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Travellers in the text

This book traces a number of common themes relating to the representation of Irish Travellers in Irish popular tradition and how these themes have impacted on Ireland's collective imagination. A particular focus of the book is on the exploration of the Traveller as ‘Other’, an ‘Other’ who is perceived as both inside and outside Ireland's collective ideation. Frequently constructed as a group whose cultural tenets are in a dichotomous opposition to those of the ‘settled’ community, the book demonstrates the ambivalence and complexity of the Irish Traveller ‘Other’ in the context of a European postcolonial country. Not only have the construction and representation of Travellers always been less stable and ‘fixed’ than previously supposed, these images have been acted upon and changed by both the Traveller and non-Traveller communities as the situation has demanded. Drawing primarily on little-explored Irish language sources, the book demonstrates the fluidity of what is often assumed as reified or ‘fixed’. As evidenced in Irish-language cultural sources, the image of the Traveller is inextricably linked with the very concept of Irish identity itself. They are simultaneously the same and ‘Other’, and frequently function as exemplars of the hegemony of native Irish culture as set against colonial traditions.

Contested terrains
Mícheál Ó hAodha

native Irish culture as set against British colonial traditions and the ‘talking back’ that is redolent of longsubjugated peoples. These texts highlight the disarticulation of textual representation and the subversion through irony, imitation and colonial mimicry of prevailing power systems. It is a movement into those spaces characteristic of ‘the liminal undecidability of Ireland’s colonial position, producing a sense of dilemma within colonial discourse, within Irish textuality’ (Graham, 2002: 45). Here the text proves inadequate in its regulation of that

in ‘Insubordinate Irish’
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Street photography, humanism and the loss of innocence
Justin Carville

verbally’ (1984: 116), and Marie de Paor has contended that ‘Native Irish culture survived in words and traditional music’ (1993: 120). In fact, the perceived ‘absence of a visual tradition in Ireland, equal in stature to its powerful literary counterpart’, as Luke Gibbons once described it (1986: 10), has been central to debates on the identification of culturally differentiated practices of seeing and representation that may characterise a distinct Irish visual culture (Carville 2007, 2011; Dalsimer and Kreilkamp 1993; McBride 1984; McCole 2007). However, there are two

in Tracing the cultural legacy of Irish Catholicism
Print culture, multimodality, and visual design in Derricke’s Image of Irelande
Andie Silva

describes a moment where the kern have eaten and their ‘lippes and chappes with blood doe swim’ (F1r). While the poetic narrative of Part 2 discusses in great detail the uncivilized methods of preparing and consuming food – taking out and cooking entrails without washing, laying down a table ‘whereon their victuall lyes’ – the illustration warps this picture even further. As a snapshot of native Irish culture, this plate not only illustrates the comparative lack of civility of even the more well-to-do families but

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
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Thomas Herron, Denna J. Iammarino, and Maryclaire Moroney

. ‘In place of this complex political reality, Derricke offers reassuringly clear distinctions through readily deployable iconography, thus managing with his pen forces otherwise quite beyond Crown control.’ 66 As noted at the beginning of this Introduction, Derricke’s patronizing, at times belligerent, attitude towards native Irish culture is not well understood outside academic circles. However, Derricke’s work (especially his poetry) is not well known inside academic circles, either, especially those outside Irish

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
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Derricke, Dürer, and Foxe
Thomas Herron

The sources and aesthetic principles behind the famous woodcuts to John Derricke’s 1 Image of Irelande: with a discoverie of Woodkarne (London 1581) are not well understood. The woodcuts – like the long multi-part, multi-genre poem that accompanies them – denigrate native Irish culture and leaders while celebrating the military campaigns of Sir Henry Sidney, three-times Lord Deputy of Ireland, against his foes. The work is dedicated to Henry’s son, the poet Philip, and is often cited as a classic

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Mícheál Ó hAodha

09 Insubordinate Irish 152-192 9 13/6/11 14:40 Page 152 The counter-tradition and symbolic inversion As evidenced in the Irish language archive from which these narratives have been sourced, the tradition of representation as a whole whether hostile or a favourable as regards Travellers is an element of native Irish cultural tradition. The narratives are exemplars of the hegemony of native Irish culture as set against British colonial traditions. The stories are an element of both the settled Irish narrative traditions and the Traveller community

in ‘Insubordinate Irish’
Syrithe Pugh

landscape of the poem both is and is not the real world. In the manner typical of Spenserian allegory, it ‘agrees with the truth’ only partially and shiftingly. Within this semi-fictional world Colin both elides his own implication in the violence of the barbarus miles by figuring himself as a native denizen of the land (even making gestures of affiliation to native Irish culture), and escapes the dependency to which Spenser remains materially, if not mentally, subject. The doubleness of the   2 Hadfield reads the epistle as expressing hostility and rebuke within a

in Spenser and Virgil