Advertising, Literature and Print Culture in Ireland, 1891-1922

·
· Springer
Ebook
310
Pages
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About this ebook

This is the first study of the cultural meanings of advertising in the Irish Revival period. John Strachan and Claire Nally shed new light on advanced nationalism in Ireland before and immediately after the Easter Rising of 1916, while also addressing how the wider politics of Ireland, from the Irish Parliamentary Party to anti-Home Rule unionism, resonated through contemporary advertising copy. The book examines the manner in which some of the key authors of the Revival, notably Oscar Wilde and W. B. Yeats, reacted to advertising and to the consumer culture around them. Illustrated with over 60 fascinating contemporary advertising images, this book addresses a diverse and intriguing range of Irish advertising: the pages of An Claidheamh Soluis under Patrick Pearse's editorship, the selling of the Ulster Volunteer Force, the advertising columns of The Lady of the House, the marketing of the sports of the Gaelic Athletic Association, the use of Irish Party politicians in First World War recruitment campaigns, the commemorative paraphernalia surrounding the centenary of the 1798 United Irishmen uprising, and the relationship of Murphy's stout with the British military, Sinn Féin and the Irish Free State.

About the author

JOHN STRACHAN is Professor of English Literature at the University of Northumbria, UK. His books include Advertising and Satirical Culture in the Romantic Period (2007) and, with Alison O'Malley-Younger, Ireland at War and Peace (2011). He is Associate Editor of the Oxford Companion to English Literature and a Fellow of the Royal Historical Society.
CLAIRE NALLY is Lecturer in Twentieth-Century English Literature at the University of Northumbria, UK. Her published work includes W.B. Yeats's Occult Nationalism (2009); Naked Exhibitionism: Gender, Performance and Public Exposure, edited with Angela Smith (2012); and W.B. Yeats's A Vision: Explications and Contexts, edited with Matthew Gibson and Neil Mann (2012).

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