John Derricke’s Image of Irelande, with a Discoverie of Woodkarne is a key work of English print-making, Irish and English history and cultural misunderstanding. The work attests to the complexity of English and Irish relations, colonisation, military history, imperial propaganda, poetry, art, printing and the forging of identity in the early modern British Isles. The original work comprises of a lengthy poetic narrative and twelve famous woodcuts of the highest quality produced in sixteenth-century England. They also represent some of the only contemporary views of early modern Ireland on record. The sixteen interdisciplinary essays in this collection focus on the text’s political and historical meaning, print history, iconographic elements, paratexts, literary and artistic influences, and cultural archaeology. The collection will appeal to scholars of many disciplines.

The image of the Irish in the United States changed drastically over time, from that of hard-drinking, rioting Paddies to genial, patriotic working-class citizens. In 'Twas Only an Irishman's Dream, William H. A. Williams traces the change in this image through more than 700 pieces of sheet music--popular songs from the stage and for the parlor--to show how Americans' opinions of Ireland and the Irish went practically from one extreme to the other. Because sheet music was a commercial item it had to be acceptable to the broadest possible song-buying public. "Negotiations" about their image involved Irish songwriters, performers, and pressured groups, on the one hand, and non-Irish writers, publishers, and audiences on the other. Williams ties the contents of song lyrics to the history of the Irish diaspora, suggesting how ethnic stereotypes are created and how they evolve within commercial popular culture.

This student edition is based on the first published text and offers an authoritative introduction, discussing the View's reception, relating it to Spenser's corpus as a whole, and summarising recent scholarship.

This book is a collection of essays that examines the social, political and cultural impact of tourism on Irish society. Irish Tourism deals with both the historical experience of Irish tourism and with the contemporary influence of tourism on different areas of Irish life and cultural self-representation. The work situates the developments in Irish tourism within the broader context of globalisation and the role of tourism in a changing international order.

Paralleling his friend Alexis de Tocqueville's visit to America, Gustave de Beaumont traveled through Ireland in the mid-1830s to observe its people and society. In Ireland, he chronicles the history of the Irish and offers up a national portrait on the eve of the Great Famine. Published to acclaim in France, Ireland remained in print there until 1914. The English edition, translated by William Cooke Taylor and published in 1839, was not reprinted. In a devastating critique of British policy in Ireland, Beaumont questioned why a government with such enlightened institutions tolerated such oppression. He was scathing in his depiction of the ruinous state of Ireland, noting the desperation of the Catholics, the misery of repeated famines, the unfair landlord system, and the faults of the aristocracy. It was not surprising the Irish were seen as loafers, drunks, and brutes when they had been reduced to living like beasts. Yet Beaumont held out hope that British liberal reforms could heal Ireland's wounds. This rediscovered masterpiece, in a single volume for the first time, reproduces the nineteenth-century Taylor translation and includes an introduction on Beaumont and his world. This volume also presents Beaumont's impassioned preface to the 1863 French edition in which he portrays the appalling effects of the Great Famine. A classic of nineteenth-century political and social commentary, Beaumont's singular portrait offers the compelling immediacy of an eyewitness to history.

'A moving and uplifting record of our nation's lockdown' Sunday Independent The essential book for 2020, capturing the heart-breaking and uplifting stories that made it a year we will never forget In March 2020, the arrival of Coronavirus in Ireland saw our world change overnight. We watched in shock as it spread throughout the world with devastating consequences. We stopped travelling, we worked from home, we celebrated birthdays, anniversaries and new arrivals via our screens. Many also had to grieve from a distance, isolated and alone. But the pandemic also became a time of coming together, of community spirit, of small kindnesses and boundless creativity. We saw frontline workers make extraordinary sacrifices, musicians perform from their front rooms, neighbourhood bingo and open-air film screenings. In Twilight Together Ruth Medjber has captured all of this and more. Visually stunning and deeply moving, she has photographed people all over Ireland at their front window at dusk, each with their own story to tell. Twilight Together is an extraordinary portrait of a pandemic by one of Ireland's most talented photographers and it is an important document for our times.

The book examines one aspect of the national self-image of Ireland as it was trans-generationally transmitted in the Irish National School environment through the medium of the Celtic mythology tales. Celtic mythology embodied a unique Irishness without being contentious in the wider social and political spheres and the texts had the capability to impart a national self-image, a character and ideological model for the young generation to follow and exemplify, while concurrently act as a sanctuary in which a unique, neutral, Irish self-past and contemporary self-image could be connected to. From 1922 onwards a state-run National School curriculum was set up to propagate a national ideal through the teaching of the Irish language, Irish history and a rekindled awareness of Ireland’s unique past. The mythology tales were employed to portray this unique past and their inclusion in the textbooks provided a platform for the policies of the inculcation of national pride, self-respect and self-image in the Irish nation, official government and Department policy following the Second National Programme Conference and Report in 1926. The aim of this book is an imagological one focusing on what made these tales ideological. The study incorporates a triangular approach: contextual, intertextual and textual. It is at the point of intersection between 4 specialisms: the historical study of Irish nationalism; the history of culture and education in 20th century Ireland; imagology and corpus linguistics. The conclusions drawn are based upon factual, statistical information garnered from the analyses conducted on the corpus and utilise information that is concrete and not hypothetical. This volume is of interest for all those working in Irish school literature, Irish studies – especially cultural, intellectual and educational history of Ireland, imagology and European studies.

Art, Ireland and the Irish Diaspora reveals a labyrinth of social and cultural connections that conspired to create and sustain an image of Ireland for the nation and for the Irish diaspora between 1893 and 1939. This era saw an upsurge of interest among patrons and collectors in New York and Chicago in the 'Irishness' of Irish art, which was facilitated by gallery owners, émigrés, philanthropists, and art-world celebrities. Leading Irish art historian, Éimear O'Connor, explores the ongoing tensions between those in Ireland and the expatriate community in the US, split as they were between tradition and modernity, and between public expectation and political rhetoric, as Ireland sought to forge a post-Treaty international identity through its visual artists. Featuring a glittering cast of players including Jack. B. Yeats, George Russell (AE), Lady Gregory, and Seán Keating, and richly illustrated in colour with images from archives on both sides of the Atlantic, Art, Ireland and the Irish Diaspora presents a wealth of new research, and draws together, for the first time, a series of themes that bound the Dublin art scene with that in New York and Chicago through complex networks and contemporary publications at an extraordinary time in Ireland's history.