Alasdair Gray`s 1982 Janine (1984): a postmodernist scottish novel

Alasdair Gray is now an established figure in the Scottish literary scene and has numerous claims to be considered an important voice writing in English. First Lanark: A Life in Four Books (1981) and then 1982 Janine (1984) contributed to the recognition of Gray as one of the founding fathers of the new Scottish writing and as a figure of importance in international contemporary fiction due to his innovative, experimental and postmodernist novels. As the title of this dissertation - “Alasdair Gray’s 1982 Janine (1984): A Postmodernist Scottish Novel” - suggests, it aims at analysing the author’s second novel, 1982 Janine (1984), in a thematic and formal perspective, in order to justify the choice of the terms - Postmodernist and Scottish - to classify this novel. 1982 Janine projects a world through Jock McLeish’s mind and is a powerful stream-of-consciousness narrative. Jock is an alcoholic who lives a personal crisis and, therefore, tries to escape from his depressing reality through sexual fantasies and political diatribes. During a single night in a Scottish hotel room, he drinks and dreams, and spends the whole night alone with his fantasies and fears, his memories and hopes. In Chapter 11, the most daring experimental section of the novel, Jock attempts to commit suicide by taking an overdose of tablets with alcohol but fails. Following this, he decides to review his life and make for a new beginning; the novel thus closing with an optimistic note. Also, the narrative is based on a constant interweaving of sex fantasy with political satire, that is, it is through his protagonist that Gray manages to convey the state of Scotland as well as the concerns and aspirations of the Scottish people and then, proceed to a political and social critique. This dissertation appears structured in three chapters. In Chapter I - “Alasdair Gray: A Postmodernist Scottish Writer” - I present Gray as a powerful postmodernist writer who also sees himself as a Scottish author, and more particularly as a Glaswegian, who concentrates on Scottish subject matter in his literary work. In a first section, I offer a brief survey of the Scottish literary scene from the fourteenth to the twentieth century, in order to understand Gray’s choice of setting and themes and to check his influence or indebtedness to previous Scottish authors. As 1982 Janine is also a good example of selfconscious experimental writing, in a second section, I present various seminal fictional works that introduced and developed experimentalism in British fiction, in order to evaluate the influence of modernist developments in form and technique on recent experimental writing. The third section consists of an introduction to Gray’s work for he is not only a novelist, but also an artist, a playwright, a poet, an activist and a scholar. Chapter II - “Postmodernist Features in 1982 Janine” - aims at listing and examining the postmodernist devices that the novel includes, in what content and form are concerned. On the one hand, the use of a developed type of the modernist stream of consciousness, the presence of a protagonist who feels entrapped in a specific system, the quest for freedom, the incoherence and fragmentation of time, the nonchronological order of the narrative, the blending of fantasy and “reality”, as well as the importance of the Scottish material are definitely current aspects within postmodernist literature that can be found in Gray’s novel. On the other hand, the handling of literary self-conscious devices, such as typographical experimentation, presence of metafiction and intertextuality, and inclusion of an Epilogue, are likewise among recurrent postmodernist features. As the title - “A Narratological Analysis of 1982 Janine” - evidences, Chapter III offers a description of the mechanics of the narrative and its functioning in order to better understand the narrative technique of postmodernist fiction. This study is based primarily on Gérard Genette’s theoretical framework and terminology, presented in Narrative Discourse: An Essay in Method, an analytical tool that allows me to provide a more objective and scientific analysis. Hence, I follow the Genettian division of narrative discourse in Time, Mood and Voice while examining the novel. Finally, I proceed to a description of the intertextual relationships 1982 Janine establishes with other texts.

“Crye Fredome”? Medievalism and Twenty-First-Century Scottish National Identity

It is a well-documented fact that the Middle Ages have had a long history of instrumentalisation by nationalisms. 19th-century Eu¬rope in particular witnessed an origins craze during the process of nation-building. In the post-Shoah, post-modern West, on the other hand, we might expect this kind of medievalist master nar¬rative to have been consigned to the dustbin of history. And yet, as nationalism surges again in Europe, negotiations of national identi¬ties in medieval dress seem to have become fashionable once more. In order to come to terms with the fragmented and often contradictory presence of the Middle Ages in these discourses of national identity, I propose we consider medievalism a utilitarian product of the cultural memory. Rather than representing any ‘real’ Middle Ages, then, medievalism tailors available knowledge of the medieval past to the diverse social needs and ideologies of the present. This paper looks at a selection of Scottish examples of present-day medievalism in an attempt to investigate, in particular, the place of the medieval Wars of Scottish Independence in contemporary negotiations of ‘Scottishness’. Both the relationships envisioned between self and other and the role played by ‘the land’ in these cultural, social and political instances of national introspection offer starting points for critical inquiry. Moreover, the analysis of a scholarly intervention in the run-up to the 2014 Scottish independence referendum indicates an intriguing dialogue of academic and non-academic voices in the context of Scottish medievalist cultural memory. We thus find a wide array of uses of the Scottish Middle Ages, some of which feed into the burgeoning nationalism of recent years, while others offer more pensive and ambivalent answers to the question of what it means to be Scottish in the 21st century.

Reliques of ancient English poetry : consisting of old heroic ballads, songs, and other pieces of our earlier poets, (chiefly of the lyric kind) : together with some few of later date

[edited by Thomas Percy]