Tartanry

Last updated

"Tartan", the stereotypical tartan-wearing piper caricature that is the mascot of Scotia-Glenville High School in Scotia, New York Tartan - Scotia-Glenville High School (New York) mascot.jpg
"Tartan", the stereotypical tartan-wearing piper caricature that is the mascot of Scotia-Glenville High School in Scotia, New York

Tartanry is the stereotypical or kitsch representation of traditional Scottish culture, particularly by the emergent Scottish tourism industry in the 18th and 19th centuries, and later by the American film industry. [1] The earliest use of the word "tartanry" itself has been traced to 1973. [2] The phenomenon was explored in Scotch Myths, a culturally influential exhibition devised by Barbara and Murray Grigor and Peter Rush, mounted at the Crawford Centre at the University of St Andrews in the Spring of 1981. [3] Related terms are tartanitis, [4] [5] [6] Highlandism, [4] [7] [8] Balmorality, [4] Sir Walter Scottishness , [9] tartanism, [10] [11] tartan-tat, [12] [13] and the tartan terror. [14]

Contents

Definitions

In its simplest definition, tartanry is 'sentimental Scottishness'. [15] More broadly, tartanry is the perceived reduction of Scottish culture to kitsch, twee, distorted imagery based on ethnic stereotypes – such as tartan, kilts, bagpipes, caber tossing, and haggis. Often the image presented is that of the Highlander as noble savage. While there are strong, legitimate cultural traditions behind Scottish clan societies and the older textile designs that preceded the modern tartans and kilts, and instruments like bagpipes are a part of the living musical traditions, tartanry is when these things are tokenised, caricatured, or attached to fabricated histories. While Scottish Gaelic is a living language, that has developed and grown with modern culture, tartanry presents it as a dead relic and curiosity, and those acting from this perspective may simply redefine words, or change their spellings to gibberish, for no other reason than to appear quaint or exotic. [1]

Tartanry is defined by literary scholar Cairns Craig (2015) as "the false glamour that Scott had foisted on Scotland and which had turned it into Brigadoon." [1] David McCrone (1992) defined it as "a set of garish symbols appropriated by lowland Scotland at a safe distance from 1745, and turned into a music-hall joke." [4] Lauren Brancaz (2016) defines tartanry broadly, as "the derogatory term ... encompassing all stereotypes about Scotland, not just the excessive use of tartan". [16]

One type of Highlandism: a very romanticised and hyper-masculinised view of Highland men as "natural-bred warriors", in this case Highland regiment soldiers at the Battle of Waterloo (1815) by William Lockhart Bogle, 1893 Battle of Waterloo Piper.jpg
One type of Highlandism: a very romanticised and hyper-masculinised view of Highland men as "natural-bred warriors", in this case Highland regiment soldiers at the Battle of Waterloo (1815) by William Lockhart Bogle, 1893

Highlandism has been used as a superset of tartanry by some writers, [7] [4] while folklorist James Porter (1998) distinguishes them more analytically: [8]

tartanry: the cult of tartan as a symbol of identity, which is indelibly linked to the Romantic movement in literature and the arts of the late-eighteenth century. ... Highlandism: the cult of the Highlands as visual and poetic metaphor, which is involved not only with that Romantic, Ossian-influenced past but also with cultural patrimony and the vexed question of land ownership.

Highlandism has also been described as "a product of Union and Empire ... the whole of Scotland being marked by those symbols normally associated with the Highlands", especially after the early 19th century. [4] Highlandism allowed the tartan-clad Highland rebel warrior to be reimagined as what Tom Nairn (1977) called a neutralised, nostalgic "tartan monster", a national kilted attraction, "a popular sub-romanticism, and not the vital national culture whose absence is so often lamented after Scott." [4] Nairn tied tartanry to kailyard literature as two forms of parochial sentimentalism about rural Scotland, arising at a time when the country was losing literary and other talent to emigration, leaving behind "a rootless vacuum .... forming a huge virtually self-contained universe of Kitsch". [17] The term Highlandism has relatedly but more narrowly also been academically applied to an idealised "noble savage" depiction of Highland masculinity as natural-bred for warfare and military service though an environment supposedly uncivilised, harsh, wild, and patriarchal. [18]

Balmorality, called a particular "dimension of tartanry", [10] was coined by George Scott-Moncrieff to refer to upper-class appropriation of Highland cultural trappings, marked by "hypocrisy" and "false sentiment" that trivialised the past and was an escapism from social realities. The term is a reference to Queen Victoria's purchase of Balmoral Castle in 1842 for a years-long retreat, decorating it in excessive amounts of tartan, and her subsequent patronage of "Highland" styles and activities with her consort, Prince Albert. [4]

Ivor Brown (1955) coined the term tartanitis as distinct from Balmorality: [4]

... a Lowlander himself, [Harry Lauder] promoted the idea ... that the workmen of Clydesdale habitually went aroaming in the gloaming clothed like the chieftain of Clan McCrazy. The proper name for this type of Highland fever is not Balmorality, but Tartanitis

Tartanism was suggested in 1992 by Ian McKay as a distinct term for the zealous adoption of tartan, kilts, and other symbols of Scotland by Scottish expatriates and multi-generational disapora in North America and elsewhere. [11]

Tartan-tat refers to cheap tartan-themed goods intended for tourists, including Chinese-made knockoff Highland-dress items, such as those which fill tourist-trap shops in Scotland. [13] The phrase the tartan terror for such kitsch products dates back to at least 1965. [14] Tartan-tat has its origins in tartanware, tartan-decorated household items sold to early tourists in the Highlands in the Regency through Victorian eras. [19] [20]

History

David Wilkie's flattering portrait of the kilted King George IV George IV in kilt, by Wilkie.jpg
David Wilkie's flattering portrait of the kilted King George IV

Modern historians suggest that due to economic and social change, the clan system in the Highlands was already declining by the time of the failed 1745 rising. [21] In its aftermath, the British government enacted a series of laws that attempted to speed the process, including a ban on the bearing of arms, the wearing of Highland dress (in the Dress Act 1746), and limitations on the activities of the Roman Catholic Church. Most of the legislation was repealed by the end of the eighteenth century as the Jacobite threat subsided. There was soon a process of the rehabilitation of Highland culture. The Dress Act was repealed in 1782, and tartan was adopted for Highland regiments in the British army, which poor Highlanders joined in large numbers until the end of the Napoleonic Wars in 1815. However, by the nineteenth century tartan had largely been abandoned by the ordinary people. [22]

In the 1820s, as part of the Romantic revival, tartan and the kilt were adopted by members of the social elite, not just in Scotland, but across Europe. [22] [23] The international craze for tartan, and for idealising a romanticised Highlands, was set off by the Ossian cycle published by Scottish poet James Macpherson in 1761-2. [24] [25] Sir Walter Scott's Waverley novels further helped popularise select aspects of Scottish life and history and he founded the Celtic Society of Edinburgh in 1820. [26] He staged the royal visit of George IV to Scotland in 1822 and the king's wearing of tartan. George IV was the first reigning monarch to visit Scotland in 171 years. [26] Scott and the Celtic Society urged Scots to attend festivities "all plaided and plumed in their tartan array". [27] One contemporary writer sarcastically described the pomp that surrounded the celebrations as "Sir Walter's Celtified Pageantry". [28] [29] Nevertheless, the result was a massive upsurge in demand for kilts and tartans that could barely be met by the Scottish textile industry. [30]

Lord Macaulay, son of an Argyll family, wrote in 1848 of the Romantic reinvention of Highland customs: [31]

Soon the vulgar imagination was so completely occupied by plaids, targets, and claymores, that, by most Englishmen, Scotchman and Highlander were regarded as synonymous words. Few people seemed to be aware that, at no remote period, a Macdonald or a Macgregor in his tartan was to a citizen of Edinburgh or Glasgow what an Indian hunter in his war paint is to an inhabitant of Philadelphia or Boston. Artists and actors represented Bruce and Douglas in striped petticoats. They might as well have represented Washington brandishing a tomahawk, and girt with a string of scalps.

The designation of individual clan tartans was largely defined in this period and they became a major symbol of Scottish identity. [30] The fashion for all things Scottish was maintained by Queen Victoria, who helped secure the popularity of the tartan fashion and the identity of Scotland as a tourist destination. Her Highland enthusiasm led to the design of two new tartan patterns, "Victoria" and "Balmoral". The latter was named after her castle Balmoral in Aberdeenshire, which from 1852 became a major royal residence; [23] today Balmoral remains the tartan of the British royal family.

Critical approaches

Colin McArthur, a British Film Institute analyst of Scottish media culture, wrote (1981–82): [32]

The Tartanry/Kailyard ensemble permits and foregrounds only certain types of flora, fauna and humankind, the privileged icons being thistles, heather, stags, highland cattle, Scotch terriers, tartaned figures (often with military connotations), and a handful of historical figures of whom Burns and Scott are preeminent.

John Caughie, a Scottish media and communications professor, wrote (1982): [33]

It is precisely [because of] the regressiveness of the frozen discourses of Tartanry and Kailyard that they provide ... such a reservoir of Scottish "characters", Scottish "attitudes" and Scottish "views" which can be drawn upon to give the "flavour of Scotland", a petrified culture with a misty, mythic, and above all, static past.

Ian Brown, a professor studying Scottish literature and culture, suggests (2012) that both of those views are an oversimplifying caricature of the caricatures, in assimilating two unrelated tropes with each other despite tartanry (Highland stereotyping) and kailyard (Lowland stereotyping) being distinct, both as to origin and motivation, and further argues that "as is shown by their continually developing and widespread presence ... [they] are far from frozen, rather being dynamic." [34] He suggests that understanding contemporary Scottish culture involves viewing the varied and changing nature of tartanry (and tartan, and notions of "Scottishness", with an interaction of legend and history) analytically as cultural and historical phenomena without imposing prejudicial and reductive definitions. [35]

See also

Related Research Articles

<span class="mw-page-title-main">Kilt</span> Skirt-like garment worn with Scottish Highland dress and sometimes more broadly

A kilt is a garment resembling a wrap-around knee-length skirt, made of twill-woven worsted wool with heavy pleats at the sides and back and traditionally a tartan pattern. Originating in the Scottish Highland dress for men, it is first recorded in the 16th century as the great kilt, a full-length garment whose upper half could be worn as a cloak. The small kilt or modern kilt emerged in the 18th century, and is essentially the bottom half of the great kilt. Since the 19th century, it has become associated with the wider culture of Scotland, and more broadly with Gaelic or Celtic heritage.

<span class="mw-page-title-main">Scottish Highlands</span> Cultural and historical region of Scotland

The Highlands is a historical region of Scotland. Culturally, the Highlands and the Lowlands diverged from the Late Middle Ages into the modern period, when Lowland Scots language replaced Scottish Gaelic throughout most of the Lowlands. The term is also used for the area north and west of the Highland Boundary Fault, although the exact boundaries are not clearly defined, particularly to the east. The Great Glen divides the Grampian Mountains to the southeast from the Northwest Highlands. The Scottish Gaelic name of A' Ghàidhealtachd literally means "the place of the Gaels" and traditionally, from a Gaelic-speaking point of view, includes both the Western Isles and the Highlands.

<span class="mw-page-title-main">Scottish clan</span> Kinship group among the Scottish people

A Scottish clan is a kinship group among the Scottish people. Clans give a sense of shared heritage and descent to members, and in modern times have an official structure recognised by the Court of the Lord Lyon, which regulates Scottish heraldry and coats of arms. Most clans have their own tartan patterns, usually dating from the 19th century, which members may incorporate into kilts or other clothing.

<span class="mw-page-title-main">Tartan</span> Predominantly Scottish cloth pattern

Tartan is a patterned cloth with crossing horizontal and vertical bands in multiple colours, forming simple or complex rectangular patterns. Tartans originated in woven wool, but are now made in other materials. Tartan is particularly associated with Scotland, and Scottish kilts almost always have tartan patterns.

<span class="mw-page-title-main">Scottish folk music</span> Genre of traditional music from Scotland

Scottish folk music is a genre of folk music that uses forms that are identified as part of the Scottish musical tradition. There is evidence that there was a flourishing culture of popular music in Scotland during the late Middle Ages, but the only song with a melody to survive from this period is the "Pleugh Song". After the Reformation, the secular popular tradition of music continued, despite attempts by the Kirk, particularly in the Lowlands, to suppress dancing and events like penny weddings. The first clear reference to the use of the Highland bagpipes mentions their use at the Battle of Pinkie Cleugh in 1547. The Highlands in the early seventeenth century saw the development of piping families including the MacCrimmons, MacArthurs, MacGregors and the Mackays of Gairloch. There is also evidence of adoption of the fiddle in the Highlands. Well-known musicians included the fiddler Pattie Birnie and the piper Habbie Simpson. This tradition continued into the nineteenth century, with major figures such as the fiddlers Niel and his son Nathaniel Gow. There is evidence of ballads from this period. Some may date back to the late Medieval era and deal with events and people that can be traced back as far as the thirteenth century. They remained an oral tradition until they were collected as folk songs in the eighteenth century.

<span class="mw-page-title-main">Highland games</span> Scottish games

Highland games are events held in spring and summer in Scotland and other countries with a large Scottish diaspora, as a way of celebrating Scottish and Celtic culture, especially that of the Scottish Highlands. Certain aspects of the games are so well known as to have become emblematic of Scotland, such as the bagpipes, the kilt, and the heavy events, especially the caber toss and weight over bar. While centred on competitions in piping and drumming, dancing, and Scottish heavy athletics, the games also include entertainment and exhibits related to other aspects of Scottish and Gaelic cultures.

<span class="mw-page-title-main">Tartan Day</span> Celebration of Scottish heritage

Tartan Day is celebration of Scottish heritage and the cultural contributions of Scottish and Scottish-diaspora figures of history. The name refers to tartan, a patterned woollen cloth associated with Scotland. The event originated in Nova Scotia, Canada, in 1987. It spread to other communities of the Scottish diaspora and Scotland itself in the 1990s to 2000s.

<span class="mw-page-title-main">Visit of George IV to Scotland</span> 19th-century monarchical tour of Scotland

George IV's visit to Scotland in 1822 was the first visit of a reigning monarch to Scotland in nearly two centuries, the last being by Charles II for his Scottish coronation in 1651. Government ministers had pressed the King to bring forward a proposed visit to Scotland, to divert him from diplomatic intrigue at the Congress of Verona.

<span class="mw-page-title-main">Scottish national identity</span> Scottish identity and common culture

Scottish national identity is a term referring to the sense of national identity, as embodied in the shared and characteristic culture, languages and traditions, of the Scottish people.

<span class="mw-page-title-main">Highland dress</span> Traditional dress of Scotlands highlands and isles

Highland dress is the traditional, regional dress of the Highlands and Isles of Scotland. It is often characterised by tartan. Specific designs of shirt, jacket, bodice and headwear may also be worn along with clan badges and other devices indicating family and heritage.

<span class="mw-page-title-main">Highland dance</span> Competitive style of national dancing of Scotland

Highland dance or Highland dancing is a style of competitive dancing developed in the Scottish Highlands in the 19th and 20th centuries, in the context of competitions at public events such as the Highland games. It was created from the Gaelic folk dance repertoire, but formalised with the conventions of ballet, and has been subject to influences from outside the Highlands. Highland dancing is often performed with the accompaniment of Highland bagpipe music, and dancers wear specialised shoes called ghillies or pumps. It is now seen at nearly every modern-day Highland games event.

<span class="mw-page-title-main">Kailyard school</span>

The Kailyard school is a proposed literary movement of Scottish fiction; kailyard works were published and were most popular roughly from 1880–1914. The term originated from literary critics who mostly disparaged the works said to be within the school; it was not a term of self-identification used by authors alleged to be within it. According to these critics, kailyard literature depicted an idealised version of rural Scottish life, and was typically unchallenging and sentimental.

<span class="mw-page-title-main">Clan MacIntyre</span> Highland Scottish clan

Clan MacIntyre (McIntyre) is a Highland Scottish clan. The name MacIntyre, means "son of the carpenter.” It is most commonly said to descend from Maurice Mac Neil a nephew of Somerled, the great 12th century leader of the Scottish Gaels. Through an ingenious strategy, Maurice secured the marriage of Somerled to the daughter of the King of Mann and the Isles, thus greatly increasing Somerled's territories. At an unknown date the clan journeyed from the Hebrides to the Scottish mainland where the chiefs established their home at Glen Noe, in Ardchattan Parish, on the east side of Loch Etive.

<span class="mw-page-title-main">History of the kilt</span>

The history of the modern kilt stretches back to at least the end of the 16th century. The kilt first appeared as the belted plaid or great kilt, a full-length garment whose upper half could be worn as a cloak draped over the shoulder, or brought up over the head as a hood. The small kilt or walking kilt did not develop until the late 17th or early 18th century, and is essentially the bottom half of the great kilt.

Thomas Rawlinson was an 18th-century English industrialist who some sources have claimed was the inventor of the modern kilt. He was the managing partner in the Invergarry ironworks and rebuilt Invergarry Castle which had been burned down by Col. Clayton following the Jacobite rebellion.

<span class="mw-page-title-main">Scotland in the modern era</span> Overview of Scotland in the modern era

Scotland in the modern era, from the end of the Jacobite risings and beginnings of industrialisation in the 18th century to the present day, has played a major part in the economic, military and political history of the United Kingdom, British Empire and Europe, while recurring issues over the status of Scotland, its status and identity have dominated political debate.

<span class="mw-page-title-main">Romanticism in Scotland</span> Artistic, literary and intellectual movement

Romanticism in Scotland was an artistic, literary and intellectual movement that developed between the late eighteenth and the early nineteenth centuries. It was part of the wider European Romantic movement, which was partly a reaction against the Age of Enlightenment, emphasising individual, national and emotional responses, moving beyond Renaissance and Classicist models, particularly into nostalgia for the Middle Ages. The concept of a separate national Scottish Romanticism was first articulated by the critics Ian Duncan and Murray Pittock in the Scottish Romanticism in World Literatures Conference held at UC Berkeley in 2006 and in the latter's Scottish and Irish Romanticism (2008), which argued for a national Romanticism based on the concepts of a distinct national public sphere and differentiated inflection of literary genres; the use of Scots language; the creation of a heroic national history through an Ossianic or Scottian 'taxonomy of glory' and the performance of a distinct national self in diaspora.

<span class="mw-page-title-main">Novel in Scotland</span> Aspect of literature in Scotland

The novel in Scotland includes all long prose fiction published in Scotland and by Scottish authors since the development of the literary format in the eighteenth century. The novel was soon a major element of Scottish literary and critical life. Tobias Smollett's picaresque novels, such as The Adventures of Roderick Random and The Adventures of Peregrine Pickle mean that he is often seen as Scotland's first novelist. Other Scots who contributed to the development of the novel in the eighteenth century include Henry Mackenzie and John Moore.

<span class="mw-page-title-main">Alice MacDonell</span> Scottish poet

Alice MacDonell was a Scottish poet who claimed to be Chieftainess of the MacDonell clan of Keppoch, and was recognised as bardess to that clan.

<span class="mw-page-title-main">Regimental tartan</span> Tartan pattern used by a military unit

Regimental tartans are tartan patterns used in military uniforms, possibly originally by some militias of Scottish clans, certainly later by some of the Independent Highland Companies (IHCs) raised by the British government, then by the Highland regiments and many Lowland regiments of the British Army, and eventually by some military units in other countries. The earliest evidence suggesting militia uniform tartans dates to 1691, and the first certain uniform tartan was that of the Royal Company of Archers in 1713. The IHCs raised 1725–29 by the British government appear to have had one or more uniform tartans, though some later ones did not. The first true Highland regiment of the British Army was the 42nd Regiment of Foot formed by amalgamation of the IHCs in 1739, and had its own consistent uniform tartan by 1749 or 1757 at the latest. Some later Highland units also wore this tartan, while others developed minor variations on it, usually by adding bright-coloured over-checks. Some few regiments developed their own tartans not based on Black Watch, including the 75th, 79th, Fraser Fencibles, and Loyal Clan Donnachie Volunteers. Some units developed special tartans for bandsmen and grenadiers.

References

  1. 1 2 3 Whelan, Greg (2015). Nearly Dark, Darkly Near: Telling tales – Storytelling in the Scottish oral tradition and the problems inherent in attempts to study, preserve or continue it: A suggested methodology for future interactions (PDF) (PHD). University of Edinburgh. Retrieved 14 September 2017.
  2. ↑ "Tartanry has spread into radio, television, cabaret and clubs". (colour supplement). Sunday Times. 31 October 1973.
  3. ↑ MacArthur, Colin (1982). Murray, Glen (ed.). "Breaking the Signs: 'Scotch Myths' as Cultural Struggle". Cencrastus (7): 21–25.
  4. 1 2 3 4 5 6 7 8 9 Armstrong, Fiona Kathryne (31 August 2017). Highlandism: Its value to Scotland and how a queen and two aristocratic women promoted the phenomenon in the Victorian age (PhD). University of Strathclyde. pp. 1, 3–6, 12–13, 16, 58, 78, 84, 237, 258, 268–269, 274. doi:10.48730/2m47-md74 . Retrieved 28 May 2023. The term "Balmorality" is attributed to: Scott-Moncrieff, George (1932). "Balmorality". In Thomson, D. C. (ed.). Scotland in Quest of Her Youth. London: Oliver & Boyd. pp. 69–86. The term "tartanitis" is attributed to: Brown, Ivor J. C. (1955). Balmoral: The History of a Home. London: Collins. pp. 17–18. The term "tartan monster" is attributed to: Nairn, Tom (2003) [1977]. The Break-up of Britain: Crisis and Neo-nationalism (3 ed.). Champaign, Illinois: Common Ground. pp. 104, 150. The McCrone quote is cited to: McCrone, David (1992). Understanding Scotland: The Sociology of a Stateless Nation. London: Routledge. p. 180.
  5. ↑ Longford, Elizabeth (2011) [1964]. Victoria. London: Weidenfeld & Nicolson. p. 255.
  6. ↑ Martin, Richard (16–18 September 1988). "Tansmutations of the Tartan: Attributed Meanings to Tartan Design". Textiles as Primary Sources: Proceedings. First Textile Society of America Symposium. Textile Society of America / Minneapolis Institute of Art. p. 58. No. 646. Archived from the original on 19 May 2022. Retrieved 6 July 2023.
  7. 1 2 Tuckett, Sally (2016). "Reassessing the romance: Tartan as a popular commodity, c.1770–1830" (PDF). Scottish Historical Review. 95 (2): 2. doi:10.3366/shr.2016.0295. Citing the following: Dziennik, Matthew (2012). "Whig tartan: Material culture and its use in the Scottish Highlands, 1746–1815". Past and Present (217): 117–147. doi:10.1093/pastj/gts025.
  8. 1 2 Porter, James (1998). "The Folklore of Northern Scotland: Five Discourses on Cultural Representation". Folklore . 109 (1–2). Taylor & Francis: 1–14. doi:10.1080/0015587X.1998.9715956.
  9. ↑ Mulholland, Neil (2016) [2003]. The Cultural Devolution: Art in Britain in the Late Twentieth Century. London & New York: Routledge. p. 146. ISBN   978-0-7546-0392-4.
  10. 1 2 Brown, Ian (2012). "Introduction: Tartan, Tartanry and Hybridity". From Tartan to Tartany: Scottish Culture, History and Myth. Edinburgh University Press. pp. 6–7. ISBN   978-0-7486-6464-1.
  11. 1 2 McKay, Ian (1992). "Tartanism Triumphant: The Construction of Scottishness in Nova Scotia, 1933–1954". Acadiensis. 2 (22): 6.
  12. ↑ Armstrong (2017), pp. 12, 83, 95, 104, 237. Quotes early use of "tartan-tat" in: Brown, Ivor (1955), p. 18.
  13. 1 2 Newsome, Matthew Allan C. (2008). "Purveyors of 'Tartan Tat' Taken to Task". Albanach.org. Retrieved 14 July 2023. Originally published in The Scottish Banner, September 2008.
  14. 1 2 Fergusson of Kilkerran, James (1965). "Introduction". In Fontane, Theodor (ed.). Across the Tweed: A Tour of Mid-Victorian Scotland. Translated by Jolles, Charlotte. London: Phoenix House / J. M. Dent & Sons. p. xiv. Like the visitor of today Fontane [in 1859] ... tells of children selling souvenirs to the tourists in Iona, of English officers arriving in Inverness to go stalking, or of the Tartan Terror flourishing there in as full growth as today. He describes a shop in Inverness where tartan objects, 'from a heavy silk robe down to a cotton-reel or a penholder', might be bought in the tartan of 'every clan—there are over fifty of them'. The bulk of this book is an English translation of Fontane's Jenseits des Tweed: Bilder und Briefe aus Schottland ['Beyond the Tweed: Pictures and Letters from Scotland'], 1860.
  15. ↑ "Tartan... Deriv. tartanry". Scottish National Dictionary (1700–). Dictionaries of the Scots Language SCIO / University of Glasgow. 2005 [1974]. Retrieved 10 July 2023.
  16. ↑ Brancaz, Lauren Ann-Killian (2016). "The Homecoming of Tartan: How Scotland and North America Collaborate in Shaping Tartan". Études écossaises (18). pp. 69–87, paras. 12, 20. doi:10.4000/etudesecossaises.1074. S2CID   131473903.
  17. ↑ Brancaz (2016), quoting: Nairn (2003 [1977]), pp. 144–157.
  18. ↑ McNeil, Kenneth (2007). "Britain's 'imperial man': Walter Scott, David Stewart, and Highland Masculinity". Scotland, Britain, Empire. Ohio State University Press. pp. 85–86.
  19. ↑ Banks, Jeffrey; de La Chapelle, Doria (2007). Tartan: Romancing the Plaid . New York: Rizzoli. pp. 21–22, 109. ISBN   978-0-8478-2982-8 – via Internet Archive.
  20. ↑ See extensive treatment in: von Fürstenberg, Princess Ira; Nicolls, Andrew (1996). Tartanware: Souvenirs from Scotland. Trafalgar Square Press. ISBN   9781857935141.
  21. ↑ R. C. Ray, Highland Heritage: Scottish Americans in the American South (UNC Press Books, 2001), ISBN   0-8078-4913-8, p. 41.
  22. 1 2 J. L. Roberts, The Jacobite Wars: Scotland and the Military Campaigns of 1715 and 1745 (Edinburgh: Edinburgh University Press, 2002), ISBN   1-902930-29-0, pp. 193-5.
  23. 1 2 M. Sievers, The Highland Myth as an Invented Tradition of 18th and 19th Century and Its Significance for the Image of Scotland (GRIN Verlag, 2007), ISBN   3-638-81651-6, pp. 22-5.
  24. ↑ P. Morère, Scotland and France in the Enlightenment (Bucknell University Press, 2004), ISBN   0-8387-5526-7, pp. 75-6.
  25. ↑ William Ferguson, The identity of the Scottish Nation: an Historic Quest (Edinburgh: Edinburgh University Press, 1998), ISBN   0-7486-1071-5, p. 227.
  26. 1 2 Ian Moncreiffe of that Ilk, The Highland Clans (London: Barrie & Rocklif, 1967), p. 24.
  27. ↑ M. Magnusson, Scotland: The Story of a Nation (Grove Press, 2003), ISBN   0-8021-3932-9, pp. 653-4.
  28. ↑ Ian Moncreiffe of that Ilk, The Highland Clans (London: Barrie & Rocklif, 1967), pp. 653-4.
  29. ↑ Ian Duncan, Scott's Shadow: The Novel in Romantic Edinburgh (Princeton University Press, 2007), ISBN   0-691-04383-3, pp. 7–8.
  30. 1 2 Milne, N. C. (2010). Scottish Culture and Traditions. Paragon Publishing. p. 138. ISBN   978-1-899820-79-5 – via Google Books.
  31. ↑ Macaulay, Thomas Babington (1848). "XIII". The History of England from the Accession of James II:  . § 284–285.
  32. ↑ McArthur, Colin (1981). "Breaking the signs". Cencrastus (7): 23. Quoted in: Brown, Ian (2012), p. 9.
  33. ↑ Caughie, John. "Scottish television: What would it look like?". In McArthur, Colin (ed.). Scotch Reels: Scotland in Cinema and Television. London: BFI Publishing. p. 116. Quoted in: Brown, Ian (2012), p. 9.
  34. ↑ Brown, Ian (2012), p. 9.
  35. ↑ Brown, Ian (2012), pp. 10–11.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.