Clúdach: Cover

Clúdach: Cover Narratives and Counter-Narratives in Irish Poetry Anthologies The history of Irish poetry criticism, and the associated production of anthologies, is a history of the identification of various micro-elements, and of their elevation to the center of a macro-narrative that is in flux and never agreed upon. Canon-centered anthologies and surrounding critical debates fail to identify the flux, and always already attempt to pin down the poetry and its poets in order to construct a definitive singular macro-narrative of Irish poetry. These texts work within reductive understandings of "Irish poetry" in their attempts to shift the center and realign the canon. Unfortunately, they consistently fail to challenge the canon's very existence, and implicitly, support the construction of a hierarchical understanding of poetry in Ireland. UNIVERSITY COLLEGE DUBLIN kenneth.keating@ucd.ie Clúdach: Cover We are delighted to return, in the covers of our 2017 volume, to the rich collections of the Crawford Art Gallery, Cork, which our longtime readers may recall was also the source of our cover art in volume 3 (1999). Over the course of the next four covers, we will present nineteenth-century Irish paintings from the Crawford's holdings that feature animals. We start with Bay Horse by Samuel L. Murphy, an 1871 oil on canvas, measuring 44 x 60 cm. Little is known about Murphy, who is generally identified as a member of the Irish School of painting; he flourished in the period 1860 to 1880. Surprisingly, given the extensive history of horse breeding and training in Ireland, there are relatively few examples of horse portraiture. Crawford Art Gallery is both a national cultural institution and a regional art museum for Munster, dedicated to the visual arts, both historic and contemporary. The permanent collection of the Crawford Art Gallery has grown steadily in recent years, and now comprises more than 2,500 works, ranging from eighteenth-century Irish and European painting and sculpture, through to contemporary video installations. Located on Emmet Place in Cork City, the oldest of the Crawford's buildings dates back to 1724. We encourage you to visit the gallery's extensive website at http://www.crawfordartgallery.ie/index.html. We thank the Crawford Art Gallery, Cork, for kind permission to reproduce this work. 122 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png New Hibernia Review Center for Irish Studies at the University of St. Thomas

Clúdach: Cover

New Hibernia Review, Volume 21 (1) – May 30, 2017

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Publisher
Center for Irish Studies at the University of St. Thomas
Copyright
Copyright © 2008 The University of St. Thomas.
ISSN
1534-5815
Publisher site
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Abstract

Narratives and Counter-Narratives in Irish Poetry Anthologies The history of Irish poetry criticism, and the associated production of anthologies, is a history of the identification of various micro-elements, and of their elevation to the center of a macro-narrative that is in flux and never agreed upon. Canon-centered anthologies and surrounding critical debates fail to identify the flux, and always already attempt to pin down the poetry and its poets in order to construct a definitive singular macro-narrative of Irish poetry. These texts work within reductive understandings of "Irish poetry" in their attempts to shift the center and realign the canon. Unfortunately, they consistently fail to challenge the canon's very existence, and implicitly, support the construction of a hierarchical understanding of poetry in Ireland. UNIVERSITY COLLEGE DUBLIN kenneth.keating@ucd.ie Clúdach: Cover We are delighted to return, in the covers of our 2017 volume, to the rich collections of the Crawford Art Gallery, Cork, which our longtime readers may recall was also the source of our cover art in volume 3 (1999). Over the course of the next four covers, we will present nineteenth-century Irish paintings from the Crawford's holdings that feature animals. We start with Bay Horse by Samuel L. Murphy, an 1871 oil on canvas, measuring 44 x 60 cm. Little is known about Murphy, who is generally identified as a member of the Irish School of painting; he flourished in the period 1860 to 1880. Surprisingly, given the extensive history of horse breeding and training in Ireland, there are relatively few examples of horse portraiture. Crawford Art Gallery is both a national cultural institution and a regional art museum for Munster, dedicated to the visual arts, both historic and contemporary. The permanent collection of the Crawford Art Gallery has grown steadily in recent years, and now comprises more than 2,500 works, ranging from eighteenth-century Irish and European painting and sculpture, through to contemporary video installations. Located on Emmet Place in Cork City, the oldest of the Crawford's buildings dates back to 1724. We encourage you to visit the gallery's extensive website at http://www.crawfordartgallery.ie/index.html. We thank the Crawford Art Gallery, Cork, for kind permission to reproduce this work. 122

Journal

New Hibernia ReviewCenter for Irish Studies at the University of St. Thomas

Published: May 30, 2017

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