Weißenberger, Ricarda: The Search for a National Identity in the Scottish Literary tradition and the Use of Language in Irvine Welsh's "Trainspotting" / Ricarda Weißenberger

With a Foreword by K. Ludwig Pfeiffer - Taunusstein : Driesen, 2. Aufl. 2008 (Driesen Sprach- und Literaturwissenschaften). - 515 S. ; 19 cm. Zugl.: Siegen, Universität, Dissertation, 2006. ISBN 978-3-86866-062-3 Softcover,  54,00 Euro.
The Scots language has been seen in combination with political independence and as one means to achieve this independence. The revolution in the literary sense was supposed to act as a forerunner of the revolution in the "real" political sense. Literary independence for Scots has been achieved, but it has become clear that there is no such simple link between linguistic and political nationalism in Scotland.
Ricarda Weissenberger traces the development of Scottish literature, pointing out the roots of the Scottish literary Renaissance and its initiator, Hugh MacDiarmid. It was the Renaissance writers\' intention and their use of language which counts as the crucial connection to today\'s writers. Irvine Welsh\'s novel "Trainspotting" is taken as one example of modern Scottish fiction, its importance in the context of the Scottish literary tradition being shown by help of linguistic and thematic analysis.
The author: born 1972; Study of English und Art at the University of Siegen; Study in Glasgow, Scotland (University of Strathclyde); State Examination (English and Art); thesis in English Linguistics: "Socio-regional variation and identity: The speech situation in Scotland"; lectureship at George Watson\'s College in Edinburgh, Bildungszentrum in Plettenberg and Theodor-Heuss secondary school in Hagen; artistic work and residence in Frankfurt.

Acknowledgements

After more than eight years of intensive work on Scottish subjects, this chapter of my life has finally been completed.
During my stay in Glasgow in 1994/1995, when I studied at Strathclyde University, my interest in Scottish topics, including the Scots language, led to a term paper on Scots language which I submitted back at Siegen University in 1995. Since this term paper could not deal with all the subjects I would have liked to cover, I also wrote my State examination thesis in English Linguistics on the subject: "Socio-regional variation and identity: The speech situation in Scotland" (1996). After my graduation in 1997, I returned to Scotland to work at George Watson\'s College in Edinburgh for one year. My plans to stay in Scotland, in order to begin with my PhD thesis at Aberdeen University, have been frustrated by the high University fees for post-graduates. Fortunately, another solution could be found: Professor Pfeiffer of Siegen University agreed to supervise my thesis officially, with Professor McClure of Aberdeen University being my unofficial supervisor. This makeshift was not always easy: E-mails and letters to Scotland had to be exchanged, manuscripts posted and a lot of research trips to Scotland undertaken, with me residing in Germany working full-time as a teacher, then for several legal firms which made me move to Frankfurt am Main.
Finally, in October 2005, my thesis, which had been finished by the end of 2002 (and has been re-written and revised several times since then) was ready for submission. The oral examination took place at Siegen University in June 2006.
I would like to thank Professor Dr. K. Ludwig Pfeiffer (University of Siegen) and Professor Dr. J. Derrick McClure (University of Aberdeen) for their unorthodox kind of supervision of my thesis which helped me to follow my intentions in spite of all those difficulties I had to face. Their encouragement not only helped in a professional way, but also lowered the psychological strain.
My thanks in particular must go to Professor Dr. David Jago, who has proof-read my thesis and to whom I was allowed to forward my manuscripts wherever in the world he stayed as a lecturer.
Furthermore, I also benefited from assistance I received from organisations and authorities in Scotland: Iseabail McLeod (Scottish National Dictionary Association), Dr. David Purves, Robbie Robertson (SCCC), Liz Niven and Stuart McHardy (both Scots Language Resource Centre), Dr. Kenneth Simpson (University of Strathclyde) and Dr. Caroline Macafee (University of Aberdeen) took their time to read and kindly answer all my questions during the phase of research on Scottish organisations and language.
The analysis of speech in "Trainspotting" has been inspired by Tina Gräwe, with whom I exchanged State exam paper / Magisterarbeit respectively.
I owe special gratitude to my mother, Ingrid Schmidt, who has always believed in me and my abilities, to my best friend Dirk Skibba, who managed to morally support me and acted as my "Siegen staging post" whenever I required copies from the library, and to my parents-in-law, Kurt and Petra Weissenberger, who are so enthusiastic about my academic title that they helped to finance the publication of this book.
Last but not least, I am particularly indebted to my beloved husband Marc, who has supported me not only by reading my thesis and discussing several of its aspects, but also by accompanying several trips to Scotland, coming to share my interest in all things Scottish, and, of course, by making my dreams come true.

Frankfurt am Main, August 2006
Ricarda Weißenberger

Foreword

The topic of Ricarda Weissenberger\'s dissertation is fraught with fascinating problems, both historical and contemporary. In whichever ways they may be and may have been resolved (or not), they have turned Scotland into a paradigmatic example for both the conflicts and the complementarities of globalization and regionalization. Efforts to define, or merely to describe, Scottish qualities on levels normally called national, linguistic, cultural, literary and the like, have frequently produced both dogmas and paradoxes. The BBC, for instance, has termed Scotland a national region, others have spoken of a stateless nation. Weissenberger shows how Scotland sometimes shrinks to a mere state of mind with countless manifestations, often vague or overly concrete. But she also illustrates the frequently substantial and tough ways in which such manifestations within the \'limited infinity\' of the adjective Scottish may persist. In all of these respects, her thoroughly researched and well-documented work provides one of the richest mines of information and perspectives in recent research. It is rare that one meets a work of scholarship in which the urgency of conceptual decision is made so clear in the very face of difficulties sometimes almost obstructing that task.
Going then through the present work, it will certainly dawn upon the reader that, (post)modern scepticism concerning identities and binary oppositions notwithstanding, Scotland and things Scottish must be somehow defined. The reader will also notice that the difficulties with that necessity may be more or less overcome on the linguistic level where, however much Scots is torn, in its own way, between competing definitions, something like specific differences with respect to Standard English can be named. Gaelic apart, the varieties of Scots may be drifting ineluctably toward Standard English. But a tough otherness remains or can be be reasserted at any time. The dissertation shows this with peculiar force in Welsh\'s Trainspotting.
The situation is quite different on the \'national level\' where the problem of the nation as an imagined and often merely imaginary community has hit Scotland with particular force since the 18th century.  Scotland belongs to the British nation. At the same time, there is a sufficient number of peculiar Scottish institutions (for instance the Church of Scotland) which would warrant at least the use of the term like dual nationality for Scotland.
If anything, the literary situation is even more complicated. Ricarda Weissenberger analyses the "cultural schizophrenia" of many Scottish writers who call themselves Scots and yet look upon England as their cultural ideal. Some have gone so far as to say that without the efforts of Scottish writers, building their careers in London, the very idea of a national English literature would not have developed, at least not in the forceful way it has developed since the 18th century again. One could entertain similar ideas with respect to Scottish-English philosophy.
In literature, it is not too difficult to find \'Scottish\' elements, amounting to something like a tradition on levels like scenery, characters (including for instance the peculiarly modern, but still distinctive Scottish psychological modernity of split characters), perhaps social awareness (a relatively reduced importance of class, for instance), and to some extent also language. While the novel may be a fertile field of such analyses, drama and lyric poetry are obviously - exceptions notwithstanding - much less suitable for that purpose. Consquently, impressions of literary Scottishness will unavoidably take shape. But again, the construction of a Scottish literary tradition often resembles a vicious circle.
In the analysis of Welsh\'s Trainspotting, all of these both persisting and conflicting aspects come to the fore with unique force. To my knowledge, Weissenberger\'s chapter is the most thorough and precise investigation of this novel to date. On the one hand, Welsh is a heavily \'cosmopolitan\' writer. Problems like drugs, intermedia relationshps between writing and rock music would seem, amongst other \'general\' themes and motifs like masculinity and escape, to pull such a text away from Scottishness, even if Welsh has distanced himself violently from the \'imperialism\' of the \'English\' novel. Clearly, we are dealing with localised, yet also de-essentialised representations. But if Welsh does not provide us with a material national Scottish perspective, the density of distinctly Scottish elements in the text is such that their linguistic presentation in Scots appeared to be imperative.
Much as some readers might want to quarrel with Ricarda Weissenberger for theoretical reasons, her conclusion, then, is indeed hard to resist: "Modern writers using Scots in their novels make a point simply by writing in their language, by choosing Scottish characters, a Scottish setting and by presenting problems (of identity or nationality) which are raised by Scottish society (...) Obviously it is also true for those writers who did not even intend to make this point" (403).
The conclusion gains tremendous force because it is prepared for by the evidence emerging in the careful and comprehensive analysis of a singularly rich and telling amount of materials. I am sure that readers of this work will come to appreciate the corresponding rewards of their reading investments.
Siegen, August 2006
K. Ludwig Pfeiffer

Aus dem Inhalt

Acknowledgements
Foreword
Contents
Introduction
Part I: Identities, Language and Nationalism
1. Identities
1.1 Social Identity
1.1.1 Scottish (Social) Identity
1.2 Nation, National Identity and Nationalism
1.2.1 Features and Definition of National Identity
1.2.2 Functions of National Identity (in General and in Scotland)
1.2.3 Scotland\'s National Identity - a Dual Nationality?
1.2.4 Portable Identities
1.2.5 Nationalism and the Role of the Intelligentsia
1.2.6 Nationalism and its Relation to Cultural Identity
1.2.7 Political Identity as Part of National Identity
1.3 Does Scottish Identity need a Language?
2 What is Scots?
3 Linguistics
3.1 Scottish Standard English
3.1.1 Vowels
3.1.2 Consonants
3.1.3 Grammar and Syntax
3.1.4 Vocabulary and Idioms
3.2 Scots
3.2.1 Spelling
3.2.2 Difference from English
3.2.3 Scots Grammar
3.2.3.1 Scots Verbs
3.2.3.1.1 The Present Tense: Verbs after a Plural Subject
3.2.3.1.2 The Past Tense of Regular Verbs
3.2.3.1.3 The Past Tenses of Irregular Verbs
3.2.3.1.4 Negation
3.2.3.1.5 Auxiliary Verbs
3.2.3.2 Scots Nouns
3.2.3.3 Demonstratives
3.2.3.4 Pronouns
3.2.3.5 Adjectives
3.2.3.6 Adverbs
3.2.3.7 Prepositions
3.2.3.8 Time
4 Social Context
4.1 Good and Bad Scots
4.2 Dense Scots vs. Thin Scots
4.3 Marked and Unmarked Scotticisms
4.4 Overt and Covert Scotticisms
4.5 Style-Drifting and Code-Switching
4.5.1 Reasons for Code-Switching
4.6 A New Scottish Renaissance?
4.6.1 Organisations
4.6.2 Media
4.6.3 Education
4.6.4 Conclusion
5 Nationalism - and why it is Connected to the Language and the Literary Movement
5.1 Scots as a Substantive Cultural and Educational Asset
5.2 Language Planning
5.3 Scotland on its Way to Independence?
5.3.1 The Referendum in 1997
5.4 Language and Nationalism in Literature
5.5 Scottish Independence - its Coverage in the Media
5.6 The Relation of Political Independence and Linguistic Independence
Part II: A Scottish Literary Tradition?
1 After the First Golden Age (16th / 17th Century)
2 The Enlightenment (The Second Golden Age)
3 Victorian and Edwardian \'Escapism\'
3.1 From the 18th to the 19th Century
3.2 Scott, Galt and Hogg
3.3 Kailyard and Anti-Kailyard
4 The Third Golden Age - The Scottish Literary Renaissance of the 20th Century
4.1 Hugh MacDiarmid
4.1.1 MacDiarmid\'s Ideas and the Dream of a Renaissance
4.1.2 The Caledonian Antisyzygy
4.1.3 Politics as Means to a Cultural End
4.1.4 Grieve vs. MacDiarmid - his Work and the Origins
4.1.5 MacDiarmid and Dunbar
4.1.6 The Inheritance - Synthetic Scots and a New Self-Confidence
4.1.7 MacDiarmid and his Influence on Other Writers
4.2 Edwin Muir
4.3 Lewis Grassic Gibbon
5 After the Scottish Renaissance
5.1 From Contradiction to Mediation
5.2 From Anglicized to Scotticized
5.3 From Poem to Novel
6 The Third Golden Age - The Scottish \'Reinforcement\'
6.1 Is there a Scottish Literary Tradition?
6.2 The Importance of Context
6.3 Scottish Literature in Relation to English Literature
6.4 The Modern Scottish Novel
6.4.1 Representations
6.4.1.1 Representation of Scotland
6.4.1.2 Representation of Identity
6.4.2 The Industrial Novel
6.4.2.1 An Image of Hell
6.4.2.2 The Glasgow Novel
6.4.2.2.1 The Glasgow Novel of the 80s
6.4.2.2.2 The Development of the Glasgow Novel
6.4.3 Modern Scottish Writers
6.4.3.1 William McIlvanney
6.4.3.2 Alasdair Gray
6.4.3.3 James Kelman
6.4.2.4 Robin Jenkins
6.4.3.5 Iain Banks
6.5 Drama
7 The Scottish Literary Identity and its National Dimension
7.1 The Search for a Distinctive Scottish Voice
7.1.1 Urban Scots
7.1.2 The Infamous Vulgarisms
7.2 Challenging Traditional Constraints
7.3 Literary Criticism
7.4 The Choice of Language: \'No Language, No Nation\'?
7.5 Nationalism
7.5.1 Waves of Scottish Nationalism Interrelated to Culture
7.5.2 The Existence of Scottish National Literature
7.5.3 Politics as System of Reference to Develop Identity
7.6 Traditions are Heteroglossic
7.7 Constructing Identities
7.7.1 Fear as Central Theme
7.8 Literature as Intervention?
Part III: Irvine Welsh\'s "Trainspotting"
1 Introduction
1.1 Reasons for Choosing "Trainspotting"
1.2 Research on "Trainspotting"
1.3 Structure of Part III
1.4 Aims and Limitations 2 The Novelist 3 The Novel3.1 The Novel\'s Reception
3.2 Structure
3.3 Setting
3.4 Language
3.4.1 Excursion: The Use of Scots in Novels
3.4.2 Scots in Modern Literature
3.4.3 The Use of Scots in "Trainspotting"
3.5 Characters
3.5.1 Mark Renton
3.5.2 Danny Murphy (Spud)
3.5.3 Sick Boy
3.5.4 Francis Begbie
3.5.5 Tommy
3.5.6 Johnny Swan (Mother Superior)
3.5.7 Kelly
3.5.8 Nina
3.5.9 Stevie
3.5.10 Second Prize
3.5.11 David Mitchell (Davie)
3.5.12 Matty
3.6 Themes
3.6.1 Title
3.6.2 Working-Class Society
3.6.3 Escape
3.6.4 Masculinity
3.6.5 Drugs
3.6.6 Identity
3.7 Adaptations of the Novel
4 Other Works of Fiction by Welsh
4.1 The Acid House
4.2 Marabou Stork Nightmares
4.3 Ecstasy
4.4 Filth
4.5 Glue
4.6 Porno
5 The Importance of "Trainspotting" in the Context of the Scottish Literary Tradition (Summary)
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Alasdair Gray & Angus Calder\'s home rule handbook, Pt. 4: The Arts. The Scotsman 16/02/1999
Alasdair Gray & Angus Calder\'s home rule handbook, Pt. 5: Education. The Scotsman 17/02/1999
Alasdair Gray & Angus Calder\'s home rule handbook, Pt. 6: Local Government. The Scotsman 18/02/1999
Glaswegian tongue to get a check-up, so to speak, an\'at. The Scotsman 18/02/1999, p. 5
The Scottish Parliament. The Scotsman 13/05/1999, pp. 1-5
Sticky Moments. Liam Rudden on Irvine Welsh. Evening News 18/05/2001
Scottish writers demand state funding. The Guardian 16/08/2001
Eight Years on from Trainspotting, Irvine Welsh pens the sequel: Porno. The Guardian 22/08/2001
Modern Scots dialect has every right to be called a language. Sunday Herald 21/08/2005
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