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No. 39, May 2012 - Fachbereich Translations-, Sprach- und ...

No. 39, May 2012 - Fachbereich Translations-, Sprach- und ...

We hope that you will

We hope that you will enjoy this latest Newsletter and will continue to let us know what you think. The Editors Professor Dr. Horst W. Drescher – Lothar Görke – Professor Dr. Klaus Peter Müller Ron Walker May 2012

Contents Editorial 1 New Scottish Poetry 2 Annie Kelly, StAnza. Scotland's International Poetry Festival 3 Irene Quaile, Build Your Own Turbine 5 Ron Walker, Scotland's Museums and Galleries – Resurgence and Reinvention 7 Claudia Aden, Scottish Local History 8 David S. Forsyth, Transforming a Victorian Vision: Recreating the National Museum of Scotland for the 21 st Century (New) Media in/on Scotland 13 Education Scotland 23 Scottish Award Winners 26 The Editors, Miriam Schröder, and Ilka Schwittlinsky, Recent Publications 28 Book Reviews J. Derrick McClure on Beredter Norden (ed. Iain Galbraith); K. P. Müller on Political Discourse and National Identity in Scotland (Leith, Murray Stewart / Daniel P. J. Soule) Conference Announcements 60 New Scottish Poetry The featured poem for this issue, 'Velázquez by Velázquez', is from Lyn Moir's, Velázquez's Riddle: A Sequence of Poems, a collection which takes its inspiration from Velázquez's painting Las Meninas, and the many later variations on it by Picasso. The poem below presents us with a vision of a Velázquez who is creator, manipulator and director of a Spanish court performance that is highly theatrical. Moir chooses the imagery of the circus to suggest the audacity and daring of a Velázquez who is both skilled in 'wire-walking' and a 'Ringmaster' with the 'power to position unwitting performers at the point of maximum tension'. The drama and theatricality of the scene as represented in Velázquez's ambiguous masterpiece is inseparable from the performance of the artist, who, in the poem, becomes the 'looming figure, in whose hands the whole illusion rests' and who it seems must be aware that posterity will view this scene and its performers through his eyes. This performance aspect of the court emphasizes its transience as well as its theatricality and, as Moir reminds us, it is Velázquez's omission of the Spanish monarchs from the internal space of his composition, that heightens the drama and the ambiguity of the tableau and, 'makes us feel that we have some effect upon the scene, that if we breathe too hard, too short, we might disturb the balance of the court.' (Ron Walker) Scottish Studies Newsletter 39, May 2012 9 53 53 55

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