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Masculinity and Irish Popular Culture: Tiger's Tales is an interdisciplinary collection of essays by established and emerging scholars, analysing the shifting representations of Irish men across a range of popular culture forms in the period of the Celtic Tiger and beyond.
This book studies some important myths of masculinity in various popular genres, including the western, the horror film, rock music and pornography. The author argues that popular culture gives us highly complex and ambivalent images of men. The hero turns into the anti-hero; feminine and homoerotic material leak in; the male is often shown as the victim. Attention is also paid to important theoretical issues in gender studies and cultural studies, such as identification and the relation between subject and text.
This study aims to supply the first contextually precise account of the male gender anxieties and ambivalences haunting the culture of Irish nationalism in the period between the Act of Union and the founding of the Irish Free State. To this end, Joseph Valente focuses upon the Victorian ethos of manliness or manhood, the specific moral and political logic of which proved crucial to both the translation of British rule into British hegemony and the expression of Irish rebellion as Irish psychomachia. The influential operation of this ideological construct is traced through a wide variety of contexts, including the career of Ireland's dominant Parliamentary leader, Charles Stewart Parnell; the institutions of Irish Revivalism--cultural, educational, journalistic, and literary; the writings of both canonical authors (Yeats, Synge, Gregory, and Joyce) and subcanonical authors (James Stephens, Patrick Pearse, Lennox Robinson); and major political movements of the time, including suffragism, Sinn Fein, Na Fianna E Éireann, and the Volunteers. The construct of manliness remains very much alive today, underpinning the neo-imperialist marriage of ruthless aggression and the sanctities of duty, honor, and sacrifice. Mapping its earlier colonial and postcolonial formations can help us to understand its continuing geopolitical appeal and danger.
This study analyzes the role of gender in Irish cultural change from the 1890s to the present, exploring literature, the relationships between gender and national identities, and the recognized major political and cultural movements of the twentieth century. It includes discussion of film, television and, popular music, as well as diverse literary texts by authors such as Joyce, Yeats, Wilde, and Boland.
Spanning a broad trajectory, from the New Gaelic Man of post-independence Ireland to the slick urban gangsters of contemporary productions, this study traces a significant shift from idealistic images of Irish manhood to a much more diverse and gender-politically ambiguous range of male identities on the Irish screen.
This book is a comprehensive and accessible introduction to the key debates concerning the representation of masculinities in a wide range of popular television genres. The volume looks at the depiction of public masculinity in the soap opera, homosexuality in the situation comedy, the portrayal of fatherhood in prime-time animation, emerging manhood in the supernatural teen text, alternative gender roles in science fiction, male authority in the police series, masculine anxieties in the hospital drama, violence and aggression in sports coverage, ordinariness and emotional connectedness in the reality game show, and domesticity in lifestyle television. Masculinity and Popular Television examines the ways in which masculinities are being constructed, circulated and interrogated in contemporary British and American programming, and considers the ways in which such images can be understood in relation to the 'common sense' model of the hegemonic male that is said to dominate the cultural landscape.
DIVA colleciton that looks at how Irishness has become a discursive commodity within popular culture./div
This edited collection presents a selection of essays on the history of Irish masculinities. Beginning with representations of masculinity in eighteenth-century drama, economics, and satire, and concluding with work on the politics of masculinity post Good-Friday Agreement in Northern Ireland, the collection advances the importance of masculinities in our understanding of Irish history and historiography. Using a variety of approaches, including literary and legal theory as well as cultural, political and local histories, this collection illuminates the differing forms, roles, and representations of Irish masculinities. Themes include the politicisation of Irishmen in both the Republic of Ireland and in Northern Ireland; muscular manliness in the Irish Diaspora; Orangewomen and political agency; the disruptive possibility of the rural bachelor; and aspirational constructions of boyhood. Several essays explore how masculinity is constructed and performed by women, thus emphasizing the necessity of differentiating masculinity from maleness. These essays demonstrate the value of gender and masculinities for historical research and the transformative potential of these concepts in how we envision Ireland’s past, present, and future.
White Cottage, White House examines how Classical Hollywood cinema developed and deployed Irish American masculinities to negotiate, consolidate, and reinforce hegemonic whiteness in midcentury America. Largely confined to discriminatory stereotypes during the silent era, Irish American male characters emerge as a favored identity with the introduction of sound, positioned in a variety of roles as mediators between the marginal and mainstream. The book argues that such characters function to express hegemonic whiteness as ethnicity, a socio-racial framing that kept immigrant origins and normative American values in productive tension. It traces key Irish American male types—the gangster, the priest, the cop, the sports hero, and the returning immigrant—who navigated these tensions in maintenance of an ethnic whiteness that was nonetheless "at home" in America, transforming from James Cagney's "public enemy" to John Wayne's "quiet man" in the process. Whether as figures of Depression-era social disruption, avatars of presidential patriarchy and national manhood, or allegories of postwar white flight and the nuclear family, Irish American masculinities occupied a distinctive and unrivaled visibility and role in popular American film.
This book engages with ageing masculinities in Irish literature and visual culture, including fiction, drama, poetry, painting, and documentary. Exploring the shifting representations of older men from the early twentieth century to the present, the contributors analyse how a broad range of literary and visual texts construct, reinscribe, or challenge perceptions of older age. In doing so, they trace a shift from depictions of authority figures - often symbolising patriarchal dominance and oppression - to more nuanced, complex, and heterogeneous explorations of older men’s embodied subjectivities and vulnerabilities. Exploring artists and writers such as Seán Keating, J.M. Synge, Teresa Deevy, Marina Carr, Seamus Heaney, Paul Muldoon, Derek Mahon, Kate O’Brien, John Banville, Colm Tóibín, Bernard MacLaverty, Mike McCormack, Anne Griffin, and Claire Keegan, the chapters in this book attend to the symbolic as well as social significance of older men in Irish cultural expression.