By John Strachan, Claire Nally (auth.)
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Extra info for Advertising, Literature and Print Culture in Ireland, 1891–1922
3 In the period of the Irish Revival, Irish advertising, like contemporaneous ‘arts, industries, literature [and] social habits’, took on the ‘native colour’ of an Ireland attentive as never before to issues of nationality. Advertising is, of course, a matter of image-making, and in Ireland in the Revival years it frequently reflected wider national self-presentations. Advertising became one part of Irish industry which clearly began to reflect the 37 J. , Advertising, Literature and Print Culture in Ireland, 1891–1922 © John R.
One person who was aware of this fact was that advertising man Leopold Bloom, who showed himself to be an acute cultural critic in his interpretation of the advertisement for the house of Keyes in Joyce’s Ulysses: ‘The idea, Mr Bloom said, is the house of keys. You know, councillor, the Manx parliament. ’15 Keyes’s ad, with the crossed keys suggesting the 42 Advertising in Ireland 1850–1914 semi-autonomous Isle of Man, is an appeal, in part, to political nationalism of a constitutional cast. Bloom knew this, and Joyce showed himself to be cognisant of the ideological subtexts of much Irish advertising in Revival-era Dublin.
These enterprising capitalists, ‘Traders of every class who depend on advertisements for the sale of their goods’,16 as the freesheet Dublin Advertising Gazette described them in 1858, embraced advertising with varying degrees of enthusiasm. Advertising was instrumental in developing new brands such as Murphy’s, founded in Cork in 1856, in the further development of long-established products such as Jameson’s Whiskey, first distilled in 1780, and in fashioning the commercial life of late nineteenthand early twentieth-century Ireland.