SCOTLAND
This work is a result of the project titled „Increasing ELT Effectiveness” accepted by
Foundation for the Development of the Education System (FRSE)
Project number: 2014-1-PL01-KA101-000712
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Scotland is a country that is part
of the United Kingdom and covers
the northern third of the island of
Great Britain. It shares a border
with England to the south, and is
otherwise surrounded by the
Atlantic Ocean, with the North
Sea to the east and the North
Channel and Irish Sea to the
south-west. In addition to the
mainland, the country is made up
of more than 790 islands,
including the Northern Isles and
the Hebrides.
CULTURE OF SCOTLAND
SCOTTISH MUSIC
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Scottish music is a significant aspect of the
nation's culture, with both traditional and
modern influences. A famous traditional
Scottish instrument is the Great Highland
Bagpipe, a wind instrument consisting of
three drones and a melody pipe (called the
chanter), which are fed continuously by a
reservoir of air in a bag. Bagpipe bands,
featuring bagpipes and various types of
drums, and showcasing Scottish music styles
while creating new ones, have spread
throughout the world. The clàrsach (harp),
fiddle and accordion are also traditional
Scottish instruments, the latter two heavily
featured in Scottish country dance bands.
Today, there are many successful Scottish
bands and individual artists in varying styles
including Annie Lennox, Amy Macdonald,
Runrig, Boards of Canada, Cocteau Twins,
Deacon Blue, Franz Ferdinand, Susan Boyle,
Emeli Sandé, Texas, The View, The Fratellis,
Twin Atlantic and Biffy Clyro. Other
Scottish musicians include Shirley Manson,
Paolo Nutini and Calvin Harris.
SCOTTISH LITERATURE
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Scotland has a literary heritage dating back to the early Middle Ages. The earliest extant literature
composed in what is now Scotland was in Brythonic speech in the 6th century, but is preserved as part
of Welsh literature. Later medieval literature included works in Latin, Gaelic, Old English and French.
The first surviving major text in Early Scots is the 14th-century poet John Barbour's epic Brus, focusing
on the life of Robert I, and was soon followed by a series of vernacular romances and prose works. In
the 16th century the crown's patronage helped the development of Scots drama and poetry, but the
accession of James VI to the English throne removed a major centre of literary patronage and Scots was
sidelined as a literary language.Interest in Scots literature was revived in the 18th century by figures
including James Macpherson, whose Ossian Cycle made him the first Scottish poet to gain an
international reputation and was a major influence on the European Enlightenment. It was also a major
influence on Robert Burns, whom many consider the national poet, and Walter Scott, whose Waverley
Novels did much to define Scottish identity in the 19th century. Towards the end of the Victorian era a
number of Scottish-born authors achieved international reputations as writers in English, including
Robert Louis Stevenson, Arthur Conan Doyle, J. M. Barrie and George MacDonald. In the 20th century
the Scottish Renaissance saw a surge of literary activity and attempts to reclaim the Scots language as a
medium for serious literature. Members of the movement were followed by a new generation of postwar poets including Edwin Morgan, who would be appointed the first Scots Makar by the inaugural
Scottish government in 2004. From the 1980s Scottish literature enjoyed another major revival,
particularly associated with a group of writers including Irvine Welsh. Scottish poets who emerged in
the same period included Carol Ann Duffy, who, in May 2009, was the first Scot named UK Poet
Laureate.
SCOTTISH ART
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Art in Scotland cannot readily be defined with the
aid of a series of identifiable and distinct
movements, in the way that can be found elsewhere
in art history, particularly within modern art of the
twentieth century. It is possible, however, to
identify clusters of artists within and across periods
in Scottish art history, whose like-minded concerns
or common style allow them to be usefully grouped
together.
The schools of art education in Scotland, which
developed in Edinburgh and Glasgow in the
nineteenth century, provided the first centres of
activity for the development of identifiable
movements or groups in Scottish art. At
Edinburgh’s Trustees’ Academy in the years around
1850, under the directorship of Robert Scott Lauder,
the painters George Paul Chalmers, William
McTaggart, John Pettie and William Quiller
Orchardson showed a particular talent for colour
and line combined with an inventive approach to
subject-matter which marked them out as a distinct
product of a newly flourishing Scottish scene.
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Later in the century a group of young artists influenced
by the realist painting of continental artists such as
Bastien-Lepage, began to exhibit in Glasgow in the
1880s works which made clear their concern for an art
more in touch with everyday reality. E. A. Walton’s A
Daydream and James Guthrie’s A Hind’s Daughter
typifies the Glasgow Boys (as they came to be known)
preoccupation with painting ordinary life in an honest
and unaffected manner. At the same time, a group of
younger Glasgow-based artists, led by the designer
Charles Rennie Mackintosh, developed their own
response to the international Art Nouveau movement,
producing symbolist paintings and applied art in the
Glasgow Style. By the 1920s Cadell and Hunter were
painting in a similar vibrant manner, and the four’s
work was subsequently brought together in exhibitions.
Although the Colourist’s subject matter, predominantly
still life and landscape, remained traditional, their
progressive attitude places them at the forefront of
modern Scottish painting.
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The application of
Modernism’s colouring and
abstraction to traditional
subject matter prevailed in
Scottish art for much of the
first half of the 20th century.
This was especially so in
Edinburgh, where the intuitive
painterly talents of William
Gillies, John Maxwell, Anne
Redpath and William
MacTaggart gave rise to the
so-called Edinburgh School.
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Most recently, in the 1980s, the
international revival of interest
in ambitious figure painting
found a centre in the prodigious
talents of Steven Campbell,
Stephen Conroy, Peter Howson,
Ken Currie and Adrian
Wiszniewski. Their close
association with Glasgow
School of Art, where all had
been students, and their forceful
imagery led them to be dubbed
the New Glasgow Boys.
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In addition, there are numerous figures
in Scottish art whose broader interests
variously attach them to international
movements. The 18th-century Lanarkborn Gavin Hamilton’s vast history
paintings, produced in Rome, were
celebrated during his lifetime as a
principal expression of neo-classicism.
In more recent times, the artist Stanley
Cursiter flirted with Futurism in a
series of paintings he produced in the
early 1910s, while in the 1950s the
Fife-born abstract painter William Gear
became a member of the progressive
and urbane CoBrA movement (which
was centred on Copenhagen, Brussels
and Amsterdam). Each is symptomatic
that art in Scotland has not developed
in isolation, but has contributed to and
has benefitted from a wider artistic
evolution.
SCOTTISH CUISINE
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Scottish cuisine is the specific set of
cooking traditions, practices and cuisines
associated with Scotland. It has distinctive
attributes and recipes of its own, but shares
much with wider British and European
cuisine as a result of local and foreign
influences, both ancient and modern.
Traditional Scottish dishes exist alongside
international foodstuffs brought about by
migration.
Scotland's natural larder of game, dairy
products, fish, fruit, and vegetables is the
chief factor in traditional Scots cooking,
with a high reliance on simplicity and a
lack of spices from abroad, as these were
historically rare and expensive.
SCOTTISH ARCHITECTURE
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Scotland’s architectural landscape is perhaps
best described as a historical timeline
charting the country’s history through
design; from medieval crofts and castles, to
Victorian tenements and cutting edge,
contemporary buildings and structures.
This rich legacy defines Scotland as a nation
of creativity and innovation, where each city
has its own landmarks, history and identity
but are all underpinned by heritage, tradition,
and modernism.
On this episode of The World from Above
the journey extends coast to coast
across Scotland and touches on some of
Scotland's most prominent architectural
landmarks, including Dalmeny House, Forth
Bridge, Falkirk Wheel and Clyde
Auditorium.
SPORTS OF SCOTLAND
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Sport plays a central role in Scottish culture. The temperate,
oceanic climate has played a key part in the evolution of sport
in Scotland, with all-weather sports like association football,
rugby union and golf dominating the national sporting
consciousness. However, many other sports are played in the
country, with popularity varying between sports and between
regions.
Scotland has its own sporting competitions and governing
bodies, such as the Camanachd Association, the Scottish
Rugby Union, Scottish Rugby League. The country has
independent representation at many international sporting
events, for example the, Rugby League World Cup and the,
as well as the Commonwealth Games; although not the
Olympic Games.
Scots, and Scottish emigrants, have made several key
contributions to the history of sport, with important
innovations and developments in: golf, curling, football,
rugby union Highland games , shinty, cycling, basketball, and
water polo.
Highland games, the largest and most widespread multi-sport
festivals of the 19th century, are claimed to have influenced
Baron Pierre de Coubertin and Dr William Milligan Sloane of
Princeton when he was planning the revival of the Olympic
Games. De Coubertin and Milligan, who was researching his
book on Napoleon at the time, saw a display of Highland
games at the Paris Exhibition of 1889.
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Made by Martyna Opalińska class 2 c