Shahmima Akhtar
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Introduction
Irish identities on display
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Exhibitions were a global phenomenon in the nineteenth and twentieth centuries that attracted audiences from the far reaches of the globe. As a source of entertainment and education, they operated under a triptych of commercial motivations and outcomes: to stimulate trade for the displayed countries, to encourage sales of the exhibited goods, and to provide the employment of local labourers. The politics of display influences the production of Irish identity according to a host of contexts. The practices of display were shaped by issues of funding, organisers’ motives, and the larger purpose of the event itself, which in turn fed back into Irish understandings of themselves politically, economically, socially, or culturally as industrialists, capitalists, women, Home Rulers, British imperialists, nationalists, and Republicans. The fluid nature of embodied Irish identity in international contexts as Ireland moved from a colonial to an independent state is evoked in the book’s larger analysis. Exhibiting Irishness is transnational in scope, encompassing exhibitions in Ireland, the British Empire, and the United States, and each exhibition is placed in the wider political, economic, and cultural locale of its time. Thus, the lens of exhibitions reveals several unique arguments regarding Irish identities as singular and broader collectives working with and through gender, capitalism, and race in a larger configuration of empire and whiteness from the 1850s to the 1960s.

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Exhibiting Irishness

Empire, race, and nation, 1850–1970

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