Self-translation has become a firmly established translation practice in connection with contemporary Scottish Gaelic poetry, so much so that the corpus of contemporary Gaelic poetry might be more realistically understood as referring to a bilingual corpus of Gaelic originals and their English translations provided by the author. This was of course not always the case. Rather, today’s situation has to be seen as the result of a steady development over the past sixty years or so which began with initial attempts by Gaelic authors such as Sorley MacLean (Somhairle MacGill-Eain) and Derick Thomson (Ruaraidh MacThòmais) to enter into a professional dialogue with others involved with literary writing and appreciation in Scotland and beyond. During the 1930s and 1940s, working most intensely towards the publication of his renowned poetry collection Dàin do Eimhir, MacLean had close friends in Hugh MacDiarmid, Douglas Young, Robert Garioch and other influential Scottish poets, all of them highly aware of the importance and potential of the linguistic diversity within Scottish society. As a result, we find some of MacLean’s poetry translated into Scots by his literary friends and colleagues. Dàin do Eimhir, which was finally published in 1943, could well have been published with a selection of Young’s translations into Scots. Eventually, however, a selection of MacLean’s own prose translations into English were printed at the end of the volume. This choice indicates an approach to Gaelic poetry publishing which was to become established over the following half century, namely to be inclusive towards the Anglophone world whilst maintaining authorial authority throughout the publication.

Thesis (Ph.D.) - University of Glasgow, 1994. / Ph.D. thesis submitted to the Department of Celtic, Faculty of Arts, University of Glasgow, 1994. Includes bibliographical references. Print version also available.

Thesis (Ph.D.)--Aberdeen University, 1989. / Title from web page (viewed on Mar. 4, 2010). Includes bibliographical references.

The Gaelic movement was the general term used in the late nineteenth and early twentieth centuries to refer to a range of diverse but interconnected activity in support of the Gaelic language and culture in Scotland, embracing educational, literary, musical and scholarly aspects. Accounts of the Gaelic cultural landscape at this time tend to focus on the leading male figures; the presence and participation of women has been largely overlooked and a number of women who were prominent and significant participants in the Gaelic movement have slipped into the shadows or disappeared completely. This study aims to reconfigure this view to foreground the contribution of women and to understand the complex dynamics of the Gaelic movement from the perspectives of the women involved. While the study importantly highlights certain individual women, the biographical focus is used as a means to uncover lesser-known women and the female friendships and networks in which they moved, as well as to explore their relationship and interaction with prominent male figures and other interconnected social groupings within the Gaelic movement and wider Pan-Celtic and Celtic Revival circles. The study examines and discusses the participation, contribution and influence of a number of women across a spectrum of Gaelic cultural activities, taking into account socio-historical, literary and cultural aspects and using gender as an analytical lens through which to examine the different challenges and tensions that individual women negotiated in a period of social and cultural change. The study shows that a number of women were actively involved with the Gaelic movement in the period between the passing of The Crofting Act and the start of the Great War; that they were innovative, ambitious and wide-ranging in their participation; and that they saw the accessibility of the Gaelic cultural sphere as an opportunity to progress both their individual aspirations as women as well as their support for the Gaelic language and culture.

No description available.

This thesis aims to deepen our understanding of ‘An Cuilithionn’, which is generally considered to be Sorley MacLean’s most important political poem, by examining the main symbol in the poem, the mountain, in its interaction with the secondary symbols, and also the historical-political figures who figure in the poem. Very little detailed work on ‘An Cuilithionn’ has been carried out, and for this reason this thesis has to establish a sound foundation for research on ‘An Cuilithionn’. A multi-disciplinary approach allows a fuller understanding of the poem to emerge. The specific aim of the thesis is to understand more fully how heart and mind interact in MacLean’s vision of the hero on the mountain. I view ‘An Cuilithionn’ as MacLean’s meditation on human nature and, because this poem was composed at a time when many of the Scottish intelligentsia of which MacLean was part were assessing their own views on action and pacifism, I also postulate that in ‘An Cuilithionn’ MacLean contemplates the nature of his own identity in that light. The argument of the thesis is based on the premise that in ‘An Cuilithionn’ politics significantly contribute to how MacLean views heroism and his identity is defined by how he perceives figures of history such as Lenin, Dimitrov and James Connolly. I use the psychological approaches of both Julia Kristeva and C.G. Jung as well as the literary theory of Northrop Frye to gain a broader perspective on the topic. In Chapter 1 MacLean’s literary influences as well as the contemporary literary and political climate of Scotland in general are examined. In Chapter 2 and 3 I define the theoretical framework of my inter-disciplinary approach to the subject. In Chapter 4 I speculate whether the main symbols in the poem, the mountain and morass, originate from MacLean’s own personal view of the universe and in Chapter 5 I examine the secondary symbols, the seamonster and stallion, which reflect the personal and political themes in the poem. The dynamic, which I propose is present in the symbols that I have already looked at in the previous chapters, is further considered in Chapter 6 in relation to MacLean’s ideal of the self-sacrificed hero using, in particular, James Frazer’s meta-narrative of the dying and reviving god and Northrop Frye’s literary myth of death and rebirth. In Chapter 7 I connect the theme of self-sacrifice in ‘An Cuilithionn’ to MacLean’s use of Hugh MacDiarmid’s poem, ‘If there are bounds to any man’, which he incorporated into Part V of ‘An Cuilithionn’, and I show that MacLean’s socialist ideals are inextricably linked to his belief in the eternal striving of the hero, which leads him towards a fuller understanding of the course of mankind as a whole. This thesis raises the question of how MacLean views the individual and the collective as well as the personal and the political. It also explores MacLean’s responses to his major influences such as Communism and religion and examines how he deals with these in both an intellectual and emotional way.

When hearing speech, listeners begin recognizing words before reaching the end of the word. Therefore, early sounds impact spoken word recognition before sounds later in the word. In languages like English, most morphophonological alternations affect the ends of words, but in some languages, morphophonology can alter the early sounds of a word. Scottish Gaelic, an endangered language, has a pattern of 'initial consonant mutation' that changes initial consonants: Pog 'kiss' begins with [ph], but phog 'kissed' begins with [f]. This raises questions both of how listeners process words that might begin with a mutated consonant during spoken word recognition, and how listeners relate the mutated and unmutated forms to each other in the lexicon. We present three experiments to investigate these questions. A priming experiment shows that native speakers link the mutated and unmutated forms in the lexicon. A gating experiment shows that Gaelic listeners usually do not consider mutated forms as candidates during lexical recognition until there is enough evidence to force that interpretation. However, a phonetic identification experiment confirms that listeners can identify the mutated sounds correctly. Together, these experiments contribute to our understanding of how speakers represent and process a language with morphophonological alternations at word onset.

Gaelic Language Maintenance Process(es) is a contemporary ethnographic study of seventeen isolated Gaelic language users. The seventeen individuals in the study, ages three to seventy-two, were selected from Ontario, Canada and Central Scotland to identify and illustrate the perceptions and processes involved in isolated Gaelic language maintenance. Each subject was interviewed, and subsequently shadowed, for a period of nine days. During the period of active observation, the subjects recorded their thoughts about and experiences of their Gaelic language maintenance within a personal journal. The interviews, observations, and personal diaries of the subjects' Gaelic lives were then collated by the researcher into seventeen individual narratives. Through close reading, each narrative illuminated the interwoven threads and constructs which provided additional insight into the 'quilt' of isolated Gaelic language maintenance. The seven, common-sense typologies and constructs drawn from the individuals' experience of the Gaelic language world revealed a shared, inner universe of meaning where some of the major categories in the (experience of) their social language world centred upon their recognition of Gaelic ability, maintenance, community roles, and "special" identity to form a tapestry for maintenance outside of the bloc. Peigi, Pàdruig, Catriona, Cairistiona, Chlair, Cormac, Colla, Tomasina, Tara, Teàrlag, Treasaididh, Tollaidh, Aileas, Artair, Aigneas, Anna, and Aonghas generously allow readers an opportunity to share in their thoughts and feelings and [the researcher's] observations about what it is like to maintain the Gaelic language in isolation from Cape Breton and the Western Isles.

Thesis--Freiburg. / Vita. Includes index.

The Gaelic women’s song tradition has been studied in depth, and the post-Reformation Church and its impact on the Gàidhealtachd examined from various perspectives, yet the body of evangelical song which shows the interaction of the two is possibly the least explored area of traditional Gaelic verse and the least understood outside the immediate environment in which it was created. In their devotional songs, evangelical elegies and waulking songs, generations of women have left a record of the domestic, spiritual and cultural life of the Gàidhealtachd which would be difficult to retrieve from any other source. The present study provides access to this important literary and cultural resource by creating a research corpus of 600 poems, representing the work of 165 women from many different parts of the Gàidhealtachd, dating from the mid-eighteenth century to the present day. The historical, theological and literary background to the songs is explored, using both a range of secondary sources and the words of selected poets as they articulate and define contemporary events within the context of Reformed doctrine. Analysis across the corpus shows songs creating an allegorical world within which every creature, person and place is imbued with spiritual significance, each acting as a mnemonic for an associated biblical paradigm. This use of scriptural and doctrinal allusion is functional rather than purely ornamental, with core metaphors expressed and made authoritative in lexicons of honorifics, epithets and poetic place names. The thesis facilitates fuller reading of spiritual song by explaining the symbolic significance of the above elements, demonstrating their role in creating contextual settings, linking songs into a network of biblical, doctrinal and poetic texts, extending and validating the poet’s message. The functioning of this referential system is further explored in detailed literary analysis of the work of a representative sample of poets, each of whom is set in her own social and historical context.