fundamental and historical performance culture.