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Keepsakes and Souvenirs

  • Maggie M. Williams
Chapter
Part of the The New Middle Ages book series (TNMA)

Abstract

In the summer of 2010, my husband, sons, and I visited the Irish National Heritage Park (INHP) in county Wexford. As we strolled along wooded trails, we traveled through the 9,000 years of replicated history and material culture that had been promised in the advertisements: “From campsite to Ringfort, from mill to Fulacht Fiadh, from Crannog to Viking house, every activity is an unexpected adventure.” The park includes sixteen life-sized “authentic recreation[s] of Ireland’s heritage,” allowing visitors to experience the entire timeline in a single-day’s journey.1

Keywords

Spiral Design Decorative Program Personal Adornment Irish History Translucent Skin 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 2.
    Peter Harbison, The High Crosses of Ireland: An Iconographical and Photographic Survey, 3 vols. (Bonn: R. Habelt, 1992), pp. 37–41.Google Scholar
  2. 4.
    Traces of paint have been reported on Anglo-Saxon crosses, see John Higgitt, “Words and Crosses: The Inscribed Stone Cross in Early Medieval Britain and Ireland”, in Early Medieval Sculpture in Britain and Ireland, ed. J. Higgitt (London: BAR British Series, 152, 1986), pp. 125–52. Peter Harbison has suggested that the colors used might have been similar to those of the Carolingian frescoes at Müstair, Switzerland. Personal communication, 20 December 1999.Google Scholar
  3. 7.
    Annabel Wharton, Selling Jerusalem: Relics, Replicas, Theme Parks (Chicago: University of Chicago Press, 2006).Google Scholar
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  10. 10.
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    see Thomas Kulka, Kitsch and Art (University Park: Pennsylvania University Press, 1996).Google Scholar
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  21. 27.
    For negative discussions of kitsch versus “high art”, see Theodor Adorno, “On Popular Music”, Studies in Philosophy and Social Science 9 (1941): 17–48Google Scholar
  22. Clement Greenberg, “Avant-Garde and Kitsch”, Partisan Review 6 (1939): 34–49.Google Scholar
  23. 28.
    For a more positive spin on kitsch, see Susan Sontag, “Notes on Camp” (1961) in Against Interpretation (New York: Dell Laurel Edition, 1969).Google Scholar
  24. 29.
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  25. 31.
    Ruth McNay and Linda Harp, Mc Harp: Crosses with Meaning (Kerrville, TX: Mc Harp, 2009), p. 2. Please note, throughout this section, I quote the Mc Harp catalogue as it is written. There are occasional grammatical errors, but I have not changed the text or added the note [sic] to those sentences that have awkward syntax. I prefer to allow the Mc Harp team to speak for itself.Google Scholar
  26. 33.
    see Françoise Henry, “Emailleurs d’Occident”, Préhistoire 2.1 (1933): 64–146Google Scholar
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  29. 43.
    On medieval scripts, such as insular half-uncial, see Michelle P. Brown, A Guide to Western Historical Scripts from Antiquity to 1600 (Toronto: University of Toronto Press, 1990), pp. 48–57.Google Scholar
  30. 45.
    The sources on the medieval manuscripts include Bernard Meehan, The Book of Kells: An Illustrated Introduction to the Manuscript in Trinity College, Dublin (New York: Thames & Hudson, 1994)Google Scholar
  31. Janet Backhouse, The Lindisfarne Gospels (Oxford: Phaidon Press, 1981).Google Scholar

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© Maggie M. Williams 2012

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  • Maggie M. Williams

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