Sìm Innes | University of Glasgow (original) (raw)
Dr Sìm Innes is Lecturer in Celtic and Gaelic at the University of Glasgow since 2013. His research focuses on Gaelic literature and folklore. In Scotland he has also taught at the University of Strathclyde. In the US he taught in Celtic Languages and Literatures at Harvard University. In Canada he has taught at St. Francis Xavier University in Nova Scotia. He has postgraduate degrees from the University of Glasgow and the University of Strathclyde.
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Papers by Sìm Innes
Oxford Bibliographies Online Datasets, May 28, 2013
'Celtic Languages' for Oxford Bibliographies in Linguistics is a reference tool that offe... more 'Celtic Languages' for Oxford Bibliographies in Linguistics is a reference tool that offers commentary to help students and scholars find, negotiate, and assess the large amount of information readily available to them. The 'Celtic Languages' online bibliography contains sections on: General Overviews; Grammars; Textbooks; Dictionaries; Edited Collections and Conference Proceedings; Bibliographies; Journals; Orthography; Historical Linguistics; Dialectology; Sociolinguistics; Phonology; Morphology; Syntax
International Journal of Scottish Theatre and Screen, Dec 1, 2016
Studies in Theatre and Performance, Aug 25, 2015
Yale University Press eBooks, Dec 25, 1991
International Journal of Scottish Theatre and Screen, Dec 1, 2016
In 1893 Catriona NicIlleBhain Ghrannd / Katherine Whyte Grant outlined her motivation for transla... more In 1893 Catriona NicIlleBhain Ghrannd / Katherine Whyte Grant outlined her motivation for translating Friedrich Schiller’s Wilhelm Tell (1804) from German into Scottish Gaelic as follows: I longed to give my Highland countrymen a delightful taste of the good things stored up in the literature of other nations, of people whom we consider as alien and foreign, yet with feelings and sympathies closely akin to our own. We need to have our sympathies extended; we need to get out of the few narrow grooves in which our thoughts are apt to run; to get above ourselves, so that our petty individuality may be merged in the good of the whole. Grant’s expression of the potential of translation would accord well with commentary on translation of drama into Scots. John Corbett notes that, ‘If native drama affords the opportunity for the ethos of a community to be represented, positively or negatively, on stage, then translated drama gives an audience the chance to encounter ‘otherness’’.
Scottish language, 2014
A translation into Scottish Gaelic of Shakespeare's Macbeth, by Iain MacDhomhnaill (Iain MacD... more A translation into Scottish Gaelic of Shakespeare's Macbeth, by Iain MacDhomhnaill (Iain MacDonald) (1946-), performed in Glasgow as MacBheatha in September 2013 and in Edinburgh in August 2014, will be the focus of this article. We will consider the political and cultural implications inherent in returning Shakespeare's gaze. Macbeth engages with histories of eleventh-century Gaelic Scotland for an early-seventeenth-century audience. MacDhomhnaill's translation into Gaelic arguably provides an opportunity for some level of reappropriation and further levels of meaning; allowing a twenty-first-century Gaelic audience to reflect on the history of Gaelic Scotland in the eleventh century but also in Shakespeare's own day and perhaps even today. MacDhomhnaill's occasional use of a register reminiscent of Gaelic poetic and literary traditions invites Shakespeare's characters to speak in ways that may bring to mind the early modern Gaelic poetic corpus. This type o...
Christianities in the Early Modern Celtic World, 2014
Towards the end of a bardic poem on St Katherine of Alexandria we are presented with a curious li... more Towards the end of a bardic poem on St Katherine of Alexandria we are presented with a curious list of Gaelic saints, including a stanza on St Brigit, in which she is described as ‘Brighid Eireann agus Alban, ogh na n-oilean’ (‘Brigit of Ireland and Scotland, Virgin of the Isles’).2 The bardic poem is anonymous but the sources for the poem rather fittingly include both a Gaelic manuscript from Ireland and a Gaelic manuscript from Scotland. These manuscripts are both dated to the early sixteenth century and are Leabhar Chlainne Suibhne (Dublin, Royal Irish Academy MS 24 P 25) and the Book of the Dean of Lismore (Edinburgh, NLS MS Adv. 72.1.37). The way in which St Brigit is here described is suggestive of a later medieval pan-Gaelic piety, common to both Ireland and Gaelic Scotland. This chapter will consider if the rest of the religious poetry from the Scottish Book of the Dean of Lismore is as representative of such a pan-Gaelic piety. We will explore the context of Gaelic manuscript compilation before concentrating on the Book of the Dean’s collection of religious poetry. The main aim is to detail the poems which are found therein and investigate which poems are unique to Scotland and which are common to Scotland and Ireland. Further, since Gaelic manuscripts often show antiquarian tendencies we will also focus on when the Book of the Dean religious poetry was composed and how this impacts on our notions of later medieval piety. This chapter will conclude by introducing some of the major themes of its religious poetry.
Oxford Bibliographies Online Datasets, May 28, 2013
'Celtic Languages' for Oxford Bibliographies in Linguistics is a reference tool that offe... more 'Celtic Languages' for Oxford Bibliographies in Linguistics is a reference tool that offers commentary to help students and scholars find, negotiate, and assess the large amount of information readily available to them. The 'Celtic Languages' online bibliography contains sections on: General Overviews; Grammars; Textbooks; Dictionaries; Edited Collections and Conference Proceedings; Bibliographies; Journals; Orthography; Historical Linguistics; Dialectology; Sociolinguistics; Phonology; Morphology; Syntax
International Journal of Scottish Theatre and Screen, Dec 1, 2016
Studies in Theatre and Performance, Aug 25, 2015
Yale University Press eBooks, Dec 25, 1991
International Journal of Scottish Theatre and Screen, Dec 1, 2016
In 1893 Catriona NicIlleBhain Ghrannd / Katherine Whyte Grant outlined her motivation for transla... more In 1893 Catriona NicIlleBhain Ghrannd / Katherine Whyte Grant outlined her motivation for translating Friedrich Schiller’s Wilhelm Tell (1804) from German into Scottish Gaelic as follows: I longed to give my Highland countrymen a delightful taste of the good things stored up in the literature of other nations, of people whom we consider as alien and foreign, yet with feelings and sympathies closely akin to our own. We need to have our sympathies extended; we need to get out of the few narrow grooves in which our thoughts are apt to run; to get above ourselves, so that our petty individuality may be merged in the good of the whole. Grant’s expression of the potential of translation would accord well with commentary on translation of drama into Scots. John Corbett notes that, ‘If native drama affords the opportunity for the ethos of a community to be represented, positively or negatively, on stage, then translated drama gives an audience the chance to encounter ‘otherness’’.
Scottish language, 2014
A translation into Scottish Gaelic of Shakespeare's Macbeth, by Iain MacDhomhnaill (Iain MacD... more A translation into Scottish Gaelic of Shakespeare's Macbeth, by Iain MacDhomhnaill (Iain MacDonald) (1946-), performed in Glasgow as MacBheatha in September 2013 and in Edinburgh in August 2014, will be the focus of this article. We will consider the political and cultural implications inherent in returning Shakespeare's gaze. Macbeth engages with histories of eleventh-century Gaelic Scotland for an early-seventeenth-century audience. MacDhomhnaill's translation into Gaelic arguably provides an opportunity for some level of reappropriation and further levels of meaning; allowing a twenty-first-century Gaelic audience to reflect on the history of Gaelic Scotland in the eleventh century but also in Shakespeare's own day and perhaps even today. MacDhomhnaill's occasional use of a register reminiscent of Gaelic poetic and literary traditions invites Shakespeare's characters to speak in ways that may bring to mind the early modern Gaelic poetic corpus. This type o...
Christianities in the Early Modern Celtic World, 2014
Towards the end of a bardic poem on St Katherine of Alexandria we are presented with a curious li... more Towards the end of a bardic poem on St Katherine of Alexandria we are presented with a curious list of Gaelic saints, including a stanza on St Brigit, in which she is described as ‘Brighid Eireann agus Alban, ogh na n-oilean’ (‘Brigit of Ireland and Scotland, Virgin of the Isles’).2 The bardic poem is anonymous but the sources for the poem rather fittingly include both a Gaelic manuscript from Ireland and a Gaelic manuscript from Scotland. These manuscripts are both dated to the early sixteenth century and are Leabhar Chlainne Suibhne (Dublin, Royal Irish Academy MS 24 P 25) and the Book of the Dean of Lismore (Edinburgh, NLS MS Adv. 72.1.37). The way in which St Brigit is here described is suggestive of a later medieval pan-Gaelic piety, common to both Ireland and Gaelic Scotland. This chapter will consider if the rest of the religious poetry from the Scottish Book of the Dean of Lismore is as representative of such a pan-Gaelic piety. We will explore the context of Gaelic manuscript compilation before concentrating on the Book of the Dean’s collection of religious poetry. The main aim is to detail the poems which are found therein and investigate which poems are unique to Scotland and which are common to Scotland and Ireland. Further, since Gaelic manuscripts often show antiquarian tendencies we will also focus on when the Book of the Dean religious poetry was composed and how this impacts on our notions of later medieval piety. This chapter will conclude by introducing some of the major themes of its religious poetry.