High Quality Content by WIKIPEDIA articles! High Quality Content by WIKIPEDIA articles! High Quality Content by WIKIPEDIA articles! HMS Caledonia was a broadside ironclad of the Prince Consort class. Originally laid down as two-decker steam ship of the line of the Bulwark class, HMS Caledonia, HMS Triumph (later renamed HMS Prince Consort) and HMS Ocean were converted on the building stocks to armoured frigates. The three ships of the Prince Consort class were intended to improve on HMS Royal Oak, which is often referred to as a half-sister to the rest of the class.
One clear morning in May, Nick Thorpe left his Edinburgh flat, ducked off the commuter route and hitched a ride aboard a little white canal boat, heading west towards the sea. It was the first mutinous step in a delightful boat-hopping odyssey that would take him 2500 miles through Scotland´s canals, lochs and coastal waters, from the industrial Clyde to the scattered islands of Viking Shetland. Writing with characteristic humour and candour, the award-winning author of EIGHT MEN AND A DUCK plots a curiously existential voyage, inspired by those who have left the warm hearth for the promise of a stretched horizon. Whether rowing a coracle with a chapter of monks, scanning for the elusive Nessie, hitting the rocks with Captain Calamity or clinging to the rigging of a tall ship, Thorpe weaves a narrative that is by turns funny and poignant - a nautical pilgrimage for any who have ever been tempted to try a new path just to see where it might take them. Part travelogue, part memoir, ADRIFT IN CALEDONIA is a unique and affectionate portrait of a sea-fringed nation - and of the drifter´s quest to belong.
IBella Caledonia: Woman, Nation, Text/I looks at the widespread tradition of using a female figure to represent the nation, focusing on twentieth-century Scottish literature. The woman-as-nation figure emerged in Scotland in the twentieth century, but as a literary figure rather than an institutional icon like Britannia or France´s Marianne. Scottish writers make use of familiar aspects of the trope such as the protective mother nation and the woman as fertile land, which are obviously problematic from a feminist perspective. But darker implications, buried in the long history of the figure, rise to the surface in Scotland, such as woman/nation as victim, and woman/nation as deformed or monstrous. As a result of Scotland´s unusual status as a nation within the larger entity of Great Britain, the literary figures under consideration here are never simply incarnations of a confident and complete nation nurturing her warrior sons. Rather, they reflect a more modern anxiety about the concept of the nation, and embody a troubled and divided national identity. Kirsten Stirling traces the development of the twentieth-century Scotland-as-woman figure through readings of poetry and fiction by male and female writers including Hugh MacDiarmid, Naomi Mitchison, Neil Gunn, Lewis Grassic Gibbon, Willa Muir, Alasdair Gray, A.L. Kennedy, Ellen Galford and Janice Galloway.