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When did Burns Suppers start? Why is it celebrated all over the world? Who can join in the fun? Spanning the history of the phenomenon, from the year of its creation in 1801 to the present day, this book offers you everything you need to know about the Burns Supper, and the poet for whom it is held every year. From the origins of the custom to its modern day interpretations, from the rituals and traditions to the fun and fellowship, this first full-length study of the unique annual celebration of Scotland's national poet answers every question you can think of, along with every one you can't.
This book provides a critical study of the relationship between Robert Burns and the United States of America, c.1786-1866. Though Burns is commonly referred to as Scotland’s “National Poet”, his works were frequently reprinted in New York and Philadelphia; his verse mimicked by an emerging canon of American poets; and his songs appropriated by both abolitionists and Confederate soldiers during the Civil War era. Adopting a transnational, Atlantic Studies perspective that shifts emphasis from Burns as national poet to transnational icon, this book charts the reception, dissemination and cultural memory of Burns and his works in the United States up to 1866.
Why was it that, across Scotland over the last two and a half centuries, architectural monuments were raised to national heroes? Were hero buildings commissioned as manifestations of certain social beliefs, or as a built environmental form of social advocacy? And if so, then how and why were social aims and intentions translated into architectural form, and how effective were they? A tradition of building architectural monuments to commemorate national heroes developed as a distinctive feature of the Scottish built environment. As concrete manifestations of powerful social and political currents of thought and opinion, these hero buildings make important statements about identity, the nation and social history. The book examines this architectural culture by studying a prominent selection of buildings, such as the Burns monuments in Alloway, Edinburgh and Kilmarnock, the Edinburgh Scott Monument, the Glenfinnan Monument and the Wallace Monument in Stirling. They give testimony to how a variety of architectural forms and styles can be adapted through time to bear particular social messages of symbolic weight. This tradition, which literally allows us to dwell on important social issues of the past, has been somewhat neglected in serious architectural history and heritage, and indeed one of the main monuments has already been destroyed. By raising awareness of this rich architectural and social heritage, while analysing and interpreting the buildings in their historical context, this book makes an exciting and original scholarly contribution to the current debates on identity and nationality taking place in Scotland and the wider UK.
A new departure in Scottish and Irish migration studiesThe Scottish diasporic communities closest to home-those which are part of what we sometimes term the 'near Diaspora'-are those we know least about. Whilst an interest in the overseas Scottish diaspora has grown in recent years, Scots who chose to settle in other parts of the United Kingdom have been largely neglected. This book addresses this imbalance.Scots travelled freely around the industrial centres of northern Britain throughout the nineteenth and early twentieth centuries and Belfast was one of the most important ports of call for thousands of Scots. The Scots played key roles in shaping Belfast society in the modern period: they were essential to its industrial development; they were at the centre of many cultural, philanthropic and religious initiatives and were welcomed by the host community accordingly.Yet despite their obvious significance, in staunchly Protestant, Unionist, and at times insular and ill at ease Belfast, individual Scots could be viewed with suspicion by their hosts, dismissed as 'strangers' and cast in the role of interfering outsiders.Key FeaturesThe only book-length scholarly study of the Scots in modern Ireland.Brings to light the fundamental importance of Scottish migration to Belfast society during the nineteenth century.Advances our knowledge and understanding of Scotland's 'near diaspora.'Highlights areas of tension in Ulster-Scottish relations during the Home Rule era.Puts forward a new agenda for a better understanding of British in-migration to Ireland in the modern period.
While recent scholarship has usefully positioned Burns within the context of British Romanticism as a spokesperson of Scottish national identity, Robert Burns and Transatlantic Culture considers Burns's impact in the United States, Canada, and South America, where he has served variously as a site of cultural memory and of creative negotiation. Ambitious in its scope, the volume is divided into five sections that explore: transatlantic concerns in Burns's own work, Burns's early publication in North America, Burns's reception in the Americas, Burns's creation as a site of cultural memory, and extra-literary remediations of Burns, including contemporary digital representations. By tracing the transatlantic modulations of the poet and songwriter and his works, Robert Burns and Transatlantic Culture sheds new light on the circuits connecting Scotland and Britain with the evolving cultures of the Americas from the late eighteenth century to the present.
The Edinburgh Companion to Robert Burns provides both a comprehensive introduction to and the most contemporary critical contexts for the study of Robert Burns. Detailed commentary on the artistry of Burns is complemented by material on the cultural reception and afterlife of this most iconic of world writers. The biographical construction of Burns is examined as are his relations to Scottish, Romantic and International cultures. Burns is also approached in terms of his engagements with Ecology, Gender, Pastoral, Politics, Pornography, Slavery, and Song-culture, and there is extensive coverage of publishing history including Burns's place in popular, bourgeois and Enlightenment cultures during the late eighteenth century. This is the most modern collection of critical responses to Burns from scholars from the United Kingdom and North America, which, more than ever before, seeks to place Burns as a 'mainstream' man of Enlightenment and Romantic impetus and to explain the enduring and sometimes controversial fascination for both the man and his work over more than two hundred years.
The Oxford Handbook of Robert Burns treats the extensive writing of and culture surrounding Scotland's national 'bard'. Robert Burns (1759-96) was a producer of lyrical verse, satirical poetry, in English and Scots, a song-writer and song-collector, a writer of bawdry, journals, commonplace books and correspondence. Sculpting his own image, his untutored rusticity was a sincere persona as much as it was not entirely accurate. Burns was an antiquarian, national patriot, pioneer of what today we would call 'folk culture', and a man of the Enlightenment and Romanticism. The Handbook considers Burns's reception in his own time and beyond, extending to his iconic status as a world-writer. Burns was important to the English Romantic poets, in the context of debates about Abolition in the US, in the Victorian era he was widely utilised as a model for different kinds of popular poetry and he has been utilised as a contestant in debates surrounding Scottish and, indeed, British politics, in peacetime and in wartime down to the present day. The writer's afterlife includes not only a large number of biographies but a whole culture of commemoration in art, architecture, fiction, material culture, museum-exhibition and even forged manuscripts and memorabilia as well as appearances, apparently, via Spiritualist seances. The politics of his work channel the fierce debates of late eighteenth-century Scottish ecclesiastical controversy as well as the ages of American, Agrarian and French revolutions. All of this ground is traversed in this Handbook, the largest critical compendium ever assembled about Robert Burns.