ASSOCIATION FOR CONSUMER RESEARCH
Labovitz School of Business & Economics, University of Minnesota Duluth, 11 E. Superior Street, Suite 210, Duluth, MN 55802
Lmages of Ireland: Gender, Post-Colonialism and the Neo-Celtic Revival
Lorna Stevens, Universiry of Ulster
Stephen Brown, Universiry of Ulster
Pauline Maclaran, The Queen's University of Belfast
[to cite]:
Lorna Stevens, Stephen Brown, and Pauline Maclaran (1998) ,"Lmages of Ireland: Gender, Post-Colonialism and the Neo-Celtic
Revival", in GCB - Gender and Consumer Behavior Volume 4, eds. Eileen Fischer, San Francisco, CA : Association for
Consumer Research, Pages: 13 to 26.
[url]:
http://www.acrwebsite.org/volumes/15651/gender/v04/GCB-04
[copyright notice]:
This work is copyrighted by The Association for Consumer Research. For permission to copy or use this work in whole or in
part, please contact the Copyright Clearance Center at http://www.copyright.com/.
lmagesof Ireland:Gender,Post-Colonialism
andthe Neo-CelticRevival
l,orna Stevens,Universiryof Ulster
StephenBrown,Universityof Ulster
P""iil M;laran, The Qu6en'sUniversiryof Belfas
'feminiw' natianand thispape\ eyryhrcs-tlu wayin
q ,.
Iretand haslong beenregarded
'ititnini$' oi, it-prrt"nred in an dward winning advertisement
whichimageso7neiirut?i
it arguestlnt caflrey's
literarytgory,
for cffiey,s lrish ff". nirrr*i.aipoiiiifo"it
cennry
ttw
,o*rltot
neo-Celtic
6 U, t*tp*S redefiry nauri of lau-twentieth
of
,Irishness',
Xoiogmphy
iiirocennic
regrenaUty
butit reliesupon,eliewlrcrei
!ry1:::-nlnod'
s*-aklor
canrwt
wln
Ahcr
si-lc1tt
tlrc
as
^
,
*i*n'
tlepicr
,
Cofftry,
the
reinforces
brand
ttu
bondins,
i ui"ni-of nnle
;;ii;i;;''it*t
W';;;riiii
of lrishwortuen.
bondage
INTRODUCTION
general
and'colonial'states
in
states
nation
uke
meJr.
for
"11
by
men,
written
text
a
Irelandis
e,"'),theeireraldislehastraditionallv
in particular
fs"h#tr,
$iii,ilg;'\4;ttt"i niti& variations
on thisfemalearcherype
* uTuffilriu"ia ig96i.-eitq""gtt
beenporrray"o
in the
wereuncovered
lilrtn
coa?ess-ngurines
dalefromtheveryd"il;i;ilitisation
were
* theIrishequivalents
1988) of
earliestcity states.f til";.litltic Nearfutt lCott"t"ft
century
Ounngitti C"ttit Revival thelatenineteenth
codifii ffi;;rd;s"A
articulated,
the
butcemented
n& o$y-ogpplemented
(Regan199t. a cufturaieiflorccenct-if,u:t
theCeltic
connection'
imperial
tgbreaEffiAtgtollttt
struggle
political-cum-economic
played a
Revival *as sfrapedUV*"nl]{nd
that shapewas woman' !Vom"n' admittedly'
parrin,t"'Jr*igi"fr;14ili;l&;4"";g
prominenr
Markievicz
constance
MaudGonne,
Yeats'
activists.I*'*
andHannaSheffy-skeffingtonu,"iurt'ril'"-of-itt" better-known
the
into
women-1919w1tten
timelessplay, Cathleii i ftounnn, peiitty demonstrates,
1988).
(cairnsandRichards
textof Irishnation.lril;thryaanof *"t"ufut'xtirself
of this
The purposeof the plgsentPaPeris lo offer a post-colonialreadine for Caffrev'sIrish
advertisemEnt
t6levision
a
in
&aecticadinscriued
gender-nationality
with a lightningrr"rctt "l ttr" oft"n f*"lhirJ"fiontqt1n betweengender
Ale. It commences
the
andlrishness;continueswid a surimaryoqi1t9*ty ltregrV'no1tf9l"1*t:Pand
of Cfl!1ey's
in a post-mionialfeministinterpretation
readingprocess;"J^i*to
of
a
brief discussion
with
c9q{ucfes
(award,winnngl unaioCliric aOvertitt"d;t;;d
be
it
must
paper,
gender,pmt-colonialismandwhatwe l;il-|6" neo-Celticrevival. This
it
doesnot ffi t" ."r"ue Irish *om_;"h*d from thecoils of crasJcommercialism'
stressed,
hitherto
keepingwith post-colonialdiscourse,to give voicet9 +"
;ffi]tff;Lt,in
territory
to t".pot-ily reclaiir.theoccupied,textual
excluded,occludedandmarginalised;
and
projectof re-reading re-writing
tt" peac!-processed
thatis Enn: to pr";td;;Gf,i;tt"
thatinheresin the
Irish identity;una,oJfr.i.iig "ont"ioutlnot oi theandrocentrism
of change'
neo-CefticrbuiuA,to createionditionsconduciveto thepossibility
l3
TIfiQUIETWOMAN
As notedin theintnrduction,'it would behardto exaggemte
theimportanceof theideaof
landandsovereigntyconceivedin theform of a woman'(Cullingford19!B:57). And
Irelandhaslong beenregardedby its imperial mast€rsasfeminine,asthe 'other', asan
objectof study,a body of knowledge,assembledand given shapeby men (Boehmer
199t. From the very outset,the colonisedIrish nationwasdefinedin oppositionto
eighteenthcennrryEnlightenmentperceptionsof rationalman. Irelandwasa weak,
ineffectualwoman(counuy) that neededto be controlledby a strong,resoluteman
(Britain). The lrish weredefinedin 'feminine' termsby numerouscommentatorsof the
perid, notablyMatthewArnold andErnestRenan,who pronouncedthat the Celtswerean
essentiallyfemininerace. Whenthe C-elticmcewasdescribd in affirmuive terms,for
example,whentheirsensitivity,theiretherealqualities,theiraffiniry with nature,their
otherworldliness,wereextolld, thesemerelyservedto emphasisetheir impractical,
femininenature,and,worse,their emotionalandmentalinstability, their unfitnessto
governthemselves,
andtheir revolutionarypotential(CairnsandRichards1%8).
As Irishnationalismemergedin thelate-nineleenth
century,moreover,ttreidentificationof
Irelandwith the 'feminine'continued,andindeedwasembedded
in theculturalnarrativeof
Irish nationalism,but this wasproblematicfor themakersof thenew lreland. On theone
handCelticismwasviewedin affirmativetermsasa powerfulmeansof assertingdifference
from its colonialoppressors.But beinga Celt clearlyhada negativeside,givenits
foran oppositional
identificationwith thefeminine,andthiswasdeemedinappropriate
discoursethat neededto be suggestiveof masculinedomination,agencyandpower(Caims
andRichards1988).JustasBritish imperialistdiscoursedescribedIrelandasfeminineand
thereforeinferior, dependentandweak,so too Irish nationaliststook up a compensatory
andexaggerated
masculinity- albeita feminisedmasculinity- andwereunsurewhetherto
thecauseof lrish nationalism.Althoughthe
worshipor revilethosewomenwho espoused
complexinterpenetration
of Irish femininity andmasculinityproducedsomebizarre
juxtapositions,
suchastheMolly Maguires,a bandof freedomfighterswho dressedas
women,Kiberd(1996)arguesthatthecolonialprojectionof despised'feminine' qualities
on thelrish raceultimatelyled to a diminishmentof womanhoodat home.Despitethe
politicalfervourof theIn{hnUnenahEireann('Daughtersof Erin'), The Cumanna
mBhan('The Societyof Women')andthepersonalcharismaof individualfemaleactivists,
Irish natronalists
wereoftenunnervedbv their 'manlv' and'martial' rhetoricand
(Kiberd 1996:398). After tfie Civit war"andparticularlywith theriseto power
demeanour
of FiannaFail in the l93os,womenwercno longerconsidered
relevantto theprojectof
shapingthe newnation,and lrish womanhoodwasagainconsignedto 'the other', as 'site
of contestratherthanagentof her own desire' (Kiberd 1996:4A7).
The tensionsbetweennationhoodand genderareplayedout most vividly perhapsin
gulturalrepresentations
of Irelandandlrishness,manyof which portmylrelandin
Romantic,'feminine' terms. For example,W.B. Yeats,in his role asleaderof the
nineteenth-century
CelticRevival,regardedtheIrish nationasmanifestlyfeminine,albeit
hisearliestCelticwritingschallengedthenegativeconnotations
of theidentificationof
Irishnesswith thefeminine,the inferiorandthesubordinate.
Drawingon lrish myths,
legendsandfolklorehe reinventedCelticlrishness(thefeminine)in oppositionaltermsto
theAngloSaxon(themasculine)andin a wholly positiveway. For him theCelticnation
represented
sensitivity,brillianceandturbulence,springingfrom anexcessof cultureand
civilisation,not a lack of it. (Howes19E5:Welch 1993\.
t4
howg9pde1
sworkalsoiIIustrates
usHeaney'
Seam
;i*.r "*9:19i*]y^f::fl.Ff
of1999. :: I
; thematter
:ff^lilHtiJ ilffi;
;i#;;; h";'*:
_!91
T: 3$
fiill#ff tnttiiil;:rffiil;;;d;;';Jl"*uao"'lh:"'?1iY"-ryfi1i-"Eli'::*1"
t:Gil#;Jr'p"il"'*qifl"i1,.Tg1',**i:ng*'i":t*'
Xfffi:iffi
tofreelbyartand
rou"Erougrit
,h;
E*oess,
'ffi:ffih;;r;;;5,
ffiifr
ilfi''". 3ff;;;;iii;;;;il'
i3#[r.i,iti'*o*;;*.i"tiiJt"r-3,
@llt"^--,1
o-zt fnmed
ti
creative actions. In
bImen's
rqT-"q
*9
sh-aped
to.be
li:::39l?f,:t:?::
(Lillington
tobepossessed
rr,"r"*li* aterritory
l99s).
its evocationof Romantic
Tlu QuictMarzis yet anotherobviousexample,of course,with iB archetypallrish colleen'
and
primitiveness,rural rfriplil;i!,rt"iti" puoi in andhumour,
iiLg" pr1,.nitil;;, whichhadbeenusedtojustifvcolonial
ililik
ft;iil;i;E;;i
andindeedappropriatedby
oppression,thus"*t;;b"Aud.a
9v ttt"lrirl, th"*"elves
of frffanAelgaqedin a discourseto redefine lrish
-6;antic
Ubihthosewithin andthoseoutside
culturaliailonalism remains'therefore'-an
culturalandnauoni;d;ily.
(Mcl-oone 1995)and' as
ilp"'rr.',1.|,p""fgf I;;I"";-ir r".ti-"o1onialidentity-construction
to resonate'The
continues
*pli'testifies, it
Caffrey,sarresrrngi"Wision uAvertisement
of
h*a in n*o *ittr ttt" romanticisation Irish womanhood'
of l;;ld;;
romanricisation
culturalprojectto defineboth,which mgrely.servesto
of Irish nationhood,;;-E;i"g
culturalfabnc'
reinforcethegenderdichotomywhichcontinuetto persistin lreland's
READINGPROCESS
LITERARY TFIEORY,POST-COLOMAUSMAND THE
literarycriticism,has
A decadeon from stern's( l988a,b)pioneeringendeavours,
'qT' in marketingandconsumer
itsetfasairin;;*l dii'"! the postirodern
established
of literary theory'rangingfrom
research(Sherry199i, ii;ft i6A -yfaruioiOschools19t39),have-beenappliedto
New Criticismto plj,il R;tp"nt" (S"ott 1994;Stern
to advertisingandpromouon
manifoldmarfetingzutei*tr,'f.o*1ey nrdgct dgve.lopment
andcountlessother
these
tholgl
(Heilbrunn t996;t*;k"#;"tr^iqg2l.invaluable
Apart from the
research'
ampt"."op".fot add-itional
haveproved,there.remains
analyses
itemsof
several
itself'
pressingneedto appli lit-crit concepts.tiift"t*t "ting litenature agenda(seeBrown
to theconsumerresearch
literarycntlclsmn"TJV"ti" G upp.inO"d
of postmodern
raisesrhe-speqrrg
udrittedly,
suggert,onr-,
such
i6iig9{31. i;bilg
- but
inventory
lif-crit
dilenanrism- o.r, t ifls simpT!to work ou. *uy tt t"ugtt the contemporary
cntical
post-coloni.firm #upt". " i"tti""f*f y piotingnt plad in the
are
researchers
consumer
when
aiatime
ffi#fi:i"Jffi;;1";ip:16,_";a.'ina""a,
and
Joy
1995;
Bamossy
(e.g.
and
Costa
"ogn,rint of multi-dufUraimncerns
rncreasrngly
of astonishingthatpost-colonial
s'tro:rt
is
noitring
ie1Al,it
Wallendorf 1996;$;6rA
community' This
literarytheoryh^ i;li;b"-"'*Ut*irO Uytfreacaiemicmarketing
- our field
dscourse
reticencemaywell reflectthehegemon!J emeri"anpa1ketilg
of thoseoutsidethe
remainssomewhati"i""t-t to aitendt6 tnelournas,tr'xtsandloices
very
marginalisation
the
about
US academicsystem- but thesilencespeaks'volumes
foreground.
to
strives
criticism
polt-colonial
ttrat
f*"r,
'the most
(Eagleton
PoPularof then!ry liteqry approaches'
Recentlydescribedasoneof
on behalf
made
iliims
universali-st
involves{u6stioning-the
l9%: Z1y1),port-"oio*utirrn
effect,that
in
Itcontends,
lgg7\.
of thewesrernrntellectualtraditiondrry-iggjatiewton
of
instantiation
an
but
incontrovertible
nor
arenot timeless,nor absolute,
westernstandards
the
same
At
less)'
the
none
imgeLltr_s1n
rttp"riatism,Uut
i"ipliiiriJr iorr* -J;F;i
or
pglsiectivesandtraditionssuppressed
approacheq,
the
indigenous
celebrates
it
time,
said
of
Edward
gpri"*illo
endeavours
critical
trt"
uy
uy tt "'""i"nLt po*"i.'
marginalised
15
(1W8,1993), Homi K. Bhabha(1990) and Gayatri ChakravortySpivak (1990),
post-colonialismis as much a reaction to as a rejection of the colonial inheritance. On the
one hand,it involves the reclamationof local, regional and national forms of expression,
combinedwith acritique of canonicalcaricaturesof the'native', the'oriental', the'exotic'.
On the 'other' hand, post-mlonial discoursedoesnot constitutea complete break, since it
invariably employs (or, nather,deploys) the 'mother' tongue,comprisesa conversation
with the 'cenfe' and, by its very existence,forces the colonisersto reflect on, and possibly
foreswear,their own colonialism (Boehmer 199t.
Although post-colonialcriticism is primarily concernedwith what could be termed 'the
white man's literary burden' - that is, the textual intercourseof imperial powers and their
alien retainers- it hasalso beenapplied in lesscanonicalcontexts(Ashcroft etal1989:
Bennettand Royle 1995). Examplesinclude the US '@lonies'as literary subaltern,the
miscegenatedtexts of African-Americans and, as shall be discussedin detail below,
Anglo-lrish discursiveco-dependency.Striking parallelsbetweenpost-colonial and
feminist literary criticism have also beenobserved- metaphorsof the core/periphery,
dominance/dominated,coloniser/colonisedstripe are all too readily transferable-and
various hybrid positions have startedto emerge. Consider,for instance,the 'doubly
silenced' dilemma of post-colonial women, gays, subculturesand so on. As Williams and
Chrisman(1993) make clear, any discussionof nationality or ethnicity is also (since
women are the 'biological carriers' of the race) a discussionof genderand sexuality.
The essentialpoint about theseparallels,alliancesand incipient creolisationsis that they all
comprisesituatedcritical positions. Post-colonialcritics do not speakwith a single voice;
singlevoicesspeakpost-colonialcriticism. Hence,our interpretationof Caffrey's
award-winningcommercial valorisesthe voice of someonewho is simultanmusly an
Irishwoman,a feminist,a worker, a mother. An Irish feminist working mother. Clearly,
suchsingle-voicednesscan prove somewhatunsettling for marketing and consumer
researchers,
as it privileges the interpretationof an individual critic (producer) over thoseof
the readership(mnsumer), and carriesconnotationsof the controversial subjectivepersonal
introspectionprocedure,for good measure(Gould l99I,1995; Holbrook 198.5:
Wallendorfand Brucks 1993). However,this approachis very much in keepingwith
lircrit tradition, which haslong favoured the feuilletonist (the rise of reader-response
theory notwithsanding), and indeed@ntinues to do so in the shapeof autobiographicalor
confessionalcriticism (Simpson 1995;Veeser 1996;Webster 1996).
CAFFIEY'SIRISH ALE: STRONG WORDS, SOFILY SPOKEN
Product Backgroundand Promotional Campaign
l,aunchedon St Patrick's Day lD4, Caffrey's Irish Ale has proved to be an outstanding
commercial success.By combining the bestfeaturesof lager (light, cool, refreshing) and
more traditional Irish beers(mellow flavour, creamy head,slow to settle), the product not
only meldsold and new in a strikingly original mannerbut it hascompletely reinventedand
revitalisedthe moribund Britishlnsh ale market. Salesquickly rose fo moie than f lmillion
per month (so rapidly, in fact, that the dedicatedbrew-housecouldn't cope with the
d9ryand);the number of public housesselling Caffrey's on draft increasid from 1,300to
15,000in threeshort years;it has beenlaunchedin severalinternational markets including
SouthAfrica and Australia; and, thanks to innovative widget technology, cannedCaffreyrs
ts proving equally popular in the competitive take-homesector. Caffrey's, admittedly, has
not succeededin repulsing the invading beerbarianhordes- expensiveimported lagerslike
16
rival
launches-by
Miller, Bud andMolson's- yet, despitea plethoraof.me-tooproduct
'premium
segment'
ale'
6i"*"ir, it remainsttt" m*f.6t tlaOerin thbLIK's rapidlygro'fuing
Alcmssideits remarkableproductattributes,Caffrey'shasbeensuppofrsUVanextensive'
evocative
UtiiiiffiV "i*it"O promotional'campatgr
;ff;*;
.Enqpsqlateilin its upon
;strongWor-ds,
ls
Dredczrteo
identttv
brand's
the
Spqk€n',
rt*plinr,
-S"ryf
"f theCelticRevival. .Ngurylly-,ihi.sis an
authentic,traAitiond]lt*n'i itii[fit-ft""tt
Caffrey'sbrand
sincertr. u*mpl"tely ney proOry1(albe1-the
;;il;t;;*trlrishness,
from l8i7 *Jitt"r" wasindieAa loca b'rewercalledThomasR. Caffrey)'A.s
;;;A"t"r
Caffrey'sgrq hardlybecritrcised
beltic Revivatwasno lessersatz,howe,ver,
;il';;t""I
(thoughit's neo-Celticandrocentnc
always4r"udy expropriated
il;;fft"pdirg;h"
iconolraihy is an entirelydifferent matter).
exlendsacrosstheentiremediaspqitruf from billboards
Caffrey's promotionalcamparg-n
(sweat-shirts,
*a *ie*ne ads16;;;v-"fT vouchersanda rangeof tie-in merchandise
pYryosel'.thg
v"t" imporantlvfir ourPresent
di-*uJil;i;ilj.
lioii.^
39ntr99ie9e
entitledNew York'
bommeicial,
cinema
ani
television
ffi;;;tslcona
;;h.";;fiil[
i ty pncdyligl,I*:-t
withcinemaqual
traJ; bt ;iddr"e n ;ti uh;avertisingagency,
nlerulaJluslve
fragmented'
fleeting,
of
series
ofa
consists
it
LuiO"niineveryfiame,
in a pub, an lnsh Pub,ln
imagesof four young Irishmendisporting-themselves
'give
of t!r!spackunersthemagicwords
fi"* Voii auy. Un"n the"leader
;;;p"r*y
isleof thelrish
backto theemerald
heisrransported
6frr"y'r ;i;;pl;*t,
;;ili;i;f
horses,
boats,
bogs,
lak"s,mountains,
imasinary- anall t* il;i iastoralinterludeof
th9
in bottle
colleens beforebeingrg-dgqositei
ffi5;;dr, ri",tr.rr *o nuri,"-ttuired
reveals'
reading
-#.*ttng BigApple.As qgrpost--olonial
ir^Eiiti;olthe
uuf;i'f*r.bankers
regurgitates
text.
o'Topianadvertising
uuitroiitessly
t o*.i"., trrisunaenialTy
r+'omen'
Irish
of
sutiordinaiion
t"lft""Uesitre
tot."ryp.it *a
extantgender
[videoinsert]
StrongWords,SoftlYSPoken
'The HarlemShuffle', setthescene:
The funky openingchordsof thatAmericanclassic,
oneanotherdowna city street,looking
vellou,ta:icabs.f"ui V"unemenwalkingalongside
.
ir.,i"A ,h;;,1;ghrn!, -"it..r of all thEysuriey,like a rock band,modernday.heroes,
mythology-(Cullingford
of
male
wild,
slightltilg";il,the3ourneying
[uesters
slightl-v
onehasdark,flowing locks;
w'eariciarkglasses,
ctr-eGuevara,-one
igfi).' o;;i;f;'iifte
thefourth is not yet visibleto us. Thereareflashesof unpeopledcilVspPei"Ifll
thende're in a crowdedbar andseethe barman,,fat,p*? f1"-{',mr-9dle-aged'
Uuif,aingr,
.
;G;;;n?b"hiro nir "*, "uiilng out orders;anAmerican.we see3 PlumP,giddle-aged
'we
saying
roll,
a
labquered
in
forehead
off
her
up
swept
irnptotuUty-J*lfiuir
balr-woman,
needicebaby',in a drawlingAmericantwang.
The first glimpseof Caffrey'son draught qq q q9 young1n9nl3!s hl: fl:ldt through
ih" "ro*.i''"d dar. He-isa vision of lon!, dark hair, fine, sensitivefeatures,a darkAdonis,
Thernusichasby
u nyror. hero,movingslowly,dreamlly,throughthemass.otry9R19',
vision
of male
this
to
rhythriic beat. In contrast
now becomea driving,"repetitive,
earringsand
diamantC
perfection*" "n"ouniii anageinggiamourpuss:blondebouffant, 'so
makemy
could
I
gloves,
saying
io"q"ulu.k elbow-length
;;;L;;;;l;puro-rr<r;print
The
cleavage'
of
a
flash
p"il'. Then'wer* ;;;;;se elderlymanin profiie,6esidehim
t7
individuals we see,their age, their harshaccents,their ordinarinessverging on ugliness,
contrastwith the fine young men moving arnongstthem, dreamlike, different, together.
Our first close up of the hero follows, playing pool. He's lean-faced,with a long, stubbled
chin; brown haired, of melancholy demeanour,an Irish wolfhound in human form. He
wears a brown leather jacket and speaksin a soft Irish brogue, his voice lilting, pleasing to
'.12 ball all the way down
the ear, in contrast to the harsh American accentsaround him:
there'. He's serious,intent. Despite the noise, thejostling bodies, he's focused on the
pool table, about !o demonstratehis talent. A fat elderly man with moribund features sits
againstthe wall, shirt buttons fit to burst as they strain over a beer-belly. The ageing
glamour girl complains: 'it was 12 o'clock at night!'. Meanwhile the Irish wolfhound, our
Celtic dreamboat,preparesto hit the ball. Clearly a man with a mission this, who takes his
pool seriously, unlike one of his friends, weak-chinned,c@rse-mouthed,
ordinary-looking, who is staring transfixed, mouth agape,at an attractive, smiling game
'the power of television is a fascinating thing' he drawls in a
show hostesson a TV screen;
deadpanAmerican voice.
Our hero strikesthe bll. We have a quick flash of a young attractive, unsmiling,
pony-tailedbarmaid,then a black man says'Othello is behind the curlain', another
fragmentof conversationto add to the eclectic mix. Our hero strikes the ball again. Byron
'you cheat,I
cheat', matter-of-factly. Snarchesof
standsbesidethe scoreboard,saying
conversation,glimpsesof faces,talking heads,jostling bodies- the scenesare clearly
framed within an anti-urbandiscourseof alienation,materialismand disharmony(Williams
1973).We return to the pretty barmaid and glassesbeing washed. The plain one, clearly
the buffoon, thejoker in the pack, sayssomethingamusing to Che. Our Celtic hero, a
'we're trying to play
suggestionof a smile on his face,saysin slightly reprimandingtones,
pool hereboys!' Such dedication,such concentration;clearly this man is oblivious to the
clamour, the noise,the shenanigans,the urban grotesquerieall around him. The
tousle-hairedbarmaidhasnow inexplicably livened up and is gyrating, arms aloft, in time
to the driving beat. The joker, open-mouthedyet again, watchesher strut her stuff and
can't take his eyesoff her. Nor can the other men lined up along the bar, who by now are
rocking backwardsand forwards in time to the music, eggrngher on, enloying the show.
Shake,shake,shake,shalieyour tail feathersbaby.
Except our Celtic hero, of course. As thejester sips from a fresh pint of Caffrey's, the
hero's Caffery's, we presume,he comesalongsidehim and looks at him in disgust:
'thanks
a bunch'. This guy is clearly on a different plane from the mere mortal men around
him, immune to the obvious charmsof loose women displaying themselves,above the
lusts of ordinary men; all he is interestedin is his pool and his pint. The joker, somewhat
abashed,beer foam dripping from his upper lip, shuts his mouth, as our hero calls 'Give a
Caffrey's hereplcase!' The last word rings out, echoes,and the music changesto the
melodic,evocativestrainsof romantic,hauntingmusic, musicthat evokesIrelandand
Irishness.A pint of Caffrey's lrish Ale fills the screen,in shadesof brown and cream,
slowly settling,and then the cameracircles round from the profile of our hero to full-face
and behind him are the greenfields of Enn.
We seean old boat, abandonedin a field; a dimly lit, rural pub, apparentlydesertedexcept
for an old man in a cloth cap, his greyhoundstandingin frbnt oiliim, who slowly turnshis
headto look out the window. Perhapshe's thinking about the world beyond his world - the
world beyondhis pint, his drinking companion,his dog. Still lifes of rural lreland, calm
and gentleimagesof peaceand quiet. In timeJapsemotion now we seethe sunlight
l8
r'
almostsurreal,yet
flittine beweenscuddingclouds,dapplingthelrish landscape,
recogiisablyof lreland.
seenuPP now ,- And thena vefy different irnageof womanhoodfrom the oneswe've
emergtng
cinecamerareel,
an
old
iilragesrecallingstitlsfiom
flic-tcering
;pp;-Gd'us,
a
beautiful
us,
befue
"[i"r trr"-r.-iltr # time and coming into-lactis. Shematerialises
that
image
;id6"f q{,tfi$t bog,3rcmatrtic
r*ii"gliii"ilifi"
youogwornan,
(tIo*F
199e;'Shehas
riation
,"pr"r#tr"l;i;d ila t+; Jesirefor afr.ee
traditionatly
her'
flapping.about
"t9t1,inFI lotlg'try T"!
t"dE;fr"a,'"ouuti'ff;bt&;
ourland,
land,
the
eirithltre
a wominu,ffi'r,llrr16"d;cr"fiin in iis colours,
cloak_like.
struggle.of
lreland's
of
natignhood,
of
6a;"rr"lb.t
lrffi;;;il;;ath;
iffi4Tr[l,
pale
We seeherface'her
19 913)'
shakeoff theyolk of its-coloniat-oppressoilfdiitingf"rO
o-fh3irfalling
stnands
pale,
at
us,
t*ttt'to l9o[
skin,thensheis *im"i"i""VlUtilftt
Is this$e $rl he
iepnoacnfU'acroosherfacaastht A&; td ii*t "*postion tud, Ptftt'Fu
forherlover
waiting
t'ilffi;d'tiifiiitii
ihaste,
deirirabte'and
rriilfb,il6rtlil,etoneo
to returntoher?
solemn
We're in the dark pub againard seea vefy different face,an old man's time-wsrn'
pubbench'
thewooden
p;gng togittreron
f;:ffi rff6.1fi;i,t-fi;d-;;aa,i"
hisgreyhound'B
he
strokes
as
th"q*A ot ttri firiiryin
11ilt,m ,i"]Vmffi;F*i"i
downit'
running
horse
a
ram
for
baek.Weseean1iil;iiige;ruL d"$rrgd,ixcepteneigv-:-Pl-ryo*,1lf5n"v;u
ofmasculine
rJd"-rei{lvision;rfi"frsm, escape,
:*rffir'li'Hf;::ffi;#i'
ffi*i
;#;ilJ;;ffiffi;.
of herwodd,asthe
rromtia*rr*p, rrre.threohdd
shewarehes
pasther'Isthis
races
bodv
withitr.t"g*tfr;kt;;;-;;iitit)'. ;tpg4' qlry$c
horse
herself'the
llefald
Mother
stlble]
our hero's mother? Shestands,foreuei fixe<i,'forivir
values'that
motherlsnd,Uratsynto] of tii" lnt"gtity of th; past,tlat icon of national
custodianof tradidon(Boehmer1995)'
in thebatr-aslighthint of a smileon his long'
we,rs ran$porredbackto our caltic dngamer
from his reveries'but
broodingfacs. He Jrsts trisiyes--qory * 6'1q[ $re epeilandreturn
gtil! Byron passing
htro
standing
the dleamlikemood continues.We observi hit *rienht,
*ilq {3 pint,mutel}'.
pilenl.oulhcro
tnem,
watctrine
#,irilTffiffi';ffi;,;tiil,
lrishAlein
pints
of caffrey's
friends,
i"tiiiirvl'Fi"aiy*u s"etiii terti"d*fi;itr'tlr*
hero'sCaffrey's-induced
hand,standingtogetherbut apart,*otdiitt, fu"lng Tt' Orir
types,iconsof
-;t,
strong.sil.ent
into
bt6thers
hir
eoinhanvfrastratrsiormJftiJ friends
this
Yffi'#idilnl,i;ilft*
bythisriteof malebonding.
uount'togeth:r
butsyre-,
of
the
fiumph
to
the-scerte.$i111s
ways
lrishAle.In rnany
rycall
lovoof Carfrey's
sharsd
t}rii*r
separarion,
their
exr
gth
rt*'"
ilff$di, ;*ri$ stdffi; ffi;s,ivilm.d
{epnaed warriorthatrepl*ced
the
orthe
cuit
tt*rrta"o;,[3e
tinrit
fffi';ffi'ilIill*
;;"-s-;;"y
yet
her
fsrs
thg,landr3at
woman,
totrhips
.urc,l9B9)'our
Cultof thel"tottreril'iiJf*ia,it*;utttt6t
(Condren
creatMottrer(Soddess
*"
po1p*,*r" "uns,"fiit" A*id"sertar,ctrq
I questthatis
andctlnrraliqenliry:
il;;brfu iscfeartvonaheroicquesti|;personal
to
nostalgically,
back,
him
forevertakes
iiffi;d;tt*J', uuionJ*hich
Iii^fr"iiiii, ri"t" -ldt
what
but
faircolleen,
his
da,
his
his
Live
I{e maynot
rhepasr(Boehrner
narymy,
andhe'sgothis
#ffiili;'#;;,-;t;(goTiir
f6n*at qust,hisbroihersin-arrns,
tohim,
loved-ones
up
his
pori'er
summon
to
the
i#ffif{ilJh A1g.'Tn"i"itiiffi
ould.Ireland,
countr!,,dear
*ottter
fo
ttis
ortttrnative
Effi;;i,';-ffi;;dd;
P.*y"I{lv
'soft
i*3ff: whlchdeny
primitiveness'whiqhwe see,
*ri"t6Ol" the romanticimagesof
'an idealisedessence'(Mct-oone
thi materialof existenceandinsteadseekto epturc
t9
1995),imageswhich ideally suit the nostalgicmood that now prevails, a mood that
capturesthe very essen@of Irish cultural nationalismitself (Hurchinson lW7).
Yes, this is an lrish man's world, and women are where Irish men's women are so often
found: at once adoredand ignored, consignedto non-existence(Kennelly l9!B). They are
in our hero's headand in their place; forever separate,different, fearsome;untouched,
untouchable;symbols as pure as the blessedvirgin Mary herself; to be conjured up when
the Celtic mood takeshim and then put away again, forever enshrinedin his Irish hearr
Anlrish colleen, alone on a desolatemoor, calls his name,waiting patiently, as the women
of Ireland have waited from time immemorial, for their men to come home, his
long-suffering spdirbhean,whosenarrative of suffering evokeslreland's cultural narrative
of suffering, of lrish nationhooditself (Cairns and Richards 1988; Howes 1996;
Hutchinson 1987).
And what can bring the two very different worlds we seeportrayed, the old, rural,
romanticisedworld of lreland and the new, urban,materialistic world of America together?
How can our Celtic hero recapturethe essenceof his motherlandand revisit it in spirit, if
not in flesh? Why, with a decentpint, of course,that archetypalsymbol of Irish
masculinity, of male blood brotherhoodand bonding. With that and a few kindred spirits a
man can recall his past;he can get in touch with his inner nature,the poet, the dreamer,the
lover, the son. He's a creation of the discourseof Celticism after all, a man born into a
country conceivedin colonial discoursesas feminine, a Celticism taken up and later
abandonedby Yeats becauseit was effeminate, blurred and melancholy (Howes 1996),but
which persistsinto presenttimes, bound up as it is with notions of cultural and national
identity.Yes, he's strong;he's an Celtic warrior; but he's born of a feminine race,with a
tearever readyto glistenbehindhis smile (Cairnsand Richards1988).He's got a soft Irish
heart that can be openedby Caffrey's lrish Ale. Strong words, softly spoken.
DISCUSSION:SHOW METI-ffi, HEGEMONY
By any reckoning,Caffrey's New York is a brilliantly madetelevisionadvertisement.
Cinematicproduction values,arrestingvisuals,evocativemusic and compelling strapline,
interlardedwith imagesfrom the primordial Irish stew of saints,scholars,myths and
legends,combine to createa commercial of extraordinarypower and award-winning
effectiveness.Yet, in its depiction of gender,the ad reactivates,reanimates,rearticulates
and ultimately reinforcesanachronisticandrocentricarchetypesof Irish womanhood,albeit
within the broadercultural stereotypeof Ireland as an inherently feminine nation. True, not
every readerof Caffery's New Yorft would necessarilyendorsethe above interpretationnot leastthe primary target market- but the whole purposeof post-colonialcriticism is to
readaurebors (againstthe grain), to offer antitheticalinsights into literary (and
non-literary) texts, to enfranchisethe voices of the disenfranchised,to pressthe oppressed
into self-servingservice(Newman 19q7). For feminist critics, furthermore, it is not
enoughto highlight the genderissuesembeddedin a text, and how we respondto it. The
point, rather,is to changethe world. It is in the activity of readingthat literature is realised
as praxis. 'Literature,' as Schweickart (19U6:39) expressesit, 'acts on the world by acting
on others'.
Many, of course,might argue that Caffrey's .ly'ewYorkis 'only' a commercial and not
worth bothenngabout. However, as o'Guinn and Shrum (1997:289) observe,'what
peoplewatch on television appearsto influence their preceptionsof what the material world
is like'. More to the point, peihaps,it is an award-winningcommercialfor a best-selling
20
r
targetedat youngmen'the
brandthatis frequently- indeed,incessantly..b{"adcas!11i* of-thenation,who will be
executives
-a uoJ"rtiring
futureleaders,rutn#,'#d"r"l"^
of cultural'nationalandgender
disseminatio-n
foJl"t
fd
"|u;;,
due
in
'M;i
responsible,
p"rhaps,itis the sheerinnovativenessof the ad that makes
;p"t6tiy
ilffiyp";.
and
atoncecontemporary
its reaction-y r"pr"r"itiu." 6f'g*Oi,r soOisquieting.]1s
simulacra
Baudrillardian
acmJof
It i, "rt""ii"'" *olu-dutin.. It is rh^e
ilbl;i..
his t.u*f"-1nuitoo-*titl.tg.. Itis alsodeeplyandirredeemably
(simulacme?),
misogynistic.
of caffrey's - an lrish brand,developedin Irelandby
The staggeringinternationalsuccess
Britishadvertising
Irish marketing,n"n iJ'u"ilr"r*"t a throushtfi" l"nr of a leading
aneconomic'social
re-vival,
neo-Celtic
td
asency)- is emblematicof whatmaybe;f,J
latenineteenth
the
of
Revival
Celtic
the
to
that is **pu*ut"
"fiil,i'**iJiiilro""n""
*;tr.i -Til,
(anti-commercial'
'fffi{ii"ii..";6t1on'
revival
the
of
grigrn{
tft"
'marketing
to the
contrast
iarked
in
stands
agranan)
predominantly
non-materialistic,
rece'ipttTd
*ft tq salesfigures,merchandising
orientation,of theCurrentrecruilesteno,
'authentic'measlreofnationalidentity(O'Gnlda
tr,"-rn"ri
commercial,u"""r.iliipri."
Roddv
tt it iuii to infer thatCafl?ry :'_l:!7!i::'*ye,
N;'""Jtt"l"rr,
rqgD.
r997;Warers
ls
ano
represents
both
spfeles,
cultural
noUi or VanMorrisonin propinquittrus
centurylrishness.it ishelpingsreateanew national
"i"f"",twentieth
;";il;;ili,
.irirhn"r.' ir nieusut"a*d *hi"h *ilTdoubtlessbe 'debased'in the
;'#i#firr"i*Ii"rt
Caffrey's
fullnessof time. er}ipttt:cofonlaf inprrogationhasshown,howevet, nottonsof
neanderthal,
losay
not
portrayalof genOeris p."ai*t"g uponunregeierate,
venus/virago
virgin/whore,
th;;;tia;t d dialis;;o'iMadonna/Meduqh'
Celticfeminirury,:
of passive
dialectics
broader
the
within
andsacredipror*.,'iuli"rt';;;E ."rivei situateO
(female),
(male)/rural
(male),
urbqg
(male)lit;qt;if"*ale)/away
(female)tactive
(fem3le)'Whilewomen
t]"*"f;), Airenca (mate)ltretanO
marerialism
tmaelliiriiiiftt'
Enya'Moya
presidents'
(female
in then"o-C"lti" revival
onceagainplaya IJd*t;"I;
by' a
enunciated
and
n'ithin'
expressed
Doherty,The Women'sPargl.andsoon), theyare
positions
subserv'ient
their
sotlo'
are
iiscours".fh"i* oces
predominantly'androcentric
the
late-nin"t""nitt""nt1{y, thgVarestill th-ecolonisedratherthan
in
irseif
lreland
like
lnd,
"f i.iJ **"utiruiy,.$1 niarglrVandPhil O'Centric'
thecolonis"rs.rnJs";ffi;i;
costumes'
continueto strutacrosstheAibernianslage,albeitin ill-fitting New Man
in Caffrey's
srotesques
thestereotvped
If theyweren'tso pervasiveandlorrg-established,
advertising
uid"r-su'ckled
overpii'd,
of
yorkcould
bedismissedastheprirJOi""tns
New
a
which.comprises
l,
Talile
uarons.
ueer
trop-a-long
andyeast-infected,
executives
*t'
commerciallp"f::^,y
of
the
of our interfuretatio-n
counter-interpretarion
t::13:*
ttrisreadingof thereadingis verymuchin keeping
particularp"rrp""tiu". itnciOentatly,
whicliil;h*i:i;?niurii""".tiql9::!1.^voicedness andwhat
discourse,
wirh posr-coloniat
*"
criticisin'.) However,theimpoffilll _lil*!
Said( rssz)renns;ffi;d;tal
As
ity - of sucfiri.i""*p"t inhereiin theiressentrallihegemoniccharacter'
inirradicabif
'civil'
and
distineuishbetween
Gramsci(1971,1985,1995)oUu"ru"t,liis necessary.to
.oolirical' societv.in so far asthe f"d;; it i"*p.tJO of non-ioerciveunitssuchas
r"ft*-f Ji."Oworksof literature,whereasthelattercomprisespgtqblty
fffiil;
operates
i"fr"$iu" stateinstitutionslike the?oliceandjudiciary..Culturalstereotypng against
anppoliied;and'!Yl-uTqqrjllg-'us'
i"ie"iy i" thecivil-iomain;ifis setrlimposgd
.them,,ir is transmitted
domination(seeH6tuU1992)'-Co-mpelling
than
rattier
by consent
of.lrish
thehegernony
is,
it
Yorkundoubtedly perpetuates
,n"ir!f C"ffi"/l'ltt:*
of
subordination
indreinfot"es thecoritinuin!
"Sttong
masculiniry,alberta feminisedma.scutinity,
wordssoftly spoken,indeed'
Irish women" enAli O*t to by stealth.
2l
Table l:
Strong Words, Strongly Spoken
lagte very much with this insightrul and desctiptive interp,reution which prnpoints the heroic andpersonal
quest of our Calfrey's hero as the core messagebehhd this advertise,ment.Yes, in this respect it appears to
be the Irish equivalent of a spaghetti westem, udated fc the nineties man, of course: strong, silent,
handsome (but now clean shaven) heroes with a dash of enigma thown in for good measure and ample
amounts of (self)-control, And this is where I feel the hterpretatiotr is just a little tit overgenerous to tbe
'plot'
for this ad, whilst sipping his
25r male creative director who almost certainly dreamed up the
sambucco in one hand, a moble phone in the other. Basically it is the issues surr<runding this imflied
self+onbol that I feel require a deeper analysis to better rmravel the gendered notions that are cmveyed
through this advertisement' s message.
When you consider and analyse the way that the wom€Nrare portrayed in the script, it becomes apparent that
the ad itself is less about self-control for our hero and more about control of the feminine and, in turn, the
female. Think for a moment of all the wom€n and how they are portray€d There is a sharp division in the
way these images come across: American versus Irish. The American women are immediately held up to
ridicule, the bar woman's drawl andlacqueredroll, the ageingglamourpuss wi&herone-sidedconversation,
the vacuousgame show hostess,the barmaid's inexplicable gyrations. Transatlantic transienceis
juxtaposed against timeless tradition to illustrate the shrineswithin our Celtic hero's heart, the strength of
this roots (and of course, the strength of his character). The images of lreland's women stand starkly apart
from the previously displayed tritenessand trivia Yes, silent (and silenced) the lover and mother, idealised,
romanticised,haunting images 6f wsnenhood and, in turn, Ireland. But there's something else important
here, theseare powerlessfigures; effigies that wait patiently, forever consigned to the past in our hero's
memory but always available, on tap even (like a Caffrey's pint) to swirl through the mists of time, to
'feminine'
reinforce our hero in his horu of need. This Celtic new man of the nineties, acknowledgeshis
roots but keeps them firmly under his control, in his new life, his Arnerican life; a life where women
aren't quite so easy to control. This is the unreasonthat Aristotle atfibuted to women, this is the
untameablewild side, nature out of control. And an lrish man, even a nineties one, only loses control for
his drink not his women. So the messagehere is very much about bond branding, as opposed to brand
'?ecapnuing" the fsmale essence: &e
bonding. It is about male blood brotherhood,all guys together,
appropriation of the feminine and its subjugation to the masculine. I see the strap lines from a slighdy
different perspective. The feminine medium of words has become masculinised, strengthened (strong words)
its feminine essenoeredefined in male terms (softly spoken). This new nineties Irish man is most definitely
'wolfhound'
a
in sheep's clothing. The subtext here, as our hero bonds with his fellow New Yorksrs, is :
'Listen guys
and I'll tell you how we Celts manage (without) our women".
Caffrey's, the drink for the man with the women whoknow their place.
CONCLUSION
Until comparativelyrecently,Irelandwas a text written by men. Not only was it wntten by
men, but Ireland was perceivedin colonial and postcolonialdiscourseas 'feminine'. Of
late, however,Irish women have becomeincreasinglyactive in re-readingand re-wnting
Ireland, and they are now part of the fragmented,unfinished processof Irish identity
creation(Kiberd l9%). Writers suchas EavanBoland ( 1995:3)articulate the female voice
to 'strengthenby subversion'how Ireland and Irishnessis rewritten,and to 'open a
window on 'those silences,thosefalse pastorals,thoseornamentalreductions' that have
confined women. As part of this on-going project, we.haveoffered a post-colonial
22
l"
for caffrey's
cinemaandtelevisionadvertisement
the
feministreadingof anaward-winning
Britainandbevond'
the
TnTl:"*t'
IrishAle. conceivi;;;;";a;ts"tttts;9"Jts
of malebonding'
*aii#nt'i-J;;td;r;i"^io'
the
9i"rr9r,t-1bt*d
of
shake
to
adappropriut",
If is noteasy'uO*in"Oly'
*dt"n"
brandreinlorcestnebondageof lrish
"f tr6tanOwhereIrish is
just
* th{.6a'i -*.n*:':"et;
but
to' is a
shacklesof hoarysrereoqrpe,
womin's voicesarespokEnandattended
spoken,so roo u gy;-;rirt,'wheie_
it
liudablepost.colonialaspiration.ltwouidbearrgeant.}o-Geestthatthispaperhas
tiine of "*diriu" n*'celtii euphoria'
a
at
tach;but,
gyrc
th.e
in establishing
in a post-colonial
succeeded
ffi iil;iti;*t;ri"r
drawsatrenrionro thecohplexity or g"rii"??;r",
context.
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