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Festschrift for Tadhg Foley

Series:

Maureen O'Connor

This Festschrift for Professor Tadhg Foley of the National University of Ireland, Galway, who retired in 2009, gathers together international contributors in the fields of poetry, politics and academia to honour this great man’s life and work. Professor Foley has not only been central in the development of Irish Studies and Colonial/Postcolonial Studies in Ireland and in the United States, but he has also enjoyed a long career as convivial host in his thatched cottage in Salthill, Galway. He remains one of the most popular and beloved figures in Irish academia. Among the eminent scholars included in the volume are Terry Eagleton, Robert Young, Penny Boumelha, David Lloyd, Luke Gibbons, Joep Leerssen and Maud Ellmann. The book is further enriched by poets Bernard O’Donoghue, Louis de Paor, Rita Ann Higgins, Michael D. Higgins and Tom Duddy. This collection is a rare and distinctive gathering of true and resonant voices, offering a unique portrait of late twentieth-century Irish literary and academic culture and its interplay with the United States.

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Reading between the Lines Niamh O’Sullivan 135

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Reading between the Lines Niamh O’Sullivan The opening editorial of the first issue of the Illustrated London News (ILN) in 1842 declared that ‘[a]rt – as now fostered in the department of wood engraving – has become the bride of literature’, thereby ascribing a subservient or decorative role to illustration.1 Initially, the anxiety was that the essential characteristics of a newspaper would be compromised by the diversion of pictorial elements, but we soon find instances of the pic- ture driving the message – the report becoming subordinate to the image. The written accounts of the Land War in Ireland, for instance, describe an uncontrollable, barbaric race; in contrast, certain illustrators show an increasingly politicized peasantry taking control of their own destiny. In general, however, the success of illustrated journals lay in the symbiotic relationship of image and text, although this balance shifts at different times, in relation to different issues, and from one illustrator to another. Prior to the establishment of the ILN, the visual aspects of the con- ventional press remained undeveloped – quality newspapers rarely used illustrations (or even visually enlivening advertisements) to animate their densely packed pages of text, for fear they would lower the tone of the paper. That said, the circulation of illustrations as ‘extras’ long pre-dated the launch of the illustrated press proper, as lurid illustrations of murders and executions were produced in crude woodcut form and issued with regular newspapers. If newspapers did introduce illustrations to meet the educational limitations of a mass audience, the contrast...

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