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Ireland and the North is an edited collection of chapters engaging
with the relationship between Ireland and the Nordic countries. As
a spatial and geographical point of reference for the formation of
political and cultural identities in Ireland, the idea of "the
North" encourages the identification of overlooked connections
between Ireland and the Nordic countries, which, like Ireland, are
also small nation states on the periphery of Europe. Importantly,
the book employs a double conceptualisation of "the North" to
include Northern Ireland. Moving beyond the nation state as a key
framework for analysis of human activity, this collection engages
with the transnational and transcultural in a mapping of
connectivity and exchange. Relationships explored are imaginary and
material exchanges, civic and personal linkages, literary
adaptation and appropriation, transfers of cultural artefacts,
political institutions and ideas. Chapters are drawn from a
wide-ranging field of study that includes art history, literary
history and theory, archaeology, antiquarianism, and media studies
in addition to political analysis. With three sections on Material
Culture, Political Culture and Print Culture, the book moves beyond
the predominant literary paradigm in Irish Studies to make a
significant contribution to expanding and developing the field.
Art in Ireland since 1910 is the first book to examine Irish art
from the early twentieth century to the present day. In this highly
illustrated volume Fionna Barber looks at the work of a wide range
of artists from Yeats and le Brocquy to Cross and Doherty, many of
whom are unfamiliar to audiences outside Ireland. She also casts
new light on Francis Bacon and other figures central to British
art, assessing the significance of their Irishness to an
understanding of their work. From the rugged peasantry of the
Gaelic Revival to an increasing diversification of art practice
towards the end of the century, Art in Ireland since 1910 tracks
the work of artists that emerged and developed within a context of
a range of very different social and political forces: not just the
conflict in the North, but the emergence of feminism and migration
as two of the factors that contributed to the unravelling of
entrenched concepts of Irish identity. Barber looks at the theme of
diaspora in the work of Irish artists working in Britain during and
after the 1950s, investigating issues similar to those facing
artists from other former British colonies, from India to the
Caribbean. She chronicles a period that culminated with art
practice and the sense of Ireland as a nation that would have been
unrecognizable to its people a hundred years before. Richly
illustrated, Art in Ireland since 1910 is essential reading for
anyone interested in modern art, Irish Studies and the history of
Ireland in general.
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