Hugh MacDiarmid's Poetry and Politics of Place

Lyall, Scott

doi:10.1017/upo9780748630059

Cited by 3 publications

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“…Jason Lyall argues that indiscriminate violence by Russian forces against Chechen villages was random, by one base according to military doctrine and by another because soldiers were so frequently drunk. 35 Yet the violence was not truly random, as the violence targeted only Chechen villages.…”

Section: Defining Pattern Of Violencementioning

confidence: 99%

What Should We Mean by “Pattern of Political Violence”? Repertoire, Targeting, Frequency, and Technique

Sanín¹,

Wood²

2017

Perspect. polit.

168

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To leverage the full range of observed variation in patterns of violence toward the development and testing of theories of political violence, scholars need adequate conceptual foundations: what should we mean by a pattern of violence on the part of an armed organization? Scholars often distinguish degrees or levels or types of violence across organizations and conflicts, but definitions and measures vary sharply. We argue that patterns of violence are not reducible in ways often assumed in the literature: lethal violence is not a good proxy for the overall pattern, and differences in patterns are not well captured in the binary “terror” versus “restraint.” To address these concerns, we provide a new conceptualization of political violence, defining an organization’s pattern of violence as the configuration of repertoire, targeting, frequency, and technique in which it regularly engages. This approach adds precision to the documentation and analysis of political violence, clarifies the evaluation of rival theories, and opens up new research questions. We demonstrate its utility through an analysis of violence against civilians in Colombia, drawing on an original database of massacres, judicial proceedings, and other sources, and show that the concept of “pattern” helps bring ideology and politics back into the analysis of organized violence.

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Section: Defining Pattern Of Violencementioning

confidence: 99%

What Should We Mean by “Pattern of Political Violence”? Repertoire, Targeting, Frequency, and Technique

Sanín¹,

Wood²

2017

Perspect. polit.

168

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“…] finds the hymnist of Lenin on indefensible fascist terrain'. 16 But if we are to see some of MacDiarmid's statements as errors of judgement, are we free to pick and choose? This is not to clear MacDiarmid of responsibility.…”

Section: Macdiarmid and Lewismentioning

confidence: 99%

The Asymmetry of British Modernism: Hugh MacDiarmid and Wyndham Lewis

Thomson¹

2013

Modernist Cultures

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Devolution in the United Kingdom has begun to affect our understanding of modern literary history, if only because the tendency silently to conflate English with British has been made increasingly problematic. This is particularly marked in the case of Scotland. Critics and historians of Scottish literature have asserted the continuity of a different tradition north of the border. Scholars writing on English literature take pains not to make generalisations that seem to apply to the other country. But while this may represent appropriate caution in asking how contemporary British literature is constituted in the context of the process of political devolution, or in relation to the Romantic period, when Edinburgh could boast both a distinctive intellectual tradition and a thriving publishing industry, it may be more problematic in relation to the period we describe as 'modernist'. The increased presence of the national question in the study of modernist literature, and the development of transnational approaches to literary study, also foreground the tacit assumptions that may have guided earlier accounts of tradition. 1 But does our caution lead us to overstate cultural and artistic difference? In this essay I will reflect on this problem by examining the relationship between Scotland's preeminent modernist poet, Hugh MacDiarmid, and Wyndham Lewis, who plays a central, if contested, role in our understanding of modernism in Britain. British historians have stressed the significance of the late 1920s and 1930s for the formation of our contemporary understanding of nation. The vocabulary of national character was ubiquitous, argues

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“…26 For Scott Lyall, MacDiarmid's aim by 'rebelling against established institutions and received ideas of all kinds' 27 was to achieve a 'new cultural topography' in Scotland. 28 MacDiarmid's poetry of this era is directly polemical, incendiary and shocking and it should be considered in the context of MacDiarmid acting, in the words of Lyall, as a 'cultural worker' whose primary interest is in 'the evolution of humanity'. 29 Put another way, these poems are a consistent addition to MacDiarmid's body of work in that they are marked with what Alan Massey has termed MacDiarmid's 'quasipaternal' protectiveness of core values and that MacDiarmid is willing here to 'savagely' counter-attack 'those he has identified as injurers' of his vision of what the world could and should be.…”

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confidence: 99%

A Man in Constant Revolt

McCaffery

2019

IRSS

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Hugh MacDiarmid's Poetry and Politics of Place

Cited by 3 publications

References 0 publications

What Should We Mean by “Pattern of Political Violence”? Repertoire, Targeting, Frequency, and Technique

What Should We Mean by “Pattern of Political Violence”? Repertoire, Targeting, Frequency, and Technique

The Asymmetry of British Modernism: Hugh MacDiarmid and Wyndham Lewis

A Man in Constant Revolt

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