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Theatre in France was the first in Europe to be written in the vernacular as opposed to Latin. It has provided the English language with the medieval word farce, the early-modern word role, and the modern term mise en scène. Molière is single-handedly responsible for launching European-style playwriting in North Africa. Today, it is only a slight exaggeration to say that it's harder to get tickets for the Festival d'Avignon, one of the world's largest theatre festivals, than for the Rolling Stones' farewell tour. Containing chapters by globally eminent theatre experts, many of whom will be read in English for the first time, this collaborative history testifies to the central part theatre has played for over a thousand years in both French culture and world culture. Crucially, too, it places centre-stage the genders, ethnicities and classes that have had to wait in the wings of theatres, and of theatre criticism.
Insular West Germanic speech was first established in what is now Scotland in the sixth century. Uniquely among Old English-derived speech forms other than standard literary English, Scots has a claim to be regarded as a distinct language rather than a dialect, or latterly a group of dialects, of English. The distinction between Scots and Scottish English, which though not always clear in practice, is soundly based on historical facts. Germanic speech was established in what had been an area of Celtic language and culture. The growing complexity of the Scottish linguistic situation, with French and English emerging as functioning languages of the kingdom, can be deduced from official documents of the eleventh, twelfth and thirteenth centuries. The chapter also discusses the spread of English in the Gaidhealtachd and the Northern Isles, and looks at phonology morphology, syntax, and dialect variation of Scottish English. Language adds a distinctive colouring to the contemporary Scottish cultural scene.
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