In McCrone’s ‘Stateless Nation, he cites: “The time that Scotland was ceasing to be distinctively and confidently herself was also the period when there grew an increasing emphasis on the emotional trappings of the Scottish past…its symbols are bonnie Scotland of the bens and glens and misty shieling, the Jacobites, Mary Queen of Scots, tartan mania and the raising of Scottish Statuary.” (Ash 1980: 10) So has Scotland come to rely on symbols to create her identity? Has this been her downfall? According to Ash, iconography, symbolism and mythology have therefore played a huge part in constructing an identity for Scotland and her natives, and the polar divide between history and myth has since widened. However, the relationship that Scotland has developed with such myths and symbols has been one of great convenience; if the relationship were less arbitrary then would Scotland still represent romanticism or would the hard, modernist realism that Scotland has become synonymous with come to light?
Davidson goes on to cite that: “Modern perceptions of Scotland’s past are like a foggy landscape; small peaks and islands of memory rising out of an occluded background. The name of some of these peaks are Bruce, Wallace, Bannockburn, Mary Queen of Scots, Bonnie Prince Charlie and the Clearances.” (Ash n.d.:1) Many critics have argued that Scotland’s identity has been created by the heritage board – a play by play of romantic adventure and hardship, of poverty and pride, yet there is ‘no shortage of raw material’ (McCrone: 18) listed in Scotland’s history. Myths upheld such as the ro
Liam Neeson as Rob Roy MacGregor (1995)
le of the kilt and the life and death of Rob Roy MacGregor, both widely recognized national icons themselves, have created a traditional ‘Scotland’ for the rest of the word to identify with. As such, Scotland has been branded as something to be consumed – a set of commodities that can be check-listed in order to recognize that what the consumer buys into is actually ‘Scottish’.
McCrone stated that storytelling is a vital part of any country’s myth history (2000) but that would suggest that the only way Scotland has her identity, is by mere stories that have been conjured up through the ages and don’t actually represent an honest depiction of Scottish national identity. Additionally, it could be argued that, in fact, Scotland’s identity is therefore based on myth and nothing more, suggesting that the notion of Scottish national identity itself does not exist within the constraints of straightforward analysis, and that one would have to delve into the background of a nation to truly understand the notion of identity. Would this ruin the reputation of our nations romantic adventure to discover that heather, kilts and bagpipes were found more often on postcards, and alcoholism, violence and fashion played a huge part of modern Scottish culture? What are some key Historical Scottish Issues and How Have They Shaped Scotland’s Identity? •Union of the Crown •Anglo-Scottish Union •Religion •Political change Outdated or still relevant today?
Icons, Symbols and Myths
In McCrone’s ‘Stateless Nation, he cites:
“The time that Scotland was ceasing to be distinctively and confidently herself was also the period when there grew an increasing emphasis on the emotional trappings of the Scottish past…its symbols are bonnie Scotland of the bens and glens and misty shieling, the Jacobites, Mary Queen of Scots, tartan mania and the raising of Scottish Statuary.” (Ash 1980: 10)
So has Scotland come to rely on symbols to create her identity? Has this been her downfall?
According to Ash, iconography, symbolism and mythology have therefore played a huge part in constructing an identity for Scotland and her natives, and the polar divide between history and myth has since widened. However, the relationship that Scotland has developed with such myths and symbols has been one of great convenience; if the relationship were less arbitrary then would Scotland still represent romanticism or would the hard, modernist realism that Scotland has become synonymous with come to light?
Davidson goes on to cite that:
“Modern perceptions of Scotland’s past are like a foggy landscape; small peaks and islands of memory rising out of an occluded background. The name of some of these peaks are Bruce, Wallace, Bannockburn, Mary Queen of Scots, Bonnie Prince Charlie and the Clearances.”
(Ash n.d.:1)
Many critics have argued that Scotland’s identity has been created by the heritage board – a play by play of romantic adventure and hardship, of poverty and pride, yet there is ‘no shortage of raw material’ (McCrone: 18) listed in Scotland’s history.
Myths upheld such as the ro
McCrone stated that storytelling is a vital part of any country’s myth history (2000) but that would suggest that the only way Scotland has her identity, is by mere stories that have been conjured up through the ages and don’t actually represent an honest depiction of Scottish national identity. Additionally, it could be argued that, in fact, Scotland’s identity is therefore based on myth and nothing more, suggesting that the notion of Scottish national identity itself does not exist within the constraints of straightforward analysis, and that one would have to delve into the background of a nation to truly understand the notion of identity. Would this ruin the reputation of our nations romantic adventure to discover that heather, kilts and bagpipes were found more often on postcards, and alcoholism, violence and fashion played a huge part of modern Scottish culture?
What are some key Historical Scottish Issues and How Have They Shaped Scotland’s Identity?
• Union of the Crown
• Anglo-Scottish Union
• Religion
• Political change
Outdated or still relevant today?