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This book explores the differences between 'high' and 'low' cultures in an Irish context, arguing that these differences need constant redefinition. It examines the boundary between élite and popular culture using objects of study as various as canonical Irish literature, postcards, digital animation, surfing and the teaching of Irish mythology.
This highly acclaimed book is being published for the first time in paperback. The author studies the cheap printed literature which was read in eighteenth and nineteenth century Ireland and the cultures of its audience. It takes an interdisciplinary approach to a little-known topic, pursuing comparisons with other regions such as Brittany and Scotland. By addressing questions such as the language shift and the unique social configuration of Ireland in this period, it adds a new dimension to the growing body of studies of popular culture in Europe.
This book uses popular culture to highlight the intersections and interplay between ideologies, technological advancement and mobilities as they shape contemporary Irish identities. Marshalling case studies drawn from a wide spectrum of popular culture, including the mediated construction of prominent sporting figures, Troubles-set sitcom Derry Girls, and poignant drama feature Philomena, Anthony P. McIntyre offers a wide-ranging discussion of contemporary Irishness, tracing its entanglement with notions of mobility, regionality and identity. The book will appeal to students and scholars of Irish studies, cultural studies, as well as film and media studies.
A collection covering a wide variety of media in Ireland, including broadcasting, film, popular music, radio, and popular culture. Together, these essays map out the role various media have played in the process of 're-imagining Ireland' over the last fifteen years, touching on aspects of Irish cultural identity and the (re)construction of notions of Irishness. The book addresses the more contemporary implications of both the peace process in Northern Ireland and the 'Celtic Tiger' phenomenon in the South. Contents include: Introduction: The Changing Configurations of Irish Studies (1990-2005); Boxed-in?: The Aesthetics of Film and Television --- Section One: Irish Film. National Cinema and Cultural Identity; Maureen O'Hara: The Political Power of the Feisty Colleen; A Landscape Peopled Differently: Thaddeus O'Sullivan's 'December Bride'; Cinema and the City: Re-imagining Belfast and Dublin; Challenging Colonial Traditions: British Cinema in the Celtic Fringe --- Section Two: Irish Broadcasting. 'Music Hall Dope and British Propaganda': Cultural Identity and Early Broadcasting in Ireland; The City and the Working Class on Irish Television; Broadcasting in a Divided Community: The BBC in Northern Ireland; Drama out of a Crisis: Television Drama and the Troubles; The Elect and the Abject: Representing Protestant Culture; Irish Popular Music; Hybridity and National Musics: The Case of Irish Rock Music (with Noel McLaughlin); Punk Music in Ireland: The Political Power of 'What-Might-Have-Been' --- Conclusion: Popular Culture and Social Change.Ã?Â?Ã?Â?
Ã?Â?Ã?«A book edited by two such distinguished historians as James S. Donnelly Jr., and Kerby A. Miller promises to be lively and important: this collection of ten essays fully lives up to the expectations raised by the editorial imprimatur. The articles by an impressive panel of authors are source-based, and the tight editorial control is reflected in the way in which they complement one another.Ã?Â?Ã?Â- American Historical Review
From an analysis of the Guinness brand’s reflection of Irish identity to an exploration of murals and film portrayals of political prisoners, this pioneering collection of essays seeks to present Ireland’s relationship to visual culture as a whole. While other works have explored the imagistic history of Ireland, most have restricted their lens to a single form of visual representation. Ireland in Focus is the first book to address the diverse range of visual representations of national and communal identity in Ireland. The contributors examine the politics of visual representation from both historical and contemporary perspectives. Drawing from the areas of cultural theory, postcolonial studies, art criticism, documentary and archival history, and gender studies, the essays provide novel insights on a variety of visual-cultural forms, including film, theater, photography, landscape art, political murals, and the visual iconography of commercial marketing. Bringing together established scholars and emerging young critics in the field, Ireland in Focus breaks new ground in showcasing the essential dynamism of visual culture and its relationship to Irish studies
Focusing on a decade in Irish history which has been largely overlooked, Youth and Popular Culture in 1950s Ireland provides the most complete account of the 1950s in Ireland, through the eyes of the young people who contributed, slowly but steadily, to the social and cultural transformation of Irish society. Eleanor O'Leary presents a picture of a generation with an international outlook, who played basketball, read comic books and romance magazines, listened to rock'n'roll music and skiffle, made their own clothes to mimic international styles and even danced in the street when the major stars and bands of the day rocked into town. She argues that this engagement with imported popular culture was a contributing factor to emigration and the growing dissatisfaction with standards of living and conservative social structures in Ireland. As well as outlining teenagers' resistance to outmoded forms of employment and unfair work practices, she maps their vulnerability as a group who existed in a limbo between childhood and adulthood. Issues of unemployment, emigration and education are examined alongside popular entertainments and social spaces in order to provide a full account of growing up in the decade which preceded the social upheaval of the 1960s. Examining the 1950s through the unique prism of youth culture and reconnecting the decade to the process of social and cultural transition in the second half of the 20th century, this book is a valuable contribution to the literature on 20th-century Irish history.
As a contribution to cultural policy studies, this book offers a uniquely detailed and comprehensive account of the historical evolution of cultural policies and their contestation within a single democratic polity, while treating these developments comparatively against the backdrop of contemporaneous influences and developments internationally. It traces the climate of debate, policies and institutional arrangements arising from the state’s regulation and administration of culture in Ireland from 1800 to 2010. It traces the influence of precedent and practice developed under British rule in the nineteenth century on government in the 26-county Free State established in 1922 (subsequently declared the Republic of Ireland in 1949). It demonstrates the enduring influence of the liberal principle of minimal intervention in cultural life on the approach of successive Irish governments to the formulation of cultural policy, right up to the 1970s. From 1973 onwards, however, the state began to take a more interventionist and welfarist approach to culture. This was marked by increasing professionalization of the arts and heritage, and a decline in state support for amateur and voluntary cultural bodies. That the state had a more expansive role to play in regulating and funding culture became a norm of cultural discourse.