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The Scottish Renaissance was a mainly literary movement of the early to mid 20th century that can be seen as the Scottish version of modernism. It is sometimes referred to as the Scottish literary renaissance, although its influence went beyond literature into music, visual arts, and politics (among other fields). The writers and artists of the Scottish Renaissance displayed a profound interest in both modern philosophy and technology, as well as incorporating folk influences, and a strong concern for the fate of Scotland's declining languages. It has been seen as a parallel to other movements elsewhere, including the Irish Literary Revival, the Harlem Renaissance (in America), the Bengal Renaissance (in Kolkata, India) and the Jindyworobak Movement (in Australia), which emphasised indigenous folk traditions. ==Beginnings== The term "Scottish Renaissance" was brought into critical prominence by the French Languedoc poet and scholar Denis Saurat in his article "Le Groupe de la Renaissance Écossaise", which was published in the ''Revue Anglo-Américaine'' in April 1924.〔I. Ousby ed., ''The Cambridge Guide to Literature in English'' (1995) p. 839.〕 The term had appeared much earlier, however, in the work of the polymathic Patrick Geddes and in a 1922 book review by Christopher Murray Grieve ("Hugh MacDiarmid") for the ''Scottish Chapbook'' that predicted a "Scottish Renascence as swift and irresistible as was the Belgian Revival between 1880 and 1910",〔Quoted in Margery Palmer McCulloch, ed., ''Modernism and Nationalism: Literature and Society in Scotland 1918-1939''. Glasgow: Association for Scottish Literary Studies, 2004. 52-53.〕 involving such figures as Lewis Spence and Marion Angus.〔I. Ousby ed., ''The Cambridge Guide to Literature in English'' (1995), p. 839.〕 These earlier references make clear the connections between the Scottish Renaissance and the Celtic Twilight and Celtic Revival movements of the late 19th century, which helped reawaken a spirit of cultural nationalism among Scots of the modernist generations. Where these earlier movements had been steeped in a sentimental and nostalgic Celticism, however, the modernist-influenced Renaissance would seek a rebirth of Scottish national culture that would both look back to the medieval "makar" poets, William Dunbar and Robert Henrysoun, as well as look towards such contemporary influences as T. S. Eliot, Ezra Pound, and D. H. Lawrence, or (more locally) R. B. Cunninghame Graham.〔D. Daiches ed., ''The Penguin Companion to Literature 1'' (1971) p. 333.〕 The turn of the 20th century saw the first stirrings of a new era in Scottish arts and letters. As writers such as George Douglas Brown railed against the "Kailyard school" that had come to dominate Scottish letters, producing satiric, realist accounts of Scottish rural life in novels like ''The House with the Green Shutters'' (1901), Scots language poets such as Violet Jacob and Marion Angus undertook a quiet revival of regionally inflected poetry in the Lowland vernacular. The aforementioned Patrick Geddes would continue his foundational work in town and regional planning, developing the triad "Place - Work - Folk" as a matrix for new thinking about the relationships between people and their local environments. In the realm of visual arts, John Duncan would refine his Celtic myth inspired Symbolist painting to include an increasing emphasis on collage and the flatness of the image. In architecture and the decorative arts, the towering figures of Charles Rennie Mackintosh and the Glasgow Four would give Scotland its very own "school" of modern design and help create the "Glasgow style". Scotland in the early 20th century was experiencing an efflorescence of creative activity, but there was not yet a sense of a particular shared movement or an overt national inflection to all of this artistic effort. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Scottish Renaissance」の詳細全文を読む スポンサード リンク
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