writers
See this word as a collocate cloud
| of sederunt fees of shorthand | writers | in the sheriff court amendment | 
| fees of witnesses and shorthand | writers | in the sheriff court amendment | 
| fees of witnesses and shorthand | writers | in the sheriff court amendment | 
| of sederunt fees of shorthand | writers | in the sheriff court amendment | 
| of sederunt fees of shorthand | writers | in the sheriff court amendment | 
| fees of witnesses and shorthand | writers | in the sheriff court amendment | 
| fees of witnesses and shorthand | writers | in the sheriff court amendment | 
| of sederunt fees of shorthand | writers | in the sheriff court amendment | 
| of sederunt fees of shorthand | writers | in the sheriff court amendment | 
| fees of witnesses and shorthand | writers | in the sheriff court amendment | 
| fees of witnesses and shorthand | writers | in the sheriff court amendment | 
| the twenties and thirties many | writers | including mcdiarmid struggled to find | 
| contribution of mcdiarmid and and | writers | like him eh was absolutely | 
| the contribution of mcdiarmid and | writers | like him m055: [tut] i | 
| think mcdiarmid and the modern | writers | that i mentioned earlier have | 
| mm ehm mcdiarmid and other | writers | used literary journals to get | 
| themselves of visits from scots | writers | and singers had introduced scots | 
| arranged for visits from scots | writers | and singers only one primary | 
| had been visited by scots | writers | and singers pupils had also | 
| have had visits from scots | writers | and singers talks from the | 
| cassette tapes visits from scots | writers | or singers talks from members | 
| women ballad singers and song | writers | such as anna gordon lady | 
| language choices of renaissance scottish | writers | it does seem to me | 
| identity which preoccupied the male | writers | of the interwar scottish renaissance | 
| scottish literature has condemned renaissance | writers | such as james and his | 
| the particularly catholic renaissance prose | writers | these were traditions that were | 
| motteux [inhale] later readers and | writers | after his death readers and | 
| all readers before we were | writers | and still are although once | 
| after his death readers and | writers | began to recognise his worth | 
| both english speakers readers and | writers | [inhale] the direct speech of | 
| book 3 later readers and | writers | recognised his worth though in | 
| way all modern scots prose | writers | are his children a fact | 
| all modern scottish prose fictional | writers | are his children he is | 
| of short texts by scottish | writers | in poetry and prose developing | 
| the wri- of the prose | writers | of that period and the | 
| you have historiographical prose the | writers | of the histories are probably | 
| the work of scots prose | writers | of the period [inhale] the | 
| [click] [inhale] now the prose | writers | of the sixteenth century tend | 
| the sixteenth century scots prose | writers | would not be writing novels | 
| on you know contemporary scottish | writers | and so on f963: mm | 
| folk traditions one that contemporary | writers | are diligently striving to continue | 
| use such near contemporary english | writers | as addison or swift rather | 
| still being employed by contemporary | writers | in king lear the worldly | 
| poetry james and his contemporary | writers | on poetry were vexed by | 
| her admiration of successful male | writers | and the male traditions in | 
| biographical genre developed by male | writers | giving instead a representation of | 
| by the work of male | writers | such as macdiarmid in the | 
| books were biographies of male | writers | whom she admired a life | 
| is written aboot by various | writers | and groups o writers sum | 
| other writers there very good | writers | and they they had obviously | 
| for the children as beginning | writers | of how real writers work | 
| various writers and groups o | writers | sum o wha a ll | 
| know there were two other | writers | there very good writers and | 
| beginning writers of how real | writers | work and this should help | 
| to the recognition of women | writers | and this is especially the | 
| the twentieth century when women | writers | began to introduce new female | 
| robert burns in romantic women | writers | ed by paula r feldman | 
| important that unlike previous women | writers | i didn t feel that | 
| number of lower class women | writers | in a history of scottish | 
| john fowles and black women | writers | in america the audience wrote | 
| and formal approaches of women | writers | lochhead has said of her | 
| wrote at length about women | writers | or about the possibility of | 
| women write in english although | writers | such as lochhead jamie and | 
| influence for many scottish women | writers | the title poem is a | 
| no chapter devoted to women | writers | women s names appear in | 
| a history of scottish women | writers | yet for the quality of | 
| on meaning and tone phonology | writers | convey meaning by using aspects | 
| sounds enact the sense typography | writers | create meaning by the way | 
| extract in booklet a grammar | writers | create meaning through a the | 
| maybe novels produced by irish | writers | and they ve been translated | 
| m608: attempt to involve local | writers | in in home produced sketches | 
| in scots was produced by | writers | like barbour henryson and dunbar | 
| in scots was produced by | writers | like barbour henryson and dunbar | 
| choice of the 16th century | writers | decorously rather than politically that | 
| the borders of scotland scottish | writers | from the century of enlightenment | 
| century and especially post war | writers | have swung between social realism | 
| burns supper school burns club | writers | club etc the scottish examination | 
| the scots used by most | writers | including burns and macdiarmid from | 
| as well as past german | writers | on burns are making a | 
| the attack of all four | writers | on social hypocrisy robert burns | 
| spellings employed by various kailyard | writers | in the second half of | 
| has been anglicised by various | writers | we have already seen that | 
| and age in middle scots | writers | and i suppose in a | 
| of a representative group of | writers | currently employing scots following several | 
| language society 1985 recommendations for | writers | in scots lallans 24 whitsuntid | 
| closely follows the recommendations for | writers | in scots published by the | 
| of english the adherence by | writers | in scots to the standards | 
| of guidelines entitled recommendations for | writers | in scots was published in | 
| been widely accepted by scottish | writers | linguists and educationalists the scots | 
| language elsewhere james warns inexperienced | writers | off the use of scots | 
| scots created by the kailyard | writers | there were some signs of | 
| tae be fair tae scots | writers | they dinna hae onie scots | 
| exposed to a lot of | writers | early on in my writing | 
| of writing techniques used by | writers | in similar contexts these two | 
| of are interested in becoming | writers | rather than writing something f1187: | 
| heard that there are local | writers | who are writing in urdu | 
| early post war period by | writers | like robert garioch alastair mackie | 
| of that period and the | writers | of histories tended to move | 
| had originated in europe with | writers | like du bellay whom james | 
| that said james also employed | writers | like william fowler to translate | 
| the native style [inhale] some | writers | and i was arguing like | 
| [inhale] so these are two | writers | working in the last quarter | 
| taken up by later scottish | writers | and in some respects you | 
| richardson and fielding anticipates later | writers | like alisdair gray and john | 
| to that used by later | writers | who had to be content | 
| but there have been men | writers | also of overweening vanity 14 | 
| it seem unfair that men | writers | could write and yet not | 
| up as rivals to men | writers | they like men have written | 
| to equal excellence with men | writers | virginia woolf is a possible | 
| and these kind of urban | writers | and what s what is | 
| diligently striving to continue these | writers | are also part of a | 
| is a creative theorist these | writers | are engaged with serious theoretical | 
| influenced by all these different | writers | at an early stage which | 
| look at these group o | writers | ehm and you start to | 
| throughout all these these these | writers | erm in my corpus of | 
| against his father these two | writers | felt that in order to | 
| ideas taken from these other | writers | not unnaturally remember he was | 
| read things and i like | writers | who want to communicate rather | 
| the fragility of the language | writers | of the future will lose | 
| in language and format some | writers | regard poetry as a separate | 
| language dictionaries thank guidness for | writers | the likes o walter elliot | 
| elite few here he advises | writers | to use everyday language for | 
| o gender but ir also | writers | wha wish t yooz language | 
| of gender but are also | writers | who wish to use language | 
| it is not unknown for | writers | to use the spelling oan | 
| see how some advertising copy | writers | use this device to create | 
| deracinated homogenised standard cannot scottish | writers | who use specific varieties of | 
| s c- become known as | writers | block which is er ehm | 
| been m055: [tut] weel different | writers | different cases ehm [tut] i | 
| doon tae ehm [tut] ither | writers | i i i dinna think | 
| behind for some of the | writers | m741: mmhm m605: ehm linguistic | 
| negligible but even such original | writers | as jane austen george eliot | 
| having been used by such | writers | as richardson and fielding anticipates | 
| particular being richly represented by | writers | from the north east such | 
| and artistically satisfying way other | writers | of the time such as | 
| and the public success of | writers | such as lochhead and duffy | 
| people who want to be | writers | erm you also meet some | 
| by government and also by | writers | m055: weel we get into | 
| a bakhtinian dialogue between scottish | writers | and scottish english and continental | 
| in english because like all | writers | at this time he thought | 
| like a lallans group of | writers | and m741: mm m605: and | 
| with the middle group of | writers | discussed but whose poems in | 
| i think some of- some | writers | are f963: do it it | 
| medieval makkars in practice some | writers | in accordance with the traditional | 
| but there ower mony purist | writers | the day waitin for some | 
| dimension some of which the | writers | themselves were well aware of | 
| about it by some clever | writers | through the press of our | 
| spelling options currently used by | writers | probably more than 50 per | 
| but by ye know fellow | writers | across the world who recognised | 
| become identified by the kailyard | writers | as a parochial form of | 
| re adopted by european vernacular | writers | from latin models and they | 
| was immediately lamented by fellow | writers | in scotland and england the | 
| interview with kesson in scottish | writers | talking ed by isobel murray | 
| led to contacts with other | writers | and artists in pavia milan | 
| m608: translations from from other | writers | as well m078: y- yes | 
| s a bunch of other | writers | as well there s another | 
| are notoriously paranoid about other | writers | being more successful than them | 
| 1898 29 138 other significant | writers | on the subject of sacrifice | 
| with those who were established | writers | whether specialist or generalist 23 | 
| appear to be few younger | writers | who are choosing to follow | 
| and that s what the | writers | who are not yet born | 
| nineties including that of older | writers | who have found new assurance | 
| provided an important outlet for | writers | who want to try their | 
| an a few othir scottish | writers | an scottish leid was ne | 
| one of my favourite scottish | writers | eh thomas urquhart of cromarty | 
| the great kind of baroque | writers | in the scottish tradition erm | 
| of many scottish and irish | writers | is artificial it s constructed | 
| press 1996 passim 4 scottish | writers | talking p 58 5 robert | 
| particularly widely many of the | writers | ended up surprising me and | 
| eh ye know how many | writers | they they did or or | 
| an it s encourages shetland | writers | an m865: mm mmhm f951: | 
| m865: mm mmhm f951: dialect | writers | an things like that an | 
| had no competition i mean | writers | f606: mm m954: especially in | 
| mm do you have local | writers | featured cause i know that | 
| i think that erm that | writers | are like detectives as well | 
| are you are you all | writers | as well as being erm | 
| the writings of anglo saxon | writers | like aelfric and wulfstan continued | 
| this i would suggest makes | writers | like the ones mentioned here | 
| pupils in learning about how | writers | make words work together in | 
| the er linguistic forms its | writers | draw on two traditions the | 
| 1994 and jizzen 1999 both | writers | are among the best of | 
| know people that are not | writers | themselves you know that they | 
| argued more than at those | writers | themselves nevertheless critics and historians | 
| guid offerin o wark fae | writers | as weel as promotin the | 
| to make their way as | writers | if therefore open the door | 
| everybody does as kids but | writers | just never grow out of | 
| in the nature of transitional | writers | so far as any female | 
| less familiar or downright obscure | writers | and movements overlooked because of | 
| what about the lack of | writers | at the parliament opening and | 
| maybes and a lot of | writers | do have that s on | 
| latin tradition of periodic sentences | writers | either leaned towards one style | 
| to be suspicious of female | writers | ellen s whole upbringing should | 
| never read any of the | writers | of ancient times whether slavery | 
| turn most of the great | writers | of our land have paid | 
| s star a flock of | writers | put up at an inn | 
| there s a bunch of | writers | round there and and alexander | 
| of quite a lot of | writers | that there s there s | 
| on the personal whims of | writers | the present chaotic state of | 
| papers six very talented gifted | writers | eh caroline macafee dauvit horsbroch | 
| there have been very good | writers | they ve they ve had | 
| fi stories maybe sci fi | writers | make their millions from just | 
| bring to bring on new | writers | and even ye know to | 
| you know i mean obviously | writers | don t really retire do | 
| tempting inducement for young aspiring | writers | and scholars eager to make | 
| yeah m762: drawn on those | writers | and since then but in | 
| at a specific number o | writers | m741: uh huh m605: and | 
| arts council support for visiting | writers | methods and assessment s1 s6 | 
| heigh priests and aa the | writers | o the fowk thegither he | 
| did the greek and latin | writers | sometimes we do distinguish between | 
| don t realise is that | writers | when they become successful and | 
| in scotland whereas the protestant | writers | gravitated more towards the kind | 
| the egg head in the | writers | farm i am free range | 
| can be drawn firstly most | writers | in this field would agree | 
| that to do with the | writers | or to do with the | 
| chapter i think that freelance | writers | should be paid where possible | 
| an never hivin heard the | writers | speakin it they re no | 
| at different times depending what | writers | have appeared lookin through the | 
| still daein the roonds o | writers | groups scuils a national trust | 
| speakers thank guidness for the | writers | o itchy coo thank guidness | 
| is a creative theorist deese | writers | ir engaged wi serious theoretical | 
| dis i wid say maks | writers | lik d wans mentioned here | 
| literary centre haein a comprehensive | writers | museum wi office space fir | 
| volume before us 2 subsequent | writers | on the topic 3 given | 
| wad mak it easier for | writers | tae evyte wrangly owersettin shared | 
| to continue to publish aulder | writers | whose whose output will aye | 
| though this week a maritimes | writers | workshop is on at unb | 
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