Outlander Deluxe Stationery Set —. This elegant collection contains a page ruled journal displaying vibrant Clan Fraser imagery. With sturdy construction and sewn binding, this journal lies flat, and the ruled, acid-free pages of high-quality heavy stock paper take both pen and pencil nicely to invite a flow of inspiration. It includes a ribbon placeholder, elastic closure, and 4. Relive the magic of their adventures and trials with Outlander: The Poster Portfolio. This collection of twenty deluxe posters showcases the alluring characters, stunning costumes, and iconic moments from the Outlander series.
These vibrant and high-quality images invite every fan to own a piece of the beautiful world of Outlander. The next three products are all to be released soon but are available to pre-order.
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The accompanying envelopes make it easy to send these gorgeous note cards to friends and loved ones, near and far. How did this happen? MacPherson's work has been well-documented in its instrumental role in bringing forward the association of the Highlands as a visualisation of the sublime, but few could have predicted the permanent hold this would assert upon the collective imagination.
This 'imagined Scotland' is an image that was later projected on to the world stage through the international success of the novels of Walter Scott and his depiction of idealised Scottish heroes and dramatic landscapes. Balmorality was particularly significant because it was accompanied by a very selective and incomplete narrative, a narrative that was perpetuated by writers and visual artists of the time.
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Edward Landseer was perhaps primary among them, building a reputation on the depiction of the familiar stags, glens, kilts. As any ecologist worth their salt will tell you: There is no Wild Land in Scotland. I'll come back to this play later. This is not a matter of history being covered over by forgery, but a case of one specific history replacing another. The key point here is that such a version and vision of Highland history denied its people any contemporary political agency.
In reality, the Highland region became a source of military might for the British Empire - a huge, untapped grazing ground for the growing sheep-rearing industry with thousands cleared from their land, and a killing-field for elite sportsman. As was to be expected, the result was a film which offered a highly romanticised representation of Scotland far removed from reality.
Every years, the people of Brigadoon awaken for a 24 hour period and then go back to sleep for another century, while Brigadoon itself vanishes in the mists. The film is quite sweet, but interrogating the cultural politics of how it came to be reveals a far more interesting - and important - story.
Such cultural tropes have monopolised the creative and political field of cultural production in Scotland for many years and it is still the case that Scottish artists, film-makers and writers struggle to gain international attention if they fail to indulge in the romantic image of course, with a few notable exceptions. More of that later. Scotland pretty much gifted tourism to the world; many countries could only dream of the cultural brand Scotland has.
Of course, in selling the past, certain histories dominate while others are suppressed. Are we really happy to reduce the Highlands to a cross between a national park and an open air folk museum? I mentioned Outlander earlier. I have several opinions on Outlander, and they are not all bad! The question remains, why do we need to exploit a fictional story when there are so many other forgotten stories we could draw upon? And not just forgotten stories, but a dynamic, living culture? Tourism creates jobs; it generates profit.
At what cost?
Christmas in Kilts
There are several immediate problems. We need to change the framing here. Community development should be about creating the conditions and enabling communities of place to flourish, not to exploit themselves for commercial gain by competing with the next village up the road for coffee stops and claims to Outlander authenticity. We need to challenge the dominant touristic and nationalistic narratives that essentially serve the bureaucratic elite.
We need to re-member, re-vision and re-claim.
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A Supermarket. This is global capitalism writ large, where everything is a commodity to be bought and sold. Everything and everyone and everywhere becomes disposable, seen simply in terms of resources at hand, ready for exploitation, for profit. Capitalism does not require or want active citizens: it wants active consumers.
The most effective consumers in a capitalist society are unhappy, unhealthy, lonely individuals with no real relationship with each other or with their place. This is true whether you live in a high-rise block in an urban centre or in the rural Highlands. A stereotyped culture staged for tourists. A number of writers have argued that this so-called monster has distorted Scottish culture giving rise to the opinion that Scotland is too provincial to be aligned with modern modes of political and cultural progress. When a generation of young people define themselves solely by such empty superficial stereotypes that bear no relation to their own lives, relationships or communities, how can we expect them to take themselves seriously as local and global citizens?
A Madhouse. Perhaps not the most politically correct term, but I interpret this as a breeding ground for the kind of right-wing populism and divisive polarisation we see increasingly all around. We see this manifest in the headlines of our daily politics, the politics of isolationism Brexit and a retreat into ethnic nationalisms.
This is the mask of a deep set alienation - from ourselves, our communities and our environment. These are the immense questions of our times, reaching far beyond us here in the Scottish Highlands. In many ways, Highlands are a lived microcosm of tensions arising across the globe.
In my view, Gaelic activism is vital to land activism in the Highlands. Others might see things differently; some might even feel quite alienated from this argument.
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The question is, at what point do arguments for cultural loss become exclusivist, as distinct from being critiques of unequal power relationships? This is the nub of it. If we are talking about policy on land reform in the Highlands, it is surely vital that we look at the big questions through this cultural lens. It might be easier for us to grasp the need to protect a rare bird species, for example, but not so easy to grasp or understand the value of a rare Gaelic song.
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Both are rare, precious and unique on the planet. Myths, stories, songs and poetry contribute to global cultural diversity as creative expressions of our relationship with local places. If we allow languages and cultures to die, we directly reduce the sum of our knowledge about the land. Such perspectives describe symptoms of human-ecological disconnect, alienation and loss of meaning — an indicator of just how far our human psyche and culture has become divorced from our natural environments.
Addressing this problem requires the collective work of decolonisation. Cultural renewal takes us forward, it doesn't re-perform the past. Framed this way, it becomes an ecological imperative to recover meaning , to recover context. James Hunter asks us to imagine a way into the future when the Highlands have been put right, ecologically, socially and culturally — restoring life and community.
It does, however, require everyone to recognise, respect and understand the culture of this place.
In order to do this, we need a culture of deep listening and dialogue - of interpretation, translation and respect:. Writer and cultural activist Arlene Goldbard , from the USA has a very simple message: how we shape our stories shapes our lives.
Individual lives are shaped by the stories we tell. If I lose my job, do I see it as a personal punishment that shames me, or do I see it as a common story, affected by larger socio-economic forces, and therefore a personal spur to collective action? One of these stories sends me into despair, the other into possibility. Goldbard writes that 'art is the crucible in which we forge identity, community, shared values, and a sustainable future.
Bringing about change and transformation requires us to re-shape our stories.