The subject of this article is the Scottish thinker Patrick Geddes (1854-1932) and his international context with specific reference to France. Geddes’s follower Lewis Mumford gives us a sense of this when he wrote ‘Geddes’s Scotland embraced Europe and his Europe embraced the World’ (Mumford 383). Geddes was an inheritor of the Scottish enlightenment philosophical tradition of interdisciplinary thinking and aspects of that Scottish tradition, in particular the work of Thomas Reid, were models for French thinkers, inspiring among others Victor Cousin. The influence of Scottish ideas in France was balanced by the influence of French ideas in Scotland and, by the time Geddes was working, what has been described as the Edinburgh-Paris axis had been active since the early nineteenth century as a means of importing French political and scientific radicalism. This article explores that interrelationship between Scotland and France through Geddes’s work, not least through his activities in both Paris and Montpellier. Geddes found in French thinkers such as Élisée Reclus, Paul Reclus, and Charles Flahault both inspiration and audience for his own thinking. Geddes’s commitment to France was fundamental both to his intellectual development and to his career as a whole, whether one considers the growth of his ideas, his friendships, the cities he responded to, or the colleges he built. With respect to communicating his ideas internationally, his close involvement with the Paris Exposition of 1900 was invaluable. There one can note in particular his influence on India via Swami Vivekananda’s disciple Sister Nivedita, and on the USA via Jane Addams of Hull House in Chicago. He died at the Scots College (collège des Écossais) he had designed in Montpellier.

The subject of this article is the Scottish thinker Patrick Geddes (1854-1932) and his international context with specific reference to France. Geddes's follower Lewis Mumford gives us a sense of this when he wrote 'Geddes's Scotland embraced Europe and his Europe embraced the World' (Mumford 383). Geddes was an inheritor of the Scottish enlightenment philosophical tradition of interdisciplinary thinking and aspects of that Scottish tradition, in particular the work of Thomas Reid, were models for French thinkers, inspiring among others Victor Cousin. The influence of Scottish ideas in France was balanced by the influence of French ideas in Scotland and, by the time Geddes was working, what has been described as the Edinburgh-Paris axis had been active since the early nineteenth century as a means of importing French political and scientific radicalism. This article explores that interrelationship between Scotland and France through Geddes's work, not least through his activities in both Paris and Montpellier. Geddes found in French thinkers such as & Eacute;lis & eacute;e Reclus, Paul Reclus, and Charles Flahault both inspiration and audience for his own thinking. Geddes's commitment to France was fundamental both to his intellectual development and to his career as a whole, whether one considers the growth of his ideas, his friendships, the cities he responded to, or the colleges he built. With respect to communicating his ideas internationally, his close involvement with the Paris Exposition of 1900 was invaluable. There one can note in particular his influence on India via Swami Vivekananda's disciple Sister Nivedita, and on the USA via Jane Addams of Hull House in Chicago. He died at the Scots College (coll & egrave;ge des & Eacute;cossais) he had designed in Montpellier.

Daniel Wilson’s Archaeology and Prehistoric Annals of Scotland (1851) is a foundational text of the Celtic revival, significant for its academic and artistic contributions. Wilson, both a scholar and skilled artist, integrated visual culture into his work through detailed engravings. He was also among the first to classify and explore "Celtic arts" as a distinct category. Additionally, his book itself is an example of Celtic revival material culture, with a cover design inspired by eighth-century art from Iona and Islay. The 1863 second edition expanded this imagery, incorporating Pictish and West Highland elements. Wilson’s work serves as a lens for examining other Celtic revival texts, including J. F. Campbell’s Popular Tales of the West Highlands (1862–4) and Edward Dwelly’s Illustrated Gaelic Dictionary (1902–11). Campbell’s title page references West Highland art, while its concluding initial letter draws from early facsimiles of Celtic initials used in the Highland Society of Scotland’s 1805 report on Ossian. This discussion extends to later Celtic revival artists in 1890s Scotland, particularly John Duncan, Helen Hay, and Mary Carmichael, whose work continued the movement’s fusion of scholarship and artistic revival.

Discusses the influence of Japanese art in Evergreen contributions by E.A. Hornel and Charles Mackie, the influence of Patrick Geddes's ideas in Japan, and Geddes's links with the early 20th century revival of interest in Hinduism and Indian art.

The intellectual background and cultural legacy of Patrick Geddes Explores Patrick Geddes's Scottish intellectual background in depth for the first time, drawing on George Davie's notion of the democratic intellect Highlights his insistence on the interdisciplinary importance of arts and sciences Considers his achievements from his pioneering work in Edinburgh and Dundee and his leadership of the Celtic revival, to his influence in Paris, London and India Patrick Geddes is one of Scotland's most remarkable thinkers of the late 19th and early 20th century. His environmental and cultural message endures today, but until now the Scottish context to his thinking has not been properly acknowledged. This book changes that, situating Geddes within a distinctly Scottish intellectual background, and exploring his substantial national and international advocacy of art, architecture, ecology, literature, planning, geography and Celtic studies.

Marcus Abbott, Laila Kitzler Åhfeldt, Tertia Barnett, Bruce Bishop, David Breeze, David Caldwell, Murray Cook, Neil Curtis, Audrey Dakin, Fiona Davidson, Stephen Driscoll, Iain Fraser, Shannon Fraser, Simon Gilmour, Moira Greig, Marta Díaz Guardamino, Mark Hall, Strat Halliday, Isabel Henderson, John Hughes, Fern Insh, Andy Meirion Jones, Siân Jones, Dianne King, Murdo Macdonald, Cait McCullagh, Peter McKeague, Adrián Maldonado, Gilbert Márkus, Hugh Morrison, Colin Muir, Gordon Noble, Emma O’Riordan, John Picken, Edwina Proudfoot, John Raven, Anna Ritchie, Matthew Ritchie, Judith Roebuck, Christa Roodt, Nigel Ruckley, Jeff Sanders, Ian G Scott, Bill Stephens, Antonia Thomas, George Thomson, Sharon Webb, Iain Ross Wallace, Kelsey Jackson Williams CASE STUDIES

The pioneering Ossian exhibitions held in Paris and Hamburg in 1974 focused on the response of northern European artists to James Macpherson's work. A broader perspective is considered here, which includes recent research on the Ossianic dimension of both the English landscape painter J. M. W. Turner and his close contemporary the Italian sculptor and graphic artist Luigi Zandomeneghi. A fresh view is taken of the importance to southern European artists of Cesarotti's translation of Ossian into Italian in 1763, and of the sustained influence in Italy of the image of Ossian attributed to the eighteenth-century Scottish artist Alexander Runciman.

While the threat from terrorism has gained widespread acknowledgment over the last decade, the infiltration of organizations by "terrorist" insiders has not, and the potential dangers these individuals present has not been fully explored. There is a need to understand the wider aspects of insider threats, including motivations and attack methodologies, and to be able to demonstrate the potential devastation that could be caused. Organizations can attempt to mitigate the potential for insider infiltration by both terrorist and other hostile actors, and if such individuals were within an organization, there are procedures and strategies that can be employed to prevent exploitation of existing organizational vulnerabilities and detection of insiders. This article provides an informed and new approach to the connection between insider threat and terrorism.

The 2009 Andrew Tannahill Lecture This lecture explores the rich relationship between Scottish writing and visual art. This extends from visual responses to Macpherson, Burns and Scott to artists working with Gaelic poetry in our own time. While the focus is on Scottish art the effect of Scottish literature on visual art internationally is also to be noted.

The Highlands of Scotland have an art history which has not been properly identified as such. This paper contributes to that task of identification. Highland art begins with prehistoric rock art of world importance. It extends into the present with internationally recognised contemporary art, such as that generated by An Leabhar Mor-The Great Book of Gaelic in 2002. In exploring this history I investigate continuities, gaps and international links. In doing so I draw on work made possible by a project funded by the Arts and Humanities Research Council, Window to the West: Towards a redefinition of the visual within Gaelic Scotland, a joint initiative of the Visual Research Centre at the University of Dundee and Sabhal Mor Ostaig, the Gaelic college in the Isle of Skye.