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 |