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Trainspotting Analysis: The Dilemma of Scottish National Identity

Trainspotting Analysis

LIBROS PELICULA TRAISNPOTTING

&NewLine;<div class&equals;"wp-block-group is-layout-flow wp-block-group-is-layout-flow">&NewLine;<p><em>Trainspotting<&sol;em>&comma; a film by director <a href&equals;"https&colon;&sol;&sol;philosophyinfilm&period;com&sol;2017&sol;10&sol;15&sol;the-rise-and-fall-of-danny-boyle-from-shallow-grave-to-t2&sol;" target&equals;"&lowbar;blank" rel&equals;"noreferrer noopener">Danny Boyle<&sol;a>&comma; follows the misadventures of a group of Scottish heroin addicts in the late 1980’s and early 1990’s&period; The film is narrated by one of the young addicts&comma; Mark Renton&comma; who struggles between staying loyal to his dysfunctional friends and parents and attempting to stay in control of his crippling addiction&period; This Trainspotting analysis will look at the film from a cultural perspective&comma; while also analyzing the various relationships portrayed through its episodic narrative and frenetic visual style&period; Though many of the narrative and aesthetic qualities of the film can be described as distinctly Scottish&comma; this description is problematic&period; <&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<p>Scotland’s history and culture is one that is uniquely defined by outside forces&comma; so much so that the word &OpenCurlyDoubleQuote;Scottish” is more closely associated with those outside forces than with Scotland itself&period; A combination of historical and cultural factors have&comma; over time&comma; created a lack of national identity in Scotland&period; The oppressive rule of the English has been prevalent in Scotland since the early 18<sup>th<&sol;sup> century&period; More recently&comma; Scottish identity has been defined by the continued economic and political dominance by the English&comma; and the all-pervasive influence of American pop culture&period; The narrative and visual style of <em>Trainspotting<&sol;em> are both reflections of the history of colonialism and the influence of American pop culture in Scotland&period;<&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<h2 class&equals;"wp-block-heading">A Brief History of Scottish Representation<&sol;h2>&NewLine;&NewLine;&NewLine;&NewLine;<p>Since the inclusion of Scotland into Great Britain in 1707&comma; Scotland has been under the unofficial rule of the British &lpar;Smith 9&rpar;&period; Though some Scottish citizens were in favor of joining Great Britain&comma; many Scots &lpar;particularly in the Highlands&rpar; fought back with little success&period; In the decades following this new union&comma; a global image appeared depicting the Scots as a &OpenCurlyDoubleQuote;rural&comma; cozy&comma; easy going people” &lpar;Thomsen&comma; &OpenCurlyDoubleQuote;Scottish Nationalism”&rpar;&period; However&comma; the Scottish people have actually been in a state of quiet dissatisfaction that only worsened with the onset of rebellious youth and countercultures in the 70’s&comma; 80’s&comma; and 90’s&period; This &OpenCurlyDoubleQuote;dissenting grumbling” is most evident in <em>Trainspotting <&sol;em>&lpar;Thomsen&comma; &OpenCurlyDoubleQuote;Scottish Nationalism”&rpar;&period; For example&comma; when one of Mark’s friends &lpar;Tommy&rpar; gets dumped by his girlfriend&comma; he takes the gang out to the Highlands for no apparent reason&period; Looking at the beautiful landscape&comma; Tommy asks his friends&comma; &OpenCurlyDoubleQuote;doesn’t it make you proud to be Scottish&quest;” <a href&equals;"https&colon;&sol;&sol;www&period;youtube&period;com&sol;watch&quest;v&equals;xCtPBFHKSNg" target&equals;"&lowbar;blank" rel&equals;"noreferrer noopener">To which Mark replies<&sol;a>&colon;<&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<p>&OpenCurlyDoubleQuote;Its shite being Scottish&excl; We&&num;8217&semi;re the lowest of the low&period; The scum of the fucking Earth&excl; The most wretched&comma; miserable&comma; servile&comma; pathetic trash that was ever shat into civilization&period; Some hate the English&period; I don&&num;8217&semi;t&period; They&&num;8217&semi;re just wankers&period; We&comma; on the other hand&comma; are colonized by wankers&period; Can&&num;8217&semi;t even find a decent culture to be colonized by&period; We&&num;8217&semi;re ruled by effete assholes&period; It&&num;8217&semi;s a shite state of affairs to be in&comma; Tommy&comma; and all the fresh air in the world won&&num;8217&semi;t make any fucking difference&excl;”<&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<p>Mark’s friends have nothing to say to this&comma; but collectively decide to go home and get back on heroin&period; Mark’s speech perfectly summarizes the Scottish view of colonization&period; While Mark states that he does not actually hate the English&comma; he shows his frustration over the &OpenCurlyDoubleQuote;shite state of affairs” that Britain has allowed the Scottish to fall into&period; The reaction to his speech is just as significant&period; Tommy&comma; Sick Boy&comma; and Spud say nothing because they agree with Mark&comma; even if they are too afraid to admit it&period; And because the depressing nature of their situation is a hard thing to confront&comma; they decide to use heroin to ease the pain&period;<&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<p>Many of the characters in <em>Trainspotting<&sol;em> also reflect the dissatisfaction with colonialism and the global image of the Scottish people&period; Mark&comma; for example&comma; is the perfect model of ambiguity and moral indifference&period; These characteristics echo the general traits of many Scots&period; Rather than actively trying to make his life better or rid himself of his &OpenCurlyDoubleQuote;friends&comma;” Mark chooses to passively accept his situation&period; He knows he wants happiness&comma; he just does not know how to achieve it&comma; so he turns to heroin&period; <&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<figure class&equals;"wp-block-image size-large"><img src&equals;"https&colon;&sol;&sol;philosophyinfilm&period;com&sol;wp-content&sol;uploads&sol;2014&sol;04&sol;Trainspotting-Analysis-1024x431&period;jpg" alt&equals;"Trainspotting Analysis" class&equals;"wp-image-1869"&sol;><figcaption class&equals;"wp-element-caption"><em>Trainspotting Analysis&colon; A Study of Flawed Characters<&sol;em><&sol;figcaption><&sol;figure>&NewLine;&NewLine;&NewLine;&NewLine;<p>He is neither sympathetic nor repugnant&comma; and he is the flawed hero that most accurately represents the Scottish people&colon; unhappy with his situation&comma; but unwilling or unable to change it&period; Mark’s friend Spud is very similar in this respect&period; Though he is a much more sympathetic character than Mark&comma; he too chooses heroin because he feels that he has nowhere else to turn&period; Tommy is the only character that represents the global view of the quintessential Scot&period; He is a kind&comma; sympathetic&comma; and passive character that helps reign in the antics of the rest of the gang&period; However&comma; the film uses Tommy to disprove this enchanted image&period; Even though Tommy starts out as the most likeable character&comma; he loses his girlfriend and suddenly his life plummets to the level of his friends&period; He chooses to use heroin and eventually dies due to complications with HIV&period; <&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<p>The image of the &OpenCurlyDoubleQuote;cozy&comma; easy going” Scot is literally killed right before our eyes &lpar;Thomsen&comma; &OpenCurlyDoubleQuote;Scottish Nationalism”&rpar;&period; Sick Boy and Begbie are the only central characters who do not directly reflect the Scottish people&comma; but they do serve as the antithesis to Mark’s happiness&comma; and in turn Scotland’s happiness&period; After Mark settles in London and finally feels as if he is &OpenCurlyDoubleQuote;almost content&comma;” Begbie shows up unannounced and moves in&period; Rather than being gracious&comma; he belittles Mark and orders him to buy more cigarettes and beer&period; Soon after&comma; Sick Boy shows up and moves in as well&period; He sells Mark’s television without permission&comma; and gets Mark involved in an illegal drug deal to make some quick cash&period; They seem to reflect both Britain and the United States&comma; with Begbie being the violent&comma; bossy&comma; over-bearing character &lpar;Britain&rpar; and Sick Boy being the sly&comma; charming&comma; greedy character &lpar;United States&rpar; that serve as barriers to Mark’s well-being&period;<&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<h2 class&equals;"wp-block-heading">Trainspotting and Scottish Politics<&sol;h2>&NewLine;&NewLine;&NewLine;&NewLine;<p>In the 1980’s and early 1990’s&comma; the implementation of right-wing politics in Britain led to more liberal&comma; even rebellious narrative themes in films like <em>Trainspotting<&sol;em>&period; The Conservative Party ruled Britain from the late 1970’s to the mid-1990’s&comma; with Margaret Thatcher leading the most ideologically dominant movement of this period &lpar;Smith 9&rpar;&period; Referred to as &OpenCurlyDoubleQuote;Thatcherism&comma;” this political movement supported a capitalistic free market economy and the &OpenCurlyDoubleQuote;belief that people should take individual responsibility for the care of themselves and their families rather than relying upon state support&comma;” which led to a reduction in government funds for &OpenCurlyDoubleQuote;social services&comma; health care&comma; education and housing” &lpar;Stollery 56&rpar;&period; At first there was a lot of resistance to Thatcherism&comma; especially from the youth culture&period; However&comma; the conservative agenda continued to be prevalent in Great Britain through the 1990’s&comma; and opposition to it had dissipated greatly&comma; leaving behind the disenchanted youth who&comma; particularly in poorer areas&comma; turned to drugs and crime in light of being politically ineffectual &lpar;Stollery 57&rpar;&period;<&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<p><em>Trainspotting<&sol;em> puts particular emphasis on this political climate through the setting and indifferent attitude toward drug use&period; The film takes place in a particularly poor district of Edinburgh&comma; the capital of Scotland&period; Rather than using the picturesque hills and valleys of the Northern Highlands&comma; the film uses the backdrop of a gray metropolis to reflect the poor living conditions in the city that are a direct result of Thatcherism &lpar;Gardiner 89&rpar;&period; Mark even makes a direct reference to Thatcherism when he states&comma; &OpenCurlyDoubleQuote;there was no such thing as society and even if there was&comma; I most certainly had nothing to do with it&period;” <&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<figure class&equals;"wp-block-image size-large"><img src&equals;"https&colon;&sol;&sol;philosophyinfilm&period;com&sol;wp-content&sol;uploads&sol;2014&sol;04&sol;Trainspotting-1996-1024x559&period;jpg" alt&equals;"Trainspotting 1996" class&equals;"wp-image-1870"&sol;><figcaption class&equals;"wp-element-caption"><em>Trainspotting Analysis&colon; Scottish Nationalism vs&period; Thatcherism<&sol;em><&sol;figcaption><&sol;figure>&NewLine;&NewLine;&NewLine;&NewLine;<p>In this moment&comma; Mark is referencing a speech in which Thatcher stated &OpenCurlyDoubleQuote;there is no such thing as society&period; There are only individual men and women&comma; and there are families” &lpar;Stollery 58&rpar;&period; Besides referencing and showing the results of Thatcherism&comma; many decisions made by the characters also seek to rebel against Thatcherism&period; At the start of the film&comma; the characters choose not to participate in capitalist society&period; They reject the notion that a person needs to work to be able to buy certain luxuries&period; <&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<p>Even though some of the characters are not altogether sympathetic&comma; we are forced to sympathize with them in their struggle to find happiness&period; By only giving the audience Mark’s perspective&comma; put within the context of his circumstances as a poor Scottish youth&comma; we feel obligated to sympathize with his plight&comma; whether or not his actions seem agreeable or justified&period; Therefore&comma; we are forced to sympathize with his joblessness and drug use&period; The film is rebelling against Thatcherism just by portraying drug use and encouraging the audience to sympathize&period; Instead of being productive&comma; obedient citizens&comma; the characters in the film just use heroin&period; This is not only an unproductive hobby under the ideals of capitalism&comma; but also illegal&comma; and thus rebellious against the dominant conservative government&period;<&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<p>While British dominance has served to oppress and frustrate the Scottish people&comma; the intrusion of US culture has taken away their sense of national identity&period; American pop culture has become so prevalent in modern Scotland that a distinctly Scottish culture has become almost impossible to identify &lpar;Elsaesser 71&rpar;&period; American trends&comma; fashion&comma; films&comma; music and even politics have almost completely replaced any inherent Scottish culture that may have once existed&period; <em>Trainspotting <&sol;em>alludes to&comma; and is also a victim of this cultural &OpenCurlyDoubleQuote;takeover” in both its narrative and visual style&period; Even though the narrative has an episodic structure&comma; which is more often a trope of European art cinema&comma; the film uses certain key elements of the classical Hollywood narrative to appeal to international audiences&period; <&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<h2 class&equals;"wp-block-heading">The American Invasion<&sol;h2>&NewLine;&NewLine;&NewLine;&NewLine;<p>Mark&comma; for example&comma; is a protagonist who usually has clear goals&period; Even though some of his motives are ambiguous&comma; overt psychological forces most often drive his actions&period; To break it down further&comma; Mark’s psychological motives can be traced back to the cultural circumstances in which he lives&period; Mark resides in Scotland&comma; which&comma; due to the intrusion of American pop culture&comma; lacks national identity&period; Therefore&comma; Mark &lpar;as a Scot&rpar; wants to gain a sense of identity&period; Mark’s economic and social status are the direct results of colonialism and Thatcherism&comma; exacerbating Mark’s frustration&period; Since he is a naturally passive person&comma; rather than taking action to fix his situation&comma; he turns to heroin&period; Once he starts using&comma; his addiction drives him to get heroin at whatever cost&period; He then realizes that drugs do not solve his problems&comma; and since his friends are just enablers&comma; he must rid himself of them and start fresh&period; From beginning to end&comma; the general motives for his actions are all coherent and plausible&comma; much like a protagonist of the classical Hollywood cinema&period;<&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<figure class&equals;"wp-block-image size-large"><img src&equals;"https&colon;&sol;&sol;philosophyinfilm&period;com&sol;wp-content&sol;uploads&sol;2014&sol;04&sol;Trainspotting-Toilet-1024x576&period;jpg" alt&equals;"" class&equals;"wp-image-1871"&sol;><figcaption class&equals;"wp-element-caption"><em>Trainspotting Analysis&colon; America&&num;8217&semi;s Influence<&sol;em><&sol;figcaption><&sol;figure>&NewLine;&NewLine;&NewLine;&NewLine;<p><em>Trainspotting<&sol;em> also shows its American influence through references to American pop culture&period; The character of Sick Boy is especially notorious for these references&comma; particularly his references to James Bond and Sean Connery&period; While Sean Connery himself is Scottish&comma; he became a huge film star in the United States &lpar;and everywhere else&rpar; portraying James Bond&comma; a British secret agent&period; This use of a star that is a part of American&comma; British&comma; and Scottish pop culture strongly echoes the film’s global influences and the confusion of Scottish identity&period; Another star mentioned frequently is American punk rocker Iggy Pop&period; He is discussed in the film on multiple occasions&comma; with his concert serving as a catalyst that inadvertently pushes Tommy to heroin&period; During the scene at the dance club&comma; Mark stands by the wall directly in front of a painting of Robert De Niro’s character in <em>Taxi Driver<&sol;em>&comma; while in the women’s bathroom there is a mural of the title character from Stanley Kubrick’s <em>Lolita<&sol;em>&period; During two separate scenes in the film&comma; posters of Iggy Pop are visible in the background of both of Tommy’s apartments&period; Aside from direct narrative and visual references&comma; the film’s soundtrack consists almost entirely of American and British bands&comma; including Iggy Pop&comma; Lou Reed&comma; Blondie&comma; Underworld&comma; and New Order&period;<&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<p>Much of the dialogue and imagery concerning American musicians subversively criticizes the overwhelming influence of American pop culture in Scotland&comma; but American artists dominate the soundtrack&comma; reflecting the very influence that is being criticized&period; During one scene set in a park&comma; Mark and Sick Boy discuss the inevitable decline of American artists such as Elvis Presley&comma; Lou Reed&comma; and even Iggy Pop&period; Later in the film&comma; Diane mistakenly claims that &OpenCurlyDoubleQuote;Iggy Pop is dead&period;” By portraying American artists as failures&comma; the film is taking a jab at its own cultural influences&period; Strategically placed posters of Iggy Pop continue this criticism of American influence&period; In the scene where Tommy and Lizzy discover they are missing a tape of themselves having sex&comma; a fight ensues that eventually leads to Tommy becoming a heroin addict&period; A large poster of Iggy Pop is visible in the background throughout this scene&period; Later&comma; after Tommy has developed HIV&comma; Mark comes to visit him in is dingy&comma; depressing apartment&comma; where the only decoration is a poster of Iggy Pop on the wall&period; By associating an American artist with the downfall and death of Tommy&comma; arguably the most likable and most stereotypically &OpenCurlyDoubleQuote;Scottish” character&comma; the film is indirectly blaming the intrusion of American pop culture for the downfall and &OpenCurlyDoubleQuote;death” of Scottish national identity&period; <&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<h2 class&equals;"wp-block-heading">Trainspotting Analysis&colon; A Frenetic Visual Style<&sol;h2>&NewLine;&NewLine;&NewLine;&NewLine;<p>Though much of the narrative resembles that of the classical Hollywood cinema&comma; the visual style is also heavily influenced by American cinema and pop culture&period; In particular&comma; the editing and camera movement resemble the look of a Hollywood action movie&period; These visual styles are not only a testament to the influence of American cinematic style on Scottish filmmaking&comma; but also an attempt by Boyle to use &OpenCurlyDoubleQuote;industrially aspirant adaptation of US cinematic precedents and working practices&comma; in a bid to construct a commercially viable Scottish feature” &lpar;Murray 217&rpar;&period; The use of fast-paced music and quick editing together is also a result of the rise of the music video in the United States&period; <&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<p>In <em>Trainspotting<&sol;em>&comma; a breakneck pace is set from the very first scene&period; Having been caught for shoplifting&comma; Mark and Spud run down a busy street with security guards in hot pursuit&period; Iggy Pop’s up-beat song &OpenCurlyDoubleQuote;Lust for Life” is playing while Mark narrates the scene&period; However&comma; it is more than just the music and the action on screen that set the pace&semi; it is also the movement of the camera and the fast-paced editing&period; Though the location quickly shifts to another space where Mark is shooting up&comma; the opening scene on the street lasts just under 30 seconds and uses 13 different shots&period; The camera is almost constantly moving to capture all the kinetic energy on screen&comma; giving this brief moment a greater sense of urgency&period; <&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<figure class&equals;"wp-block-image size-large"><img src&equals;"https&colon;&sol;&sol;philosophyinfilm&period;com&sol;wp-content&sol;uploads&sol;2014&sol;04&sol;Trainspotting-Running-Scene-1024x576&period;jpg" alt&equals;"Trainspotting Analysis" class&equals;"wp-image-1872"&sol;><figcaption class&equals;"wp-element-caption"><em>Trainspotting Analysis&colon; Setting A Breakneck Pace<&sol;em><&sol;figcaption><&sol;figure>&NewLine;&NewLine;&NewLine;&NewLine;<p>The narration continues over several different places&comma; including a soccer field where the gang is playing and a beat up apartment where they cook heroin&period; All the while&comma; the music continues so as not to lose the pace established in the first 30 seconds&period; A similar approach is used when the three respective couples in the film &lpar;Tommy and Lizzy&comma; Spud and Gail&comma; Mark and Diane&rpar; return home after a night at the dance club&period; While at the club&comma; Blondie’s song &OpenCurlyDoubleQuote;Atomic” begins to play when Mark first sees Diane&comma; and the song continues as all three couples depart for their respective sexual encounters&period; From the moment they leave the club&comma; the entire scene lasts about 2 minutes and 30 seconds&comma; and consists of 42 shots&comma; with each subsequent shot getting shorter as the scene progresses&period; <&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<p>The quick editing adds to the sexual energy and comedy of the scene&period; Mark is the only one who is successful in his encounter&comma; while Tommy falls short due to a mix up with a pornographic videotape&comma; and Spud passes out from drinking&period; Both of these scenes resemble the fast-paced energy of American action films&comma; while also utilizing the fast editing and poppy music of early 90’s music videos&period;<&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<h3 class&equals;"wp-block-heading">Trainspotting Analysis&colon; Scottish Post-Modernism<&sol;h3>&NewLine;&NewLine;&NewLine;&NewLine;<p><em>Trainspotting<&sol;em> is interesting in its ability to be strangely self-aware&period; The film is heavily influenced by different social and artistic influences&comma; and yet it is able to make social commentary and even directly reference many of its own influences&period; This odd self-criticism by Boyle seems like yet another example of the Scottish confusion over identity&colon; while the film seeks to criticize the forces influencing its aesthetics&comma; it nevertheless gives in to those influences&period; The visual style is similar to many American films&comma; while much of the different narrative qualities can also be attributed to classical Hollywood cinema and American pop culture&period; <&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<p>The social aspects of the film reflect the dominance of England and the impact of colonialism&comma; which in tandem with American pop culture and Thatcherism caused a lack of national identity in Scotland that is reflected in the narrative of the film&period; While <em>Trainspotting <&sol;em>is definitely a unique film&comma; it is hard to define where its origins lie&period; It was made in Scotland by an English director&comma; with a mostly Scottish cast&comma; using Scottish dialect&comma; and yet it is somehow not Scottish&period; But is it even possible for a film to be Scottish&quest; With the years of economic and social oppression from England and the social takeover by American pop culture&comma; it is hard to say that Scotland has any kind of distinct culture to be shown in film&period;<&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<&excl;--more-->&NewLine;&NewLine;&NewLine;&NewLine;<p>Cardullo&comma; Bert&period; &&num;8220&semi;Fiction into Film&comma; or Bringing Welsh to a Boyle&period;&&num;8221&semi;&nbsp&semi;<em>Literature Film&nbsp&semi;<&sol;em><em>Quarterly<&sol;em>&nbsp&semi;25&period;3 &lpar;1997&rpar;&colon; 158-62&period;<&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<p>Elsaesser&comma; Thomas&period;&nbsp&semi;<em>European Cinema&colon; Face to Face with Hollywood<&sol;em>&period; Amsterdam&colon;&nbsp&semi;Amsterdam UP&comma; 2005&period;<&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<p>Gardiner&comma; Michael&period;&nbsp&semi;<em>From Trocchi to Trainspotting&colon; Scottish Critical Theory since 1960<&sol;em>&period;&nbsp&semi;Edinburgh&colon; Edinburgh UP&comma; 2006&period;<&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<p>Murray&comma; Jonathan&period; &&num;8220&semi;Kids in America&quest; Narratives of Translatlantic Influence in 1990s Scottish&nbsp&semi;Cinema&period;&&num;8221&semi;&nbsp&semi;<em>Dossier<&sol;em>&nbsp&semi;46&period;2 &lpar;2005&rpar;&colon; &nbsp&semi; &nbsp&semi;&nbsp&semi;217-25&period;<&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<p>Smith&comma; Murray&period;&nbsp&semi;<em>Trainspotting<&sol;em>&period; London&colon; British Film Institute&comma; 2002&period;&nbsp&semi;Stollery&comma; Martin&period;&nbsp&semi;<em>Trainspotting<&sol;em>&period; London&colon; York&comma; 2001&period;<&sol;p>&NewLine;&NewLine;&NewLine;&NewLine;<p>Thomsen&comma; Robert&period; &&num;8220&semi;The Development of Scottish Nationalism&period;&&num;8221&semi; &lpar;1997&rpar;&period; 05 Dec&period; 2011&period; Web&period;&nbsp&semi;&lt&semi;earth&period;subetha&period;dk&sol;~eek&sol;museum&sol;auc&sol;marvin&sol;www&sol;library&sol;uni&sol;projects&sol;scotsnat&period;htm&gt&semi;<&sol;p>&NewLine;<&sol;div>&NewLine;

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