WINNER OF THE THE GUARDIAN FICTION OF THE YEAR AWARD ONE OF THE LIST'S BEST SCOTTISH BOOKS OF ALL TIME Set in nineteen-sixties Glasgow, this novel portrays the struggles and conflicts of a young working-class hero and would-be novelist Mat Craig, whose desire to define himself as an artist creates social and family tensions. This classic of Scottish twentieth-century literature is renowned for its vivid descriptions of Glasgow and the fight for individual creative expression. It remains as authentic and relevant as it was more than fifty years after its original publication. Includes an Introduction by Alasdair Gray as well as Archie Hind's unfinished novel Fur Sadie and one of his essays 'Men of the Clyde'. * 'An exciting first novel worth a dozen more seasoned efforts' - Guardian 'The best novel ever written' - Skinny 'A touching insight into human strength and frailty' - Daily Mail

This adventurous journey of the Green “Q”uatrefoil and its friends, the e-instruments, occurs in the cyberspace. As the Green “Q”uatrefoil confronts itself with different realities and e-instruments, it realizes how important is to apply the intelligence and the critical thinking in order to survive within the united states of the international cyberspace, especially when dealing with a diversity of e-creatures, which might be good and evil. Every element of the cyberspace is fundamental and might have an important impact within the cyber environment and on its e-creatures, hence the smart use of the e-instruments becomes very important for all. The Green “Q”uatrefoil has to deal with different issues such as the renewable energy resources, multiculturalism and countering the hate speech on the web, thus making the united states of the international cyberspace a better space to live with and converting its algorithm into a better and prosperous one for everyone.

Newfoundland songs are diverse in origin. Vast numbers of them come from the British Isles, especially from England and Ireland; many are composed in Newfoundland, usually on English or Irish models; a lesser number of American, Canadian, and French songs are current. The ballads to be found in the Child collection are probably the oldest now sung. Then there are many seventeenth- and eighteenth-century broadside ballads, particularly English, and many nineteenth-century compositions. Such are the backgrounds from which the compilers of this volume have drawn their unusually interesting and delightful collection of ballad texts and ballad music. Expeditions to the island in 1920 and 1929 furnished the tunes; and a genuine interest in folk-literature assured the care and accuracy of the work.

Late Victorian Scotland had a flourishing music publishing trade, evidenced by the survival of a plethora of vocal scores and dance tune books; and whether informing us what people actually sang and played at home, danced to, or enjoyed in choirs, or reminding us of the impact of emigration from Britain for both emigrants and their families left behind, examining this neglected repertoire provides an insight into Scottish musical culture and is a valuable addition to the broader social history of Scotland. The decline of the music trade by the mid-twentieth century is attributable to various factors, some external, but others due to the conservative and perhaps somewhat parochial nature of the publishers’ output. What survives bears witness to the importance of domestic and amateur music-making in ordinary lives between 1880 and 1950. Much of the music is now little more than a historical artefact. Nonetheless, Karen E. McAulay shows that the nature of the music, the song and fiddle tune books’ contents, the paratext around the collections, its packaging, marketing and dissemination all document the social history of an era whose everyday music has often been dismissed as not significant or, indeed, properly ‘old’ enough to merit consideration. The book will be valuable for academics as well as folk musicians and those interested in the social and musical history of Scotland and the British Isles.

Sutartinės, the especially ancient form of, often sacred, Lithuanian music, is enjoying a renaissance, mostly in Lithuania’s cities. Since UNESCO recognized these unique dissonant sounds originating from Lithuania’s Aukštaitija ‘Uplands’ ethnographic region as part of our Intangible Cultural Heritage in 2010, in-depth studies have flourished. This book presents the latest analogies discovered in distant examples of the genesis and ethnogenesis of foreign folk music examples, not only in neighboring lands but as far away as the Ainu subculture of Japan. It presents the latest findings and analyses of the hymns once said to be conveyed by laumės, mythical beings later demoted to witches during this music’s demise. This study supplements perceptions from Lithuanian and foreign ethno-musicologists with data from ethnology, archaeology, linguistics and other sciences and areas of scholarship, and thereby encourages even more studies in this field.